Basic Methods for Drawing Portraits | Easy, Effective Pencil Portrait Lessons | Matthew Dewey | Skillshare

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Basic Methods for Drawing Portraits | Easy, Effective Pencil Portrait Lessons

teacher avatar Matthew Dewey, Writer, Writing Tutor

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

17 Lessons (2h 46m)
    • 1. Introduction to Simple Portraiture

      3:30
    • 2. Drawing a Masculine Head Structure | Portraiture

      8:47
    • 3. Drawing a Feminine Head Structure | Portraiture

      8:42
    • 4. Masculine Structure | Feature Positioning | Portraiture

      12:52
    • 5. Feminine Structure | Feature Positioning | Portraiture

      10:24
    • 6. Masculine Structure | Dynamic Angles | Portraiture

      12:23
    • 7. Feminine Structure | Dynamic Angles | Portraiture

      9:02
    • 8. Drawing the Eye In Detail | Portraiture

      19:16
    • 9. Drawing the Nose in Detail | Portraiture

      7:50
    • 10. Drawing Lips And Teeth in Detail | Portraiture

      16:59
    • 11. Drawing the Ear In Detail | Portraiture

      9:13
    • 12. Drawing Hair In Detail | Portraiture

      10:11
    • 13. Drawing Neck and Shoulders in Detail | Portraiture

      9:23
    • 14. Portraiture Shading Tips

      8:21
    • 15. Portraiture Practical 1

      11:09
    • 16. Portraiture Practical 2

      5:00
    • 17. Conclusion to Simple Portraiture

      3:16
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About This Class

Hello Artists!

My name is Matthew Dewey and I am your art instructor.

I created this course as part of a series of courses that teach you the necessary information to draw anything. In this course, I teach you the effective and easy methods to draw portraits. I will teach you everything from structure to shading.

Portraiture is by no means an easy subject to draw, but with the right techniques, it can be made easy and fun! Whether you are a novice or experienced artist looking to draw a great portrait, this is the course for you!

In this course you will learn:

  • Masculine and Feminine Head Structure
  • Dynamic Angles
  • Feature Positioning
  • Eyes, noses, ears, lips, teeth and hair in detail
  • Shading techniques and tools

Join me in this practical course where you can draw along with me and develop your artistic skills. Learn to draw a portrait to be proud of! See you soon and happy drawing!

"Taking the first step is the most difficult, but once you do, there is nothing that can stop you. All that you do from then on is your own, nobody else's. That's the only way to achieve success, that's how I did it and how you will do it too."

Meet Your Teacher

Teacher Profile Image

Matthew Dewey

Writer, Writing Tutor

Teacher

I have been writing and teaching for years, helping tens-of-thousands of students achieve their goals, be it completing their novel or publishing their work. Having written several novels, non-fiction books, hundreds of short stories and articles, I have studied and put into practice the best methods for writing effectively and efficiently.

In addition to writing, I am also a programmer and artist, teaching what I know on the subject and helping those interested get a headstart.

If you want to write a novel, a story that has been on your mind and not on paper for too long, my courses will not only help you start, but I will be there as well. Any work you submit, I will happily read, review. If you need professional advice or a friendly opinion, I will be there for both.See full profile

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Transcripts

1. Introduction to Simple Portraiture: Hello artists and welcome to a port intercourse. My name is Matthew doing, and I'll be your instructor throughout the course. This course is about establishing the foundations of portraiture. You have all seen tutorials online and on YouTube, simple tutorials that show you how to create AIDS structures and other details. But it always ends the same way. The tutorial that God starts off of something simple, then all of a sudden and leads to something that's incredibly detailed, and it feels like a few steps in the middle have been missed. That is why I created this course. Tell better Lynn students and idea of what happens between those moments how to get from a basic head structure to some sort of portrait that you could be happy with. That being said, this is not a happy realism course, so you don't need to worry about being taught how to draw something super realistic to the point where you might as well just take a photo. For some, what is important is accuracy, drawing from a reference picture from this subject and being able to look at both and see the similarities to the point where you know it is the same person. You don't want to be able to draw something and find you're looking at someone completely different. Which is why his portrait, of course, helped establish the foundations with each feature from the head structure to the IRS and nose and mouth and other difficult aspect of portraiture. That being said, this is a course of us or try to simplify to appoint way you can enjoy and draw along which is, or are keenly encourage. Join with me as I work through the course with you is the point of the course help practice ? Those certain techniques and methods at the very end of the course will be doing a sort of test working for a reference image, and you can show off your work to me through the discussions in this platform. All showed with our students to yet opinions and advice, and by the end of it, we finally conclude with another portraiture practical. But it'll be just you, creating a portrait for imagination, using any techniques and methods that you may have learned outside and inside this course. In other words, you found your style and found what you're comfortable with. they are gonna be some lessons in this course that you may not agree with, and you prefer to draw something a different way. While that is perfectly fun, I hope that anything you find in this course is helpful. And you might start using Southern listens to make adjustments and improve your portraiture . Now, before in this video we move onto the next one, which is masculine head structure and how to draw using luminess method. That's a bit of a mouthful, but I guarantee that it is quite simple. I'd like to point out that this is an act, of course, and I am an active instructor. So if you have any questions, feel free to ask me or any other students joining you in this course. This platform allows for discussions and forums. So whether you start this course alone was a team with other students, you'll be able to work together as well as with me and create a portrait that you're both satisfied with and could be proud of. So with this video coming to an end, I'd like to thank you for joining me. And I hope you find its course enjoyable and informative for now. 2. Drawing a Masculine Head Structure | Portraiture: and artists. And welcome to the first lesson in this portrait. Of course, in this listen, we're gonna be using the Loomer Smith it to draw a male face structure from the front view from the side view, this is the most basic perspectives when working with portraiture. So it's the ones will be beginning with before you move on to more dynamic angles. I highly advise that you follow along with any piece of paper that you have, and I'm gonna be using a dark pencil, a full B, which are coming. You use for often pencil artworks, but I want to be using this because it is a darker turn pencil, so sharp a bit more easily on camera. At the same time, it is generally common when doing portraiture to use a vertical sheet instead of doing your artwork horizontally. However, seen as this is a course for structural purposes, I will be dream artwork or practices and sketches horizontally so you can get a clear picture of what's going on with that in month. Let's discuss the Loomis method as it is was called Method that you have no doubt encountered. The Loomis method is the method will you draw a circle and then a drawl on? The reason that it is such a common method is because instructors and other tutorials often make use of the Louis method for beginners to understand how to properly structure face well. It is coming for artists nowadays to start with a single feature and then move on from the We're gonna be using the Loomis method because of the help it established based structure. So it's not further doing. Let's begin. We're in the first grade, a circle in the Dead center here. It doesn't have to be perfect. If anything, make it more oval that have a circle to work with. What do you have? A circle around almost the circles, The length downwards ad H in mark in the center, from the Let's draw a line through the center of the circle and just below it around quarter part of the circle, we'll start drawing a JoEllen in about half ways. We'll start bringing in the drawer line to come towards the chin. Like so often of male face structures, you'll see that a more chiseled or bold Jolan is up and used the reason this is is masculine. Face structures often have more bold bone structure, where his feminine structures, as you'll see in the next lesson, will be focused around more acute angles. But let's practice here was now the face structure of the meal. So we draw Nick, always draught sometime before who? Yeah, like So there's a strong to vertical lines downwards, somewhat covered to make it more realistic. But otherwise that should do, and then into the shoulder, like so now when practicing or with the structure that is based to have a line through the center between the chin and this top of the circle. So around here work and down the center, there's a whole bit of position features that you use later on. Not seen as this isn't a perfectly A, but seen as this isn't perfectly symmetrical will be attributed a bit of an angle, but that's fun. We'll get into position features in another video Eric with practicing with this as much as possible, creating smaller circles, shorelines and then moving on to bigger ones. If you feel that's more comfortable for you to work with and soon you'll get a good idea of how it works and you be able to draw them of all sizes. But the Loomis mitt That helps us in a way of positioning futures. But more than that is structuring because this is the cranium part off head structure, and the jawline is often just like that around the middle way. So there we have the male head structure from the front view, fairly simple and easy to practice, and I recommend you do so with that. We now move on to join a male head structure from the side. First rule our circle again, terrible circle that it's it's fun. We can easily work with it. So with the circle is just making a bit bolder. So to see it around the middle of the circle with your alarm downwards, that kind of coups. But like this and one small around 1/2 circles length Tom, we round out to the chin, bring it in and around the halfway point off the circle of here. We'll bring it back to the top. When it comes to the nick, we take it from beside here. Ever bring it down like so and underneath the jaw, like so like a load point there just to show curve of an Adam's apple. But for now, that is the middle age structure. We work with fractional too long. This time, though, that this is a no deal structure to work with in practice with railhead structure is, I said, is larger net of the female head structure. Let's draw a line between the bottom of the Joel on the top of the head. Yeah, which will help us practice. Imposition features the male head structures. A sit is very bold, and it's basically draw, so it's the one we often start with. And now we have the structure or set up from the side profile. I'm gonna give you a little sneak peek into the lessons off positioning features before in the video here. When it comes to positioning futures, what often work with is a skull. Before I start practicing the face, looking of the skull hopes position features such as pinpointing where the cheekbones will be, that that also works to have this Loomis method in the same time because it'll help position the nerves around the slime that passes through the center. You'll have the middle of the nerves so around here often, Jorge, A school like nose to show it will go above it will be the socket oven. And around here would be the teeth. Yet that is just something that will work on in another video of this little sneak peek will give you a good idea of what we're gonna be doing with that amount. I'm getting in the listen here, and in the next video we'll work on feminine head structure. I recommend you do practice of the limits method to create last bolt draw lines to work was to make more masculine looking pay structures before we move on to the feminine hit structure. But that being said, I hope you enjoy this lesson so far before this information useful when it comes to working with the lose it method. And of course, when it comes to working at the limits, he admitted of feminine head structure. A lot of students will seem to struggle at first because the family had structure requires a bit more technique to work with. But your fund, once you get it found to practice again that have been justice import as working with male , its structure, But that being said up. You enjoy this. Listen and I'll see you in the next video. We'll start working your family head structures five foot down. 3. Drawing a Feminine Head Structure | Portraiture: Hello, artists. And welcome to the second. Listen off the course in this Listen, we're gonna be taking a look at women and head structure from the front view and from the side. Now, the food and head structure is difficult for most artists, and I can understand if some have really skip to this. Listen, as it is, the most troublesome part off join Portrait's for him. However, I'm gonna be showing you how to mail the criminal need structure. Whether you're working from imagination, ALS, a reference picture or subject. Do you have sitting in a chair in front of you? It all comes down to the Loomis method once more. But as you become more professional, as I stated in a previous video, it can be easy for you to just start off of a vague sort of shape instead of started of the Loomis myth. Was that being said? Let's use the room, Miss Smith, it now to create a feminine head structure. First we start with a circle. Now the circle compared to the male, his structure might be smaller. It might be larger, depending on the subject, but I just make it large enough for you to see and work with this video. A perfect circle. That's fine. Just fold, it said stands out of the moon video. Here's in an eight beard, this point to make it possible. Once you have somewhat of a circle to work with, you know I gotta draw Jolan by starting around the middle to just below the middle definitions of subject, and you'll have a drawl on much smaller and much closer to the skull and that off the male head structures are say around here, they're being actual on down and again, somewhere around half way or just passed off way. You being the jawline in towards the chin, and that's it. It is simple compared to the male head structure, but it does require practice if you struggle with less bold lungs. So if I take the male head structure from the previously city, compared has more straight and bold sides to the sculpt, whereas with the feminine head structure, it's less vertical, more cooped in before he even turns and goes in towards the chin of a year. Still, these Theus sections where the turning of the drawer is and angles between a circle on the jawline or more acute compared to that of the male head structure. When it comes to the nick next for and it comes to, the figures are easy to draw. Just found the turning user Jolan again and curve it in. We have a human and head structure starting to take shape. Have physical right down the center, and we'll still have a line through the center between chin and the top of the head. So around here, this will help us position features for later. I'm not two faced about this party just yet, because it will be working on it. Another lesson. Passport. Just make it a bit more straight. Here it's clean it up razor, and we're good to go with. Reposition your teachers if in the next lesson. But this is the feminine instruction. There's no Adams Apple to work with, but you still have these veins that sometimes show it's largely jugular black things. But the female hit structure is similar to this. Depending on their subject, you can have more narrow heads just like that were working for male here, but otherwise the family head structure normally just has a small withdraw burn. That is the only singular face structure difference when comparing them to each other. Most of the time, you'll find differences that are actually not the, but that, of course, depends on the subject at hand. Have been said, Let's just dark in these loans here so we could better see them for the next listen. But that done, Let's move to the side profile now when working with a feminine head structure and we'll continue using the Loomis, miss it here. So, Bill Joy circle things close to any a perfect circles you can you find mid center of a circle. You draw a curved on from it, like so at some point just below the circle, you'll curve it in back towards the skull. Once that's done, we can draw with Nick as the next for Fermin ahead. Structures are more slender computer mail. You control these smaller. But as I said before, it all depends on the subject. You will have a center line between the chin on the top of the skull. So some were vague. And as before, as I did in the previous listen, I'm gonna be showing where position peaches goes. The same way as it works with the Malian structure, you find centerline, and that's somewhere where the nose is normally. When it comes to the human head structures that eyes resting on this loan and the nose is resting, just hear from Wade starts maybe just above it, and then comes down. Sina's. This is the age structure that most students will struggle with in the beginning stages of their studies, a direct come in practice with it. Sometimes when it comes to join through a imagination rather than just drawing from a subject or reference, it could be a little bit more difficult to get proportions just right. The estate that we'll get to position features and proportions in that soon that that will be in the listen following this one. For now, I'm just showing you how to structure the using the Loomis method or help you, in any case, that if you find the limits method is true, Miss you to work with, you can do what I do, which is simply start with feature and work from the on normally started the nose and work around it, and a just proportion since I go. But as most artists and painters or sometimes work with a generalized head structure such a Z sketching or like this rather than using a Loomis method. Well, help is well, anyhow, I found myself getting carried away already. Withdrawing ahead. Structure, once you've finished practicing, have become so simple that you started working with it a lot easier than you would with automated. Of course, it all starts from some way on Estonian. This method I hope you found this video on join the feminine head structure useful and informative. We'll get to position futures and a later listen on the feminine structure. In fact, I believe it is a lesson to follow after this next one. But in the next one, I think we're gonna be focusing on features and its positioning on the male head structure . With that in mind, I hope you enjoyed an RC in the next video. For now. 4. Masculine Structure | Feature Positioning | Portraiture: Hello and welcome to another. Listen in your portraiture course, in this video, we're gonna be covering the positioning off features on a male head structure to start off with. We're gonna be positioning the features on the front side, Seen as we kind of already doubled with working with positioning the features on the side profile in the first listen with male head structures. But nevertheless, we will still cover that as well. The first thing I want you to take note off is the face structure that we have here but we're gonna do is take a fairly like pencils, something like a two pencil. Such is this one, and we're gonna start positioning features on it very loudly. But these are the features of a skull. The reason that I bring up a skull is because this will help position features a lot more easier for you first when it comes to working for skull, which is how our first lint out of position features on a face is to take note of where the cheaper is and then moved from the The cheekbone will help you position are there to help you position the nose the mouth and the teeth in the drawer bone when it comes to positioning a cheekbone and you'll find it somewhere just below the center over here, just where the jaw begins. So like so from the you have along, that kind of curves inwards and comes down. Try and keep this a symmetrical is possible. But seeing as this is just a small side track that we're getting on here, you needn't follow along but merely observed a position where the skull is. I found it easier to position of the teachers, and I found this the easiest way to practice positioning features before moved on to using the Loomis's Method way of positioning features Secure. Have a sculpt for me would say the teeth of somewhere around here have to be too active right now. This is just something to help position other peaches mainly around you and the cheekbones . Air on the center will have the notice area of the skull. In addition to that, whether cheekbone begins will rise upwards and inwards towards the skull like so and then we'll have another joint like so just Teoh below the same type of the circle. The reason it does. This is because of runs out with our socket is which is over here probably fairly larger when it comes to working at this carpet. But fortunes are necessarily important. Chest. Yet we're working with the skull. I soon understood how the face structure all fits in together and by understanding way everything goes. It will help you better position features as well. Someone might have a school amount. I can now position peaches will more easily. I know that there are circuits are just a birth via And then it's not the full our circuits that always showing. So what I'm gonna do is take a Dhaka pain still, such as this eight B over again, and I'll start joined a small Phillips from the circle itself. You find your center lands, and that is where your nose will be just below it, like sir, just below where the circle is. You tell a small circles any straw to curse to. Fulton knows they are. Circuits are just above or connected with the circle before ers air just above the circle, and even then, but it comes to the are which I will go over and release it in more detail. If we take a circle we jewel and IRS, something around this sauce, the black people middle the portion of the are that will we actually be showing is rather small compared to the size of itself, in the sense that it is less likely that the entire Paris itself will be showing. So you don't necessarily trolled all as we look more like this. Now that's around here that you have other folds to the hour. But that is something we cover in another Listen, but this in mind, only a portion of the actual iris will be showing. So this run, is it this down? Some portion of the people be shown, if not all of it. When it comes to the position of mouth, it's always just below the nose, a little bit above halfway between the nose and action. Let's keep it somebody around the center positioning the ear so is around. Our problem would be with the top of the connecting again and goes higher friended and sometime before the no scenes. Of course, it does depend on the subject hell on once more, something that is positioned depending on the subject But you always leave a good, decent space for the forehead. Look of a realistic here in another video. I'm just gonna cover this in yet receive everything. That bullet is usually thinner than the lower left opinion subject. Of course, Benadryl. Some love lands are not our plans. Interested? Brother knows. Picked it down here. Same with girls in the eyes of the girls under the eyes. Yeah. I don't knowing where the cheekbone is. We know exactly where it goes inwards towards the cheek. So control and every wish. And we have a meal, eight structures to it home. And we have position now, some features when it comes to the male age structure. Something simple. So I'm gonna Joel front of the face. Joel. Sure. Coming up, fixing forehead here, being a nick into opposition That now, when it comes to position in the features on a face, we found the center line between the bottom of the chin on the top of the head, just above the drawer. You'll have the ear. So you control that in straight away somewhere. Just about the center around the center. You'll have your nose and center as well. Control that Tim controlling occurs it lips trolled on you reposition the lips just below the nose. But I said, We leave a smaller space between the top left on the bottom of the nose and between bottom lip and the chin, the size of the space supposed to bend in the subject. But commonly this is how it is. It's trump more forehead. Yeah, around your just above the scintilla will have theirs, and above them will have that brows just about the nurse. We need a big year for this head structure that's farm like, easily fixed that straw. Prove a hill on here. Live printers. Basie of food full ahead. Being alone to run here. Here's often shaping but normally is a covered top here, and it could with back Hood comes down, and that is positioning the features on a male head structure. The ear always just about the draw. The drawer comedian around center skull like so I haven't knows where the center line normally passes straight through. The middle of the nurse helps position we size. Everything will go small line between the upper lip in the nose and a larger space between the bottom lip energon the chin when a male hit structures, whom is a lot more bold and blocky. We'll have Nick Iam's apple if it is visible. And then from the skull itself, we sweeping downwards. Bring it in with towards an outback towards the back, maybe just a slab of four. It can be vertical. It can be inward. It can even stick out. Or depending on your subject, as long as you practice these steps will be second nature to you. And you can easily position your features and draw everything from the nose positions to the head structure far more easily than you could have had for Was that a month? I'm gonna end this. Listen here. In the next video, we'll be taking a look at position in features on the feminine head structure. Was that in Mt. I thank you for watching. I hope you find this lesson useful and I'll see you in the next video. Baffled 5. Feminine Structure | Feature Positioning | Portraiture: Hello, artists. And welcome back to your portraiture course in this. Listen, we're gonna be positioning the futures on a feminine head structure. I'm gonna be using the happen and head structure. We created two videos ago, and I'm gonna be positioning the features such as our bras, ours nose, mouth, ears and maybe do a hairline. But we noted from our feminine head structures that I had a smaller, more kid draw than compared to male head structures, which tend to have more vertical, blocky jewels. As a result, the features that will change our mainly gonna be Philip Endo's positioning. But once more that is dependent on the subject at hand. First of all, I'm gonna be positioning the hours just above the line or if not probably on the line. We're gonna actually started the nose first, but knows I'm gonna be positioning here. Just here with a circle is ending. Salvageable curve are stated in a previous video that will be going over certain features and detail and how to draw them. But just draw a simple circle and some coves and practice with the nose while we here we'll go over a bit more detail later. As for the mouse, the mouth I'm gonna put but closer to the middle, Then if it was a male hit structure, so it would be something like this knows our it's a drawer till but here and it's around here, just above the learned that I'll have the others now. I was bidding on the subject as could be larger or smaller, often with feminine pictures, that there's gonna be much water hours. But you're perfectly alone honor. We take the nostrils shoreline upwards and from the road. Joel are so something like this race, the bottom of their hearts on the line itself. So that's positioning of us. It's a race and learns here just to make it clear. I'm just going to take a darker pencil. I'm going to darken alone so you could see it a bit more clearly. Our have the nose position just below the circle, but once more does depend on the subject. And of course, the nose runs up the same to the face between the hours like so our bras was moved in the subject service include simple basic cameras here, the lips I have closer to center, which is unlike the mayor masculine teacher. But what's more, this is all just about positioning and on the skull itself. Next we have the years, and they positioning opposition them just yeah, the same way I would with fail positioning of that. Yes, right from the bottom of the eyebrow, I because upwards and I stopped just before the nursing's. Thanks. Finally, Helen does in depend, but also leave a decent space for forehead to show. So there we have positioning the features on the feminine head structure. From the front, Sinatra have drawn a more feminine face from the front. Let's draw from Assad. Do quick limits. May 3rd, I suppose, actually being it, let's just create a general shape. So when a shape to work with what we're gonna do is great, it nose first around center, bring it in great lips that's just below it. And then deeper in words, there's draws when it comes to feminine. It structures on much deeper in words like so, so it's suggested accordingly. Four hit a bit out, then back, like so. So around here is the midway. How have the nose and everything, so there's some way just above it. around you have hours does I'm not too different to working with that of a male in this case. So don't he has traced too much about The difference is here, but you really do have to stress about is that drawer line you create a more human and one and you have in our bra just about yeah, their lips and lips just around you. As for your hairline, as I said, it always depends on money working with, But I get around. Yeah, don't forget that year, which is somewhere just above the drawer line. No, we're extended your life just to just above the mouth. Here have that years around here. As I stated, whoever deeper dipped just below the bottom left before it reaches the chin. We'll have gardeners about drawer. Learn more cute, so it's closer to the circle. Rajya coming in and curving quickly back up towards the here. These features for just into place there are some way above the top section of the nose. Where it should be about the nose is a great A measurement tour as it is around the center , so you can position your futures more around the nose than anything else to make sure we get everything just right. I do recommend practicing with this as you go that has always positioned your features is really built up around the structure of the head. So you want to have too much difficulty doing it as long as you know where the city is between the chin and the top of the head. From there you can position everything from the Jolan, which is around the center. So you're is and hello? No sit. And your futures, you can sit around the nose, which is a wrong center. Ah, of the center learn like so Was that a man? We're gonna be tackling some more difficult angles and positioning features. In the next lesson we went Take a look at dynamic angles for the male head structure dynamic angles being that off downwards on a subject such as this all other dynamic angles as from below, looking up above, which would look something like this once more, just getting carried away with working at this. But working with perspective of any subject can be quite difficult. So whether we were looking down on a subject or looking up towards the subject. We're gonna have a lot to work with when we're gonna have to minimize the science of certain features and otherwise increases as them. But it all comes down to working with shapes again before we get to that. So with that in mind, I'll see you in the next lesson where we tackle the difficult part of portraiture, which is working with dynamic angles. Likely to make things easier. I will be providing you with reference images, and it will be working off reference images. So that way we can practice it from an actual subject instead of joining from memory. With that being said, this listen has come to an end and I'll see you in the next one my foot. 6. Masculine Structure | Dynamic Angles | Portraiture: L A artists. And welcome back to another lesson of your particles. In this lesson, we're gonna be joined some male hid structures from dynamic angles and dynamic angles being diagnose from above from below. In this case, we're gonna be drawing one that's from a diagonal perspective first, and then we'll draw perspective off a masculine head looking upwards. So it'll be from the neck and chin. No, we're doing it from the face front. You should be seeing a picture on your screen now, and I will be providing you with the picture as well as part of the course as it'll make great practice. But all that you need to do with this listen is draw the head structure. I will show you how to position some features. But for now, the hit structures the main focus of the lesson as it is going to be the most difficult part of the listen when it comes to join ahead structures from a dynamic angle, you have to take into account perspective and how the different features can overlap each other. With that being said, the picture that we have here is very basic, so it's a great one to start off with, So I'm gonna get a dog pencil. So I've got you an eight beats that should be dark enough to see on the Via. And what I'm gonna do is draw a simple circle, thinking correctly necessary it is to make it more perfect. Once we've done that, we're gonna decide where the chin goes now. Seen as from this perspective, subject is looking in this direction our interview join inch in some way more to the right until the So I'm gonna be drawing the chin some way around here with that as well. We have to note that Jolan starts around here so we'll bring it down. I think so. We're not going directly a proportions right now. We just have a head now that's working great with that perspective of dynamic angle. But as for the proportions, the proportions are not correct. The idea It's a bit more blackish than a bullish, but that is fun. We can easily addressed that as we go along. So, as you could see, have drawn a vertical line. But as it goes towards the scent, I would say of Chechnya, I'll bring it in and move it upwards, like so with the vertical on, I have a medical on. It comes down here and position it again, crossing the centre, going down towards the chin. There's a hope of positioning features such as the nose and eyes and mouth. As for the here, it's a bit more simple since we have a jawline toe work with. So without Jordan Yah, we can position here just around the horizontal partier. I think so and not of such with me. You don't have to be awfully precise just yet. The beginning stages of any artwork, our butts luck. But I'm just showing you quickly before we move on. Get to the features Now. As for the nose itself, the No. Zero is gonna recipe at an angle, so the closer it is to the left side of the nurse will be but large Internet to the rod. Sad notice as well that are also appears, but lower. Where's on the right side? It appears higher often when working. At this perspective, this is the case, so let's work with the nose moving from the centre and finally in the same shape. This is a rather around age Turner's and unique features. Air definitely helped as well, so something like this knows it's definitely great to work with. Practice with comes to the lips lips around the center, over here, and but once more have very colon kind onto assumption. Mitchell. I lips and around the center of the lip, which is just below that knows here we're gonna shortened features like so same goes for the bottom line. It appears normal. Then around the center it is shortened Maxa for the hours, which is one of the most of good parts when working in such a dynamic angle, its key that you try and get them process with this. I always try to work with the father's side when it comes to us to help get the symmetry wrote. So we have and I brought around here and I will just work that LeBron knows that was fairly small, which is sometimes a good thing as well. But at the same time, it does reach certain edge of the head of you. So we have to keep that measurement in mind as well. From the and soldiers about spreading out some lands just taken the head shape but more right. As I said, this is quite a blocky face. I think what I'm gonna do, you get a short induction making an executive decision here just to do so and following it up face just around here gets a bit wider and rounder. But it comes in with factories there on out again for forehead and then in words again today Avera. So there we have one practice complete for this dynamic angle. I'm looking a bit down, you know, on the subject at hand. But that's all right. I wanted to become Overgaard. Simply dressed Roll a little higher that waas It's all right. We have, uh, portrait done. We worked at the dynamic angle, but we're gonna be joined the masculine head shape. But the masculine in ship is going to be looking upwards with that amount, we have to work with the chin and neck and use that. The bonus off this part of practice is that the subject of tanda is looking phrase forward . Swell. So we only have to deal with some symmetry in hand, but every easier now than working from a dynamic angle magna me and looking upwards with that done. We now need to decide our positioning of features just below the cheekbone. Now for that year's notice. How everything is being put into perspective now, especially features such as this year's themselves are now similar to just on or below the cheekbones like self, which will help our perspective a lot. So I'm just gonna gonna simply quickly not go into too much detail without years drawn. Let's draw a hat in just to make things a bit easier on us. When we start position, the more important features like the eyes, nose and mouth we have our nose between a nose now isn't more in line with top of years here, So join the nose like so how mouth is just below it, but still within the region. So we drill that in Israel and ours on are falling just around here. So I'm gonna George, but on the line itself. So to keep it symmetrical, I was used the futures that you have a place to help place your other features. So, for example, I'm using the nose yet to help position eyes go as well as that which I have drawn in here kind with the US position. I'm not gonna draw in the hat on the top of their hair here. No, just that more with Nick is now showing. So we have to take note of that draught in as well. So the perspective is also being put into place by other parts of the body as well, Not just the facial features, but the neck as well. And there we have it positioning the features and everything. And working with them is the central parts of portraiture when it comes to working in its proportion. But when it comes to join things from dynamic angles, perspective comes into play such as working of the chin. Yeah. To get this properly done, I'm gonna have to improve upon the shading to work with as the nick kind of stretches and blends into each other. For now, however, this is the conclusion to drawing dynamic angles with the masculine head structure. I'll be fine, informative, and these images great practice. And I do recommend you practice with, um as when it comes to some subjects. You're gonna be wanting to be more artistic with your subjects and eventually having a static portrait way. You look at them from the face. Frontal from the profile side, it doesn't look as great. I hope you enjoyed this. Listen. And I Was she happy drawing in practice? I see. In the next one we will be drawing feminine instructors from dynamic angles so that goodbye and see you soon. 7. Feminine Structure | Dynamic Angles | Portraiture: Hello, artists and welcome, general. Listen in your portrait. Your course in this Listen, we're gonna be drawing feminine face structures from dynamic angles, just like the previous Listen, We will have examples to work with some references that you can practice with as well. I will show them at the end of this video like I did the last one so you can practice the mere and free time is well, I do recommend practicing as well as this will help you learn more as you go along with this course. Simply this watching will only help you on a small amount. What really does help is following along by grabbing a piece of paper and having a pencil ready to draw. That being said, let us begin. We're gonna be working with this basic image of a year again, another round of face to work with song and try effective at him. And we're going to join it from a dynamic angle dislike the first picture we worked with in the previous video. So we draw a circle like so before we go any further with the here, let's just now establish our vertical line of Miracle on Warren from the chin, maybe in a curve upwards. Like so I always found the middle of the chin to work with, as this will help a lot with position your futures. As for the center, just about the cheekbone and it's been good, like so clearly horizontal, so it isn't too difficult to work with yet. Now we can work with the nose, which starts around here in the center and Kurt, and it's a small nurse to work with so that in it's pretty much like so as for the position of the mouth that seems to be close to the nose than to the chin. So I'm gonna started to run here. Mr. Rangel, laugh lines that have drawn this or and always have. Yeah, on the side that's closest to us is gonna be longer on outsiders. Further story is gonna be much shorter. Sitting in a drawer about half length. It's just about getting symmetry. In fact, today the position of the eyes, the position of the US is just like previous picture we worked with in masculine feminine structure. We're gonna be drawing us with around these corners, similar to just on the line of you here. Let's try and keep shape now. Right? Follow the eyebrows just from the bridge of the nose. Here, Topia Angel the mean Lexa from the out. Just drawing the hairline quickly. I'm going to do tell. Hey, of course, but especially since this here is much more complex and it takes a lot longer to work with . Well, but I just put in some dark areas, Yes, just to add some depth to it. So there we have drawn our feminine structure from a more dynamic angle. Not too difficult from working with our male head structure as well. But when it comes to the feminine structure, as always, the biggest difference besides the main futures themselves always be the smaller jaw. So with that amount, it may be apt to adjust you truly necessary just to make sure it does stand out how feminine features are. But that, of course, depends on the subjects. And why are we here? I'm gonna draw here on, so we just have the shape to work with, really come to the features which are gonna be a lot more complex to work with. So once more I say before we'll take our time with it hers until, on much like this, closer to the top, the subject is looking more towards the sky. They're looking towards us, so let's just indicate that and I could, and so we have some borders to work with, said Line. That comes towards the point to the here, like so. As for the lips, these lips are fairly a horizontal with us, so we don't have to go and create some perspective to work with it too much. If anything, we just need to follow the shape more than anything else. - Now a great with Joe's to get the shape of these lines is to make sure you get to shade just rot. I'll be giving you just a quick little TROIA with that. How long you want? Just follow the lines and then shaded in gladly. Always, bitches start off with shading lot before we went to dark, because then it's easier to race. You make a mistake. You can always add, but you can't take away. This is more difficult practice image to work with, but I still hope that you do practice it and see how far you could get before you start struggling when it comes to portraiture is a little bit about practice so I can get how everything works together. And once you do that, everything becomes easier. If that being said this is the conclusion to hit structure and we're gonna be moving onto going through features but more in detail, we'll have some reference images to work with. But of course, I'll just show you from imagination first as well. We're gonna be first, starting off with the eyes and eyebrows in detail and that will be both feminine and masculine eyes in our bras. So was that Conclude this Listen and I'll see you in the next 15 for now. 8. Drawing the Eye In Detail | Portraiture: Hello, artists and welcome to another. Listen in your portraiture course in this Listen, we're gonna be taking a look at the on obra in detail. We'll be drawing the masculine and feminine us in this listen in more detail, and I'm going to realism as much as they can in this listen as well in the art world, the eyes often referred to as the of inspiration, as it is often the case when artists are doodling that they'll start join or painting us. So little start withdrawing. A simple are have zoomed in on the page here so it can see things but more clearly. And we're going to start with a masculine are, as it is, one of the most simple eyes to work with. So let us break down what in our looks like First, we're gonna create an hour for just a circle so it get the position anticipating hover works in its anatomy. You'll first have the board itself the Aris, which is fairly large in comparison. Teoh. I'd say it's about just half sauce, and in the middle of that you have the people which can come in varied links, often jaguars or the slat curve like so just to have a reflection. But more realistically, the curve is this likely dippy, and it's more likely to circles one and one small in any other black. Sir, I was in the iris. We'll have more details. First, the border of the iris is a bit darker in all us. The reason this is this goes allowance, as you often see when looking at him closely, have lands within the and these lands run from the people to the border. This is because the lands that you see here within the Irish are actually could. The best way to show this is imagine this is the base of an iris. Looking at it horizontally. The people is someone here in the middle. Thes lands here are simple alliance. That kind of curve, like so towards the iris thistle, is a cross section of, let's say, of an art as they could inwards towards the iris. This is taking it. These lands here convenient towards the centre. Other lines that you see here this is a cross section of the iris itself and moving towards people which is over here and supported. You understand this especially if you're gonna be working of realism when it comes to the That being said, we have an Abu here now to work with and are we gonna ad our islands now? What's important to understand about the Allah's is that they are pretty much lays off skin on top of the are and they can be exceptional. A of opinion on age. You'll find that there is an initial pilot. That cross is probably just above the top back, sir. And then above this, you have a secondary fold of skin which works on top of the island like so let's say it comes in towards more around you near the edge of the, uh, your founder thing is more often inside fleshy Tonia that's island in crosses over, like so and an almost point like fashion. Let's just say our noses yet and we'll have a movie. Actually, it's making a bit closer to that itself. Like sir way have I V here way have ah fleshy tone. Yes, and beneath it again were to still have a fold in a fix. These oil wrinkles or bags under the ours has shown you so That is how the eyes in depicted to the view most of it is gonna be covered up with skin is very really that an entire iris is shown most of the time. It is just a section of the iris that have shown back, sir. So let us now approach the subject as if we were going to draw and our itself instead of from the Abu Onwards. With those examples shown, let us know analyze a male are I will be giving you a practice image to work with, and it's the one I'll be drawing here as well, and I'll try and draw this as large as possible. So you concealed details in itself. First, I'm going to start you off the corner off there. One of our shows follows a small curve coming in towards your company. Always troll tough of their cells as a more early shaped, more like a football right? People opinion over your home from they are sad. It could beneath it, and I keep going down until around the middle, and from there, curve upwards a bit sharply as shown in this picture of you. Now let's stroll the Irish Paris's here around the center, and I noticed that the butter machine, because this is fairly a lazy are right here. The same goes for the pupil. I see more the bottom, but we can't see so much of top is it's hidden in share. There's no real reflections, Yanna ours except more bluish reflections that we can really show in paint just kind of people right now. So we have the beginning of ah, forming with dark in the border with the Irish. Yeah, it now, as you could see their small lines coming in towards the people. But in addition to that, there's also some darker areas which are make dark like so that's what a small Ania on just shading. As for the lands, this is rather complex. Start to simply draw normal lines here for it to work with. Unless we want to go into two large detail, we'll just take a photo or wanna work of high realism here. We're going to need to analyze every little bit of our darkened areas if that part of the are drawn. What we're gonna do now is sure, but more details in the folds themselves. Now, I'm pretty sure that I has sagging a bit in the island, and then it comes down around yeah, to the quantity up. But there's also a second folk, as you can see above it, which is the top of the eyebrow itself showing itself in you. So I'm gonna sagged in you as well, and then cover Tonja with arrested eyes and just beyond and are conducting it when necessary. Now let's work. But on the corner of the I notice that there's a bead here in the corner as well. So I'm going to include that now, before we move on to our brothers Tech a tackle, some will find details about, such as the eyelash and the edge of the bottom island like So, As you notice in the picture, you can see the each of the bottom of the island, which shows but Shania than the rest of the skin. So I destroy a sick and line just to show it off a bit like that, and I leave it from the and dark and perhaps around here and here. But leave it brought to hear innocent last one, taken a razor to that seem to have gone out of intimate officers. Large areas is again razor but in a small area. But he raise over export, taking a doctor up its on hand. We're not going to add some eyelashes. Kallio. Two areas. We will find years at the top of the bottom of the At the bottom of the are you find their lot. Here's our lighter, no matter which, uh, here turn. The subject has Blatter less noticeable thinner lines as well. Way used here and they stop just if they did I that they're not in the oven itself, so helped occur them to show the direction of the so around here. Keep the more horizontal. As I get done towards the budget off the Are they more vertical cross of each other connect to each other. You found that simply by adding more like V shapes amongst these, it's more realistic. As for the higher you go here on the upper eyelids, you'll find that I you find that the eyelashes picker and a lot darker. All it takes is a bit of patience and positioning. But like I said, when I'm position, these are Siumut also helps around. The bottom is to have these v shapes included, like so from different perspectives. This one of more on this side of the coop. It's on more vertical because it's in center and this one point move towards this way because it is on this idea. As for the above eyelashes, it's all about docking. So it helps the first work of latter ones before you go into darker ones in case you make a mistake, and then it's less noticeable. But otherwise just get your positioning of the asked. I'm going to just talking around here as well, because there's some shadow. Yeah, it's about around. Yes, I'll leave. That is so we've got some bigger details of the are really done, and we're raised to move on to something different when it comes to working. Yeah, brah. Now the eyebrow is, as I said, something that is also very subjective. It depends on the subject you working with, but at the same time, it is one of the simplest things that you control your find that when you're working appear , you'll find it a lot more difficult. But with our brows are, brothers often can be showing such personality some of thicker bush es and normal while and others are more basic and simple toe work with what we have here is just a simple shape to work with. You can start off by join the shape first. So in this case would be something around. Yeah, just make sure you keep to the shape of the hard bottom as well. So it's more shaped like this, or you could just simply start by drawing his, but make sure to note where the dark areas are. So yeah, we have Ah, let's do the eyebrow here. You notice that is a darker patch more around the IRA of a here, as this is closer to the nose. But then with most are brothers, they get spots towards one sports support. Destroying his in the direction that you see them there will seem to float awards here, but really the eyebrows moving away from here. So we got a bit despots here, but around here, it's just talking about racing a little bit harder getting in shape. So I'm just gonna rule these lands. Yeah, we could simply just see it without about itself Is you found that you have to do this as well. If you want to be more realistic. There's no lands dictating where Ambrose go in real life. So that's just add on our lands like so and you work at the Alexa. - I found that working. If he can be quite tedious in terms, especially when you'll be working with lots of hair to work with some subjects it when it comes to more realistic portraiture. All of Texas patients here are constantly adding here stewed, darkening areas of 19 years until you're happy with it, or, quite frankly, sick and tired of adding his. But the result is quite satisfying. I think I'm going to leave it here with the masculine, and I'll quickly show you how to make the feminine. I'll show you an example to work with and also practice with in the meantime. But what's important to note about more feminine, as is that they are smaller and our brows are often more star last. How you have you, I'll give you an image to work with and eyelashes themselves are much larger. But of course it all depends on the subject. The details on how it all works over you'll find are not too different from working with a masculine are so as your homework for this section, it is to work on the feminine. We'll be working with other subjects and final lessons later in the course a swells, entire artworks because we are gonna be working with some subjects and images that we have on hand and from them you can learn and study. But of course, as always, when it comes to anything that you want to study, it all comes down to practice as well. And I found that these homework assignments have helped my students in the past, and they will help you as well. With that, this listen has come to an end. In the next video, we'll be taking a look at the nose and detail. Your homework for this video is to work in the feminine are what you'll be seeing a picture off shortly. I'll leave them on for five seconds at the end of this video. That being said, I hope you enjoyed and found this information useful, and I'll see you in the next listen 9. Drawing the Nose in Detail | Portraiture: Hello artists and, well, compact. Another. Listen in your portraiture course in this video, we're gonna be taking a look at noses in detail personally, when it comes to a nurse, I found it one of the most important features in a portrait. The nose can reflect character and age. So with that in mind and those great thing to get a handle off if you want to show your character's personality or to be more accurate with, his subject knows, has a very simple shape. It's normally lying down, like so on inwards, and it could to show where the nostril ways that this could be made in more detail. With this, a little effort and the right occurs in the right places like So now. As for the bill of the nurse because of two nostrils and other side, which can be represented by these two curves around the centres, often drawer is a circle in the circle. I've been connect with a curve that is more inwards towards the nose. From there you have the bridge of the nose, which starts just around above with. The eyes are on the other side. It was a simple circle I find it helps get the shape in the center just right. We're gonna be taking a look at both the male and female knows is in this video. The first knows that we're gonna be starting off with is the female notes I have provided you with an image to work with. And it'll help practice the shape on the hit itself. When it comes to the feminine knows, you'll find that most of the time of feminine nose is more upturned. Where is a male Nurses more straight and blackish, much like the drawer. Feature your find that this also goes with the angles that you find in a feminine and masculine head structure. But of course, it does depend on the subject. There are subjects which will have more masculine notes. And I this a driver more feminine, independent of whether they only female. So I have provided us with an image. Yeah, I find that using black and white images certainly helps, especially if you're working in pencil pin like I am. So from this photo we can create a quick face structure and from there we can create knows well, curving a bit in words But mainly it's straight and in a circle year to hint at the top. And then a curve, like so directly opposite the circle, have another curve, like so to show with the noses from they had simply just getting in the shape of the lips and every other feature, which I do quickly now to so we can get the shape and proportion right before we move on to more detail when it comes to the notice. And there we have nausea, I Z means we can get a bit closer. Look at it with this. Nurses wells. Often in most pictures, you'll see the nostril. Mallon Ostro is simply a dark curve that happens just re above in between the end of the nose and the curve of the nostril, and then it goes downwards and continues into that coop. You have to understand how the flow of the flesh works. Yeah, around the nose so you can get this coat is just right, but otherwise it's just a small nostril, and it's easy to include, so let's take a closer. Looking at Ortho Nose is drawing larger yes, and how you can construct it to construct the bridge of the nose. It is a simple line like so you'll find that often noses can sometimes go up with like this and then arched inwards towards the bridge and then could outwards for the point. Often, when it comes to the point of a circle certainly helps. Some circles are but wider, especially if you take a look in front of you. And it'll be more like this and you'll find that you have to curve your nostrils to fit that. Other times they can be a lot smaller. So federal vertical line here for the nose bridge and a smaller circle. Again, I have to design the nostrils around that to get the no shape. Just right now, when it comes to more masculine nostrils as I'll show you in this image of a year, you'll find that they are firm but more straight and a bit more chiseled and bold to get a different look than that of a female nostril or nurse. So if I was to create an older nurse, I would simply start with the nose. But say from here is the bridge. His circle is the curve. Of course, it's easy to create a nursing imagination, but if you work in a reference, you try to follow it closely. I have a small bit of dark here beneath the hint at the nostrils, and I would have age bordered around it with the laugh lines like So the laugh lines just go past the mouth, like so sometimes further. But the never go and touched the mouth itself. Your find that in portrait, where subject is smiling at the lips, extend further. But so does the laugh line in Sweida is called the Loveland. Happier someone is, you'll notice that these expression lines for me around nose they can also form down here as you get older. But of course, that all depends on the subject itself. For now, however, this listen has come tune in. I'll be, as I did in the previous video, leaving those images for you to practice with when it comes to the nose you needed necessarily do the whole portrait. But I found what makes good practice for position in the nose is joined just the hint structure and then adding in a so you feel comfortable. You need not go into other details, but has always practice definitely helps. No matter what you doing in the next video, we're gonna be taking a look at lips and teeth in detail. So I'll see you then. Bye for now. 10. Drawing Lips And Teeth in Detail | Portraiture: Hello, artists. And welcome back to No, listen off your portraiture course in this Listen, we're gonna be working with one of the most difficult subjects that I find them students struggle with, and that is the lips. Lips is a wonderful way to express yourself birth through smiles and frowns. The creases and lines that form on the face when one expresses themselves through their lips is very clear. Thus, if you're creating a very happy portrait is often important to have a smile. What we're gonna do today is practice. Lips both feminine and masculine, will also be having a look a teeth, which again is another difficult part about drawing lips as they have to work together. You often find in portraiture that when the teeth and lips don't seem to work well together , it kind of breaks the picture. It's often very noticeable, and it does spoil a picture a lot. That is not to say crooked teeth. All bad teeth will be a bad thing, but that is to say that teeth is often an important feature that is best left to be as accurate as possible. That's those you do realistic portraiture. Find that they'll do more realistic portraiture that focuses not on teeth, but on something else. That being said, we're gonna be practicing him today. First, I'm going to show you an image and screen or will be here in the corner some way, and we're gonna be joined some feminine lips. Now, these are the most basic kind of lips that one can work with. Andrew lips are being drawn in two ways. You start from one side of the curve, the curve down, good on a game. Once you have that, you have a middle to it, which could be any. Any land really could be waving or not. Looks kind of form their own sort of pattern. And then in the center is a slightly longer lamb, and then it curves upwards towards To me, collapse makes it Now there are many creases and lines that can work with us. His corners that can be added. His laugh, Lance. As we mentioned in the previous video, they is these two dimple like lands but above the lips in the middle, yet which are just below the nose over here is there so long as that could be formed here opinion on age and also along here. Depending with China's position, all this will add towards more realistic lips. What is important understand about lips is to understand which is the larger of the two and how they fit together all these curves and folds. You have to understand our three d they come in out of you. With that in mind, shading becomes very important. As you shade in certain areas, that adds depth to the lips, making them more realistic. And with that in mind, you have to understand as well with the curves on where the highlights will then be in order to give a more realistic impression of what the lips look like. So the picture I have in front of you right now is more basic, and it fits the style we're working with. But support to understand is to start from one point, preferably one corner, and try to do your accurate impression of what the lips look like with some quick lines. Whatever you feel, parts of longer or shorter, you must include a swell. So I noticed that in this picture, the middle part seems to be just a little bit dumb. and then it's back up, and then it goes down into the corner of the mouth. Like so, where there is some hint of shading, well, that needs to be done. Another to really give an impression of how this set of lips is at an angle instead of the knows we can do it with the lips. One part this corner of the LaPierre needs to be higher than this one. So adjusted, like so and the same goes for this side yet have a lower part of the lip around here and are coveting. But I make sure this curves feels a bit longer than that of the second curve, which I'll make shorter and making it shorter and more roundish gives an impression of the angles. Well, I'm their biggest trading away. We won't need that, too, like so Shane and adds a lot to the three d appeal of any drawing, and we will be practicing it more later on. But what you need to understand right now is the shape that we're working with before we move on. As always, it's the shape that comes first, and then it's the shading. If you're working of particularly large portrait, you'll find that these two can be one in the same your service from this picture. That slide shading here is necessary as well. But nevertheless, the shape of our lips has really being sorted, and we can add in another futures where we feel necessary. Another important detail, which are just seemed to include when they go for added realism, is the lands that appear within the lips. Like sir, I cannot stress this enough. But when it comes to the lands and harlots that fit into the lips themselves, if you working of color or if you plan on ending a bit more shading than just the shadows, you're gonna have to be incredibly large with your touch as often too much. Then it becomes, as you could see here, a bit too noticeable, and it takes away from the effect of realism, which is why you often see and mawr of the famous realistic portraiture artists and so on. They have very lot touches when they do this, as they feel. If they had too much to a certain area, it's gonna be incredibly hard for them to take away from the air, recommend taking a special tool for shading your findings often in stores. But I was a couple. Here is these paper rolls, which could be useful for shading. Next, we're gonna move on to more masculine lips and teeth in this picture here, This picture fund not only amusing, Barroso has some last contrast in lands, but you definitely help us in the long run if we're gonna be practicing with teeth, Song is you minute. But here get to focus on sin to the page. And what we're gonna do is we're going to draw these lips and what we're gonna do first year. And it's draw the shape of the lips before anything else. So the shape of the lips in here are very flat. So this goes also again, something that pins on the subject itself. I said I'd say that's the top of our lips. Everything. And I were going to give us so some space so very carefully I'm going to add the bottom. Other lips. I think so. The bottom of the lips set of Biscan address, um, borderlines. I noticed that the top lip seems toe overhang just yet. Just add some sort of depth to it, but also that the bottom lip look is a bit thicker. Yes, well, so I'm gonna add that impression district small touches here, and they and I'll give a hint of that. Just a soft hand. From there, we can start working on teeth, not teeth. As I see it is a difficult subject. But what's important to remember about teeth is that there is a section of gum that you have to have included before you start working on the teeth. And an important thing to note about teeth is that these teeth sometimes I'm not entirely together is a line between them, and it's often important to include such a large with that amount. It is also important to realize that this angles with team, so from the two front teeth you can have relatively in the same lot. But from the next tooth, you need to have slightly upwards. And then again and then again as the teeth pushed backwards. So I think itself from this teeth. So as you could tell from the subject's teeth of here, they have shaped here. But then they start to move backwards, and you'll also notice that now the shapes of them change. That's because the two through the face front, if I look at it over here looks something like this in shape. But from the side, it looks something more like this. That's because the teeth beyond the first front four you'll find arm or sharp with that a month, you have to include such details. But first, let us now decide we are. Teeth will go now. The teeth are fairly large. So what I'm gonna do here's around the center. I'm gonna place small triangle, but I think the teeth was stopped and then our place in the front tooth where I think it should go. But I said, giving myself plenty of room to work with when I have to go to the other teeth So delicate flatlands around here. And the same goes for the next tooth. Teeth a bit closer to proportion. Let's carry on with the many of you here on this side. Now, this is the two front tooth and this is the tooth Knicks two front teeth. And now I'm gonna do the point of tooth. So this one, as you could see in the picture as a bit more of an edge to it than the other ones. So I represent that of just curve of you. Let's say around here the truth I have. Yeah. And I'm gonna make the teeth just a little clear around the edges. Yeah, notice I'm not going in between them too much. Want to keep that sense of broadness of them? Within a month, I'm actually gonna show you another treat when it comes to teeth. If you have to do some shading in with teeth, like I have shown you bit here ancestral, that's issues. The truth I have of you. What supported to note is that there are some highlighted spots. Your fund, that if one side is that satiated in a year and then you have a slight shading every here of the good, you'll find the part that is in the most light will have a slight little highlight and you want to try and create that as much as possible. It was so noticed that around the tips of the teeth is also ways There's more shading. So let's try and create that a thick now with this tooth, create some shade around here But around this tiny little point here, I'm gonna just draw a line to get ineffective. A highlight of the year shade around it as well. And I was help at a three d of fuel that'll help at a three D field truth. And from there we leave our teeth. If you had too much to teeth like Consider can help take away from it more than anything else. And that is really the last thing you want to do is take away from details such as that. I found that when working of teeth laces often more so with that amount, you can continue to add into other features into the picture as you see fit. So I'm just quickly adding this little funny mustache, this almost Dali moustache and perhaps the nose, which is actually an excellent nose practice. It's a little crooked now. I don't want to get carried away with this one small, but I will go over one thing while we here notice that scene as this is an older picture to work with is the love lands as a city. Start here around the nostril and occur, but avoid the mouth you notice that there are some coups and wrinkles year that work around it. When it comes to the laugh lines themselves, they are not going towards the mouth. They're going just passed it. And with all the age you get, the sick increase that comes down here but and works around the lips is well like So I don't know where to want to assume below here in this picture about assume a guess would be wrong here and then a virgin. That's for you to extrapolate from the picture itself. I found that this is more accurate to what we'll see what we worked with. But this lesson nearing its end, I'm sure you all eager to move on to something like shading in order to learn the lessons they. But don't fret. This is just to get the shape and teeth distraught. You'll find that shady in the working of thing. This listen will help a lot, but I will be showing you more techniques with shading in the future video. As for this, listen, I will leave you with pictures to practice with. I hope that this laudatory a helps you with it and also from learning from some mistakes, as you could see. Yeah, I had my lips alone lower than they should have bean. Yet you having a lot lands to work with makes it easy to just and race and clean up. And already the result is satisfying. And he can move on to the race to the portrait moving on and create more realistic portraiture only takes patients, and mistakes will be made along the way. That is why it's important to start off flat captures before you move on those you can start straight away and with confidence and work of pin. I wish you the best of black, though there's no harm doing pencil first before you go straight to pink. That being said, this listeners come to an end in the next one we're gonna be taking a look at is in detail is another curious subject, and they can come in different shapes and sizes. So we're gonna have a lot of fun working of that with both masculine and feminine years. So I'll see you then. Bye. For now, 11. Drawing the Ear In Detail | Portraiture: Hello, artists, and welcome back to another listen of your portrait. Of course, in this listen, we're gonna be taking a look at years in detail before we begin. We will start off by joining a basic here on understanding how they work with simple lands and then working onto shading. But for now, however, it is about the shape of the year after we've done that, when we want to practicing a masculine and feminine face structure with ears and mine. So before I begin, allow me to demonstrate your shapes. When it comes to masculine years that's often shaped mawr blocky again as like Joel line upwards along like so, to shape the from the the shapes. Within a year is it could, which gradually gets thinner from the connection of the year to the age. From this point onwards, we have alarmed and comes in words like so and then from the here, Align comes out again, creates a small bump. Let's say around this big and closing like that. Now the slam comes out like so and close in with it in this lamp curves in two. Here is on incredibly complex thing to draw, which is why it is important to break it down as simply as possible. So I'm gonna be joined. Some quick fire is on this page. It s so you get an idea. So draw here to follow the shape. Make sure to get enough space for your love. I draw a curve like so, and I gradually make sure, I guess, huh? And now to stop it around me and then draw a curve that leads inwards towards the large circle our area of the year. Another line that comes out here, jaw Luke and back again. And this is somewhat connected. Yeah, as well as on. It comes down here. They re coming, practicing Arthur Sick. Get an idea of how it works. But it's around this area over here that it does darken. So just having some shading you and some of it here, let's save here. And so you like. So now, as for your love's, they are years which have overhanging your low before it connects to the head itself. Others actually directly connect itself from the ear lobe. So there's more flat than cohere. Those are masculine years. Fillon and ears are pretty much the same makeup, but often they're more rounded. So something like so you'll still have your loves or no, you're loves. But otherwise it's the same general makeup just of a different based structure to set it up on. So if I was to drill one, it's been looking like something like this, with the same sort of shading is on since a feminine hit structures often smaller yet off a male he'd structure that years themselves will also be different, but still in proportion of that of the head in the exact same proportion as a masculine ear on a male head structure. But that among this is this the general practice of years. You could work in practice if you shading, as we will practice in another lesson, however, the system you just need to know the stick could curve inwards. That was a small bomb and a coda, but you can add a curve along the top from the can. Add a curve of a year, and you can have a smoker over here. Drag this one out of it, and that's just the inside of the NEA. Then you just need to bring in the shape. Let's take a look at the first image now, which isn't here from the side, and we'll put it on a feminine head structure. The reason we were gonna fit here from the side is it is most basic to start off with animal work was the masculine one. Next, what will be from the face front? So if analysis droids structure now we take a look at the final details of the event will notice that in the middle that we have a book, Yeah, goes out like so comes down with a slap and we just follow the shape of the so that we have Ah, feminine year makes for great practices. Well, as having a feminine here to work with, you have to us to keep to a certain curve structure. So I will be showing at the end of the video like I do every other video as well is all of these example images so you can practice with them as well? And I do recommend you do practice with, um as at the end of the schools will be doing on practices with everything that we've learned that the same time practicing you can prepay and also even after you could take what you've learned and add them to each Listen. Now let's move on to some male hit structure and using their years. As I said before, black and white images definitely make for easier practice. So one small draw Rick Loomis head. And as for the years, they're fairly blocking and around the center again, so it's actually easier to add these years in. Then one might think spending too much dumb going over this one. As I said, I don't want to waste your time with these. Listeners show any things that aren't really necessary. But the position of the years help certainly of position of the features. I hope you found this. Listen helpful when it comes to working with years, they're not too difficult feature to get right but depend on the angle. They can prove quite a challenge. There are some complicated features to it if you're working with it in detail, but hopefully my little listening at the beginning to help patrol a general here will help us. Well, that being said that concludes is listen and I see in the next lesson will retake or more tedious feature, but also very important feature the hate. So I'll see you then laughing out 12. Drawing Hair In Detail | Portraiture: Hello, artists and welcome to another. Listen in your portraiture course in this Listen, we're gonna meet practicing with hay in detail. Now here is a special feature that I find can be tedious, but it leaves a great effect of a portrait, especially if you can do it realistically. After all, those who want to do portrait's tend to lean towards more realism than anything else. However, I will break it down simply for this lesson, and you choose, however style you wish to use. First, we'll start with the feminine hairstyles. I'll show you the picture I'll be working with and are set into this video for five seconds so you can pause and practice as you draw. So for this image, young in the first grade, they had so just great a circle. With that done, I'm not going to do the Hamon now, I suppose, The healing God. Let's draw central answer. Get with you here. We'll start in the years, and such sits around. Yes. Ah, yes, three years will be somewhere around here, and the hair fools just around here. So that's join just some quick lots trucks. It's probably but too much days just bring it in a booth. First, we're gonna now use quick strokes to decide how they hate flows and words darkest parts off . So I'm finding some features here, which I find important. So, for example, this area of the here is fairly dark over here, So I created a little section. You know, when it comes to working of the hand, this section, I'll be working with darker Struck's then compared to everybody else. If you're working with color, this is a mission and 1/2 because you have to know, understand how the colors work together and how they will blend. But for now, let's just add in the darkest areas here you'll find that this is ultimately not necessary for most sections. As you could see here, there's a section of the here over here, which is lighter, with a lot of hitting from this side of again. What is hitting the side of the head and hands without lot source Properly positioned, you understand where the darks will go so simply just desired align. That's adding a spur. Shadows in the hand. Yeah, but not truth detailed working in the it in this listen and just add lots. Trucks is the largest area. And with Tom, hey starts to come together. Try to stick to the hairline as much as possible. But if you go over it, it doesn't matter. Ellen isn't perfectly straight, so you don't need to worry about it too much, So I'm not gonna docket around here. The hit begins to flow and create more shadows. Visit girls yet ends now for this area. And I just think it's flowing away from us and curling around. So just add those in. That's a bit darker. So I'm keeping it that way because it is off tool in the shadow. They had sticking someone to the here on over here. And now that I've finished with the here around you, I'm gonna take in a razor industry. Some blood. I touched his hand. Me you had some sort of highlights to it. It helps to have a battery racers a set before us, and you could just coughed it into you could just melt it into a shape that fits and something very thin. And this likely dragged along. I've kept these areas lots of the easy to race, and I bet you showed us the face around it, like me. It's easy to get carried away and constantly work at it, and it will only get better and better until it starts looking worse. And you'll know when that happens and say can easily just stop yourself. On the other hand, if you're working with realism, it helps to take your time with certain areas of it, especially if you want to get it is accurate to the photo as possible. I just want to add a bit more dips, hiding some dark areas yet and think so. There we have a feminine here. Start drawn out doesn't take too long opinion on the sides you're working with. Most portrait will be a bit larger than a four, especially if you plan on working with Harper realism. However, we found this law listen on it very quick and concise when it comes to working with him. Now, before we in the list and I do want to talk about other examples, you get short to hear social about easier to work with, especially if you're working of his when it comes to beards or masculine hair styles, which are often allergies fairly short and in politics is some quick struck's, and Tepes touches when it comes to working with very thin and farm be its, which are kind of what's the word they very soon and shave them just any in a flick ear and the inner dot, and you can easily add in how their hair works on the face. Small little touches. One thing that's important as well to be more realistic when it comes to working with this is be irregular with where you put your lines and dots. If you find that you're doing them inland, it appears to think, and as a result, you might as well just drawing a full beard or full set of he. Once you know that you add lights trucks where it's the largest and work with slightly darker ones and in darker and darker in the dark areas of most things, it's always best to start off light, so you can easily erase any mistakes. In addition to that, if you want to add harlots like I didn't take anything, a reason working them into the yet. If you want to add highlights like I did here, it's preferable to work with the largest strokes that you can and then taking a razor to them because you want to get the shape and then you want to add in your card lots very suddenly within a razor. And then once you've done that, it all comes down to this working with what you've got, adding your docks in your lots and keep going until you find that you've worked enough money, I will give you another practice image. Besides this one that I've been working with with a bearded man and you could work with masculine style, they I was to make it a little bit difficult and using more dynamic angle for this example . You'll see it at the end of this video. That being said, that is hair in detail. Next, you're gonna be taking a look at neck and shoulders, which is gonna be a very short listen on. It will just be going over the shapes that a nickel formed opinion away. It is turned both in masculine and feminine. That being said, this listen is come to an end and I'll see you then Bath now 13. Drawing Neck and Shoulders in Detail | Portraiture: hello. Artists are welcome back to another. Listen off your portraiture course in this Listen, we're gonna be taking a look at one more feature before we move onto shading techniques. And that is the neck and shoulders. We've joined everything. When it comes to the face, we have the head structure of the years ours. Our bras, nose, lips, teeth and even the hand are covered. And we're ready to move on to the one final future that can be included in the portrait. And there's the neck and shoulders, neck and shoulders is a simple thing that you can easily, Joe, once you have your face structure down, all you have to do is follow the girl with the neck and then out, Branch it for the shoulders and you're done. However, the Nick has its own certain details, which can be complex depending on the Lattin. What we're gonna do is take a look at two example images with more prominent next wants to work with, and we're gonna draw them both. First, we're going to start off simple for more masculine. Nick, you should see the image now, and I will be showing at the end of the video as well in case you into practice. So what we're first going to do is draw the head structure, the neck you can use or structure year to work with and just follow the lands as you see it in the picture. So I think I'll stop it around here and I add in color and the shirt. Now the important features to note about when working with the neck is often with Taliban, which, as you can see in this image, is very clear. But I'm doing lines here just to show you an idea how it works. The color bones can be quite prominent, and that's the amount mantra Joel mean the head is angled yet Assad. So there's two main veins on each side of the neck and with the side angle towards the right of us. The being here with Nick, we more visible, which you can also notice here as well, since it is a masculine structures, well, those will be in Adam's apple. Sometimes this is prominent, sometimes marked. It does depend on the neck. Finally, if we can continue down here with the collarbone, you notice that sometimes there will be a slot. Do it. In this case, there is a slot, one with the shading. But what this David does if we have a look here more the bone structure off, how kind of works And if it comes down into the front of the rib cage like so and this will make up the rib cage as it goes down. As for any other bone structure to work with, you won't notice any on the front when working with portraits from the back. You may notice there will be a slight bump or two depending on how the nick is shown in the drawing. So we just try it. This is where a very arch nick. But of course, that depends on what you're working with for this one, I ever. What is important to note is that since they had a slightly turned to decide, the vein will show up here, whereas if it was from center. So it's draw Nick here, and you only have the Adams up your picture. And he only had the Adam's apple position in the same time. Depending the neck thes two large brains will be more noticeable or not noticeable at all. You're fine when we're practicing some more shading techniques that shading in areas such as this will become a lot easier. But supported to note about Shane is I'm not gonna be giving you full lesson on how shading works. It is part of more basic areas off yet with portraiture, there's some delicacy that is required, especially if you're working of some lighter skin turns, so you might have to put in the highlights and such. But however basic shaking lessons were still class, and you'll need to add shading in right areas, but also leave some areas darker are various Latin and others. In doing so, you can create more realistic features, more delicate beaches, and thus you have a much better picture toe work with. One thing I will mention when this world, working of the shadows in such things don't afraid to be to dog was the reason I use black and white images as our examples. We get practice as well, having black and what images. You can see these contrasts a lot better, so if you wish, you can increase that little bit of contrast and create more definition then if it were just a plain picture taken in more average Lattin like daytime lighting. Now, while we have Tom, let's move straight onto the feminine nick. I'll show you the example Now there's a little bit more complex of the head angled completely to one side. So that way, a lot of more features of present once more we can see some more clear collarbones Thes owns a more angry don laxer. So I'm gonna include does a bit more clearly, but a bit more delicately than I did last time because now that we know where they are, I'll be much lot of my touch Now the faces angled towards the left. So the Vania on the right is more visible and this image that seems very vertical as far as vain goes here. So I'm gonna try and make sure it doesn't hear that way as well. Just putting in some shadow marks where I'll be doing my shading. Some areas are much lighter than others. That seems to be some underside lighting, which is fantastic to work with. It definitely makes for a great painting as well. You notice is well that there are some shadings yet slightly done here around the chest area and I use my auntie told Tolo. Shane, it won't take up any more time of the subject. The neck and shoulders are very simple. You just need to find your little details and your Patricia waiting to test. But of course I'm going to give you some more in depth lessons on how the shading works and working of skin tones. So it helps to have some delicate instruments such as this as well. As you see. I'll be showing you quite a lot in the next lesson and I'll leave it. Tina, this is listen, coming to an end, the next listen. We'll be working with shading. How features with portrait's and skin tones and I will see you then. 14. Portraiture Shading Tips: L A artists And welcome back to listen in your portrait. Of course, In this lesson, we're gonna be practicing our shading techniques now. Doubt. This is a lesson that many of you have look forward to as I referenced it a lot throughout this course. Now, as I'm sure that plenty of you had experience of shading, be it with objects are the portrait I'll be showing you some tips that I've learned along the way. That helped me shade my portrait. It's so I have my four b pencil. So start stocking, Afridi, See? But I saw it is a favorite of mine toe work with any portrait, I have a an example image here that we can practice with. So let us begin. - Now that we've done that, I'm gonna show your four more tour I used as you have seen, let early in this course of used his little paper roll up. What? You combine any out to supply store they fairly cheap. A simple paper just rolled up. You can shop them in, scraped off a box, cut enough as well to work with. But I live the pants on here just to get nice and dark to work with. That helps a lot of shading, but of course it helps you embedded toe have some shading down as well. Before you start bet with my shading, I'm going to first start off with using a seven B pencil, much darker, so founded, more preferable to use. I can use lacks trucks at first, of course, but I find that having darker strokes in certain areas will certainly help blended back into a lot of areas. So it was this shopping and radio. Let's do some shading way we feel is necessary. So I noticed that this some shadows here as well around the face, add in light strokes and then blame straight back into the shadows themselves, like so Once I have done that, what it comes down to is a delicate touch. I prefer to use this tool nowadays, but of course, if you want your finger, that's fine as well. Just try not to a smudge up your picture, of course, but if you prefer the shading techniques of simple lands work, you can use that as well. So I'm going to finish it, Sofia, with some small, basic shame. - And there we have it. Just taking a time to blamed in the shadows can help you get a more realistic effect with your lights and darks. However, that is, of course, a style choice for those who prefer to style the shadows in a different way. They can, of course, you go for the most realistic way to shade. Any of your artworks only go off the way that you feel most comfortable with. But when it comes to basic beginner drawing, it always helps before even you have your own style to understand how these different techniques work and how you can use and fuel advantage if you're going for something that's more realistic and to shape. And I do recommend you take these practices to heart as you're probably late to need them in your further studies or with your artworks in general, I hope you find this Listen on, shading helpful. All it does is take Tom and the use of the right tools, but even then you can get quality is using finger instead of using the paper roller. When it comes to working with you shading, it's always best to decide where your main shadows we're gonna be first, give them a lot shading and then work on adding depth through darker shadows from the you can adjust highlights and dark in areas as you see fit until you have a join that you more satisfied with. That being said, I listen on lots and docks and added realism through shading has come to an end. In the next video, we're gonna work of our first practical, a male portrait And I'll see you then enough. 15. Portraiture Practical 1: L A artists. And welcome to your first practical off the portrait. Of course, in this Listen, I'm gonna provide you a reference image. I'm gonna work that reference image as well. And I was assured at the end for five seconds, in case you wanna practice it up, lessen The reason I chose this image dues is it is not too easy as well. It's not too difficult. We have a basic male structure to work with, But was toe have glasses and some high contrast in shadows? It's a great portrait to work with and practice our features and modeling with. Yet we're gonna put all that we have learned to the test and a more relaxed lesson in the following. Practical for now, I ever This is going to be the ultimate test for this course. As you could see, I have placed my page in the portrait now to work with the portrait. The reason being is I'm going to try and treat this as much as an artwork as I can for this lesson. Now I will be showing in and out what I'm doing. But for now I think we'll start with the basics and let's just lay down the male head structure and stopped offered. So we have our portrait right now, we're ready to start working with it, but what we wanted first analyze is how it's gonna fit into the page itself. So I'm gonna decide where our circle be placed religion, neck and collies because I want to fit a large amount of the page with the portrait. So I am going to estimate yet. But if you don't want to estimate, you can use Lance to decide where everything starts and ends. So let's say this is around with a head starts and ends and the wrist actually maybe a little bit lower, and the risk can be the nick of the draw on my circle. - Now you may be wondering which is based to draw first. There are all the glasses now. The Sosa is a more comfort thing, what you prefer working with. But I've heard working around with glasses before. Work with the eyes, find that having a space here to section off the US with the glasses actually does make Working class is a lot easier, but of course, as I said, this is something that you choose to decide to do whatever you're comfortable with. Oh, - I'm using as I go along every little future toe help position everything. I'm not just drawing from a mind itself that trying to get it is close to images possible. So when I start working with other things, such a shading and well funded details, if I do makes up along the way, which is perfectly fun not going for happy realism yet, But I'm just going for an accurate depiction of the reference in your chair. Now, these are fairly dark shutters to work with. So don't be scared about adding some pressure behind your pencil. I'm docking them as much as you think you need to. If you do need to lighten it. Since it is so dark even in these areas, just a simple going over in a raise on the darkest here will make it Latin. That doing any more than that really isn't necessary. Now, working around here with reflections of the lens Now that's gonna be a difficult in itself . But it's all about leaving areas of the page what to work with. So I'm gonna hit an added some more shadows notice. As I move along this picture, I'm off instantly shifting the page to win a few more comfortable with us. I draw certain areas, but I saw with shadows and dark areas. I am taking my time with him, starting a lot before moving to darker areas. This is so true, I can easily blend them together. And also, if I make mistakes, I can adjust when necessary. It's all about taking your time. If you want to get closer to more realistic for yourself. Now you can see Mirian in March took somewhat finishing off some darkening lungs. Shadows have been darkened and blended into each other, using this handy little role to, but I feel like some areas could still be darkened and will darken. - This is the first practical off this course, and I hope you've enjoyed it. If you haven't done the portrait are recommended, dear. I will be sharing image at the end. All you have to do is and take your own started to end and the litter on the shape off the image that you created, but that you should have no problems in creating an image that you're both satisfied with and feel that you can carry on with us. Well, it's This was the big and final test. Really. In the next video, we're gonna do a more large hearted and relaxed practical where we're just going to draw a simple portrait from my imagination. That being said, this listen has come to an end. I wish you luck if you haven't drawn your practical and doing so. Thank you for watching on. I'll see in the next video buffet. 16. Portraiture Practical 2: and artists and welcome to the final practical off the course. This is a little one down from the final test that we did in the previous video. In this video, we're gonna be creating a portrait from my imagination. In this video, we're gonna be drawing a portrait from our imagination. And you control this portrait in any way you see fit where they use the lessons in this video or not. Your goal for this video is to draw a simple portrait without reference. That being said, you can use any style that you wish. You can use the methods to create more realistic portrait that I torture you in the schools , you can create a happy, realistic portrait, in which case it will probably take longer than this video. Or you can simply just draw any portrait that you feel for your own general art style. That being said, let us begin. So I'm using the limits, Mr. To start off the head structure from their adjusted to her field needs to be, for example, his chin looks a little bit low for working with. So I'm gonna being in the drawer line a bit with the brief at London. What I'm gonna do now is gonna take a marker, and I am going to market the borders so it stands out a bit more. And then I'm gonna take a sycamore canyon and nickel, and we shadows will be you get the picture. Now, I'm gonna clean up our pencil with quickly. Raise off the way every necessary. But this is where I'm going ended. Now, hope your picture came along quite nicely as well. In the next video, I'm gonna conclude to what you have been known throughout this course. And as for this video, I hope you enjoyed it as a more relaxing listen to Juan down and do something that is more fun and not so stressful. Whether your picture turned out great or not is off, no matter. What is important is that it's still find enjoyment in doing your art, especially after something as stressful as a portraiture course where provide lessons and instructional videos on how to do something that always based to get back to our roots and find what most comfortable with and that where you take what you learn and want and leave out anything that doesn't fit your perfect style. So this lesson was more to bring you back to center when it comes to aunt. That being said, this video has come to and I'm going to see in the next one where they are. Conclude this corpse. Thank you for watching. And I'll see you then Buffalo now. 17. Conclusion to Simple Portraiture: Hello and congratulations on completing this portraiture course. We've reached the end of our journey, and along the way we've done some portrait's. We are the proud off or not so proud of in the first practical off this course, I gave you a reference that is both challenging, yet not overly complex. We work up a straightforward, masculine head structure, which involves a lot of the basics that we learn to the beginning of the course. But at the same time, we had a lot of contrasting shadows, and we had a new future we have yet to work with, which is glasses, which is another difficult feature as reflections and the lands only to work together as well as the shadows that fall on the face. Now that is a challenging subject in itself, and I hope you enjoyed it. A challenging subject is a lot more interesting are not more fun to draw than something that you already used to. It is why so often, when artists get bored, they start drawing us, as I mentioned in a previous video, as eventually start to become boring and artists will want to draw something else, something more challenging as the has become too simple for them to work with. So I hope you find that practical, enjoyable as well as a nice challenge to get you to step up your portraiture. Sick and practical in the last practical of this course was more Hawaiian down from that something where we bring ourselves back to center and we start drawing with skills that we learned in this course or not. So I use my own sort of techniques and did a portrait that I found I was happy with. And I hope you are so employed. Some techniques that you preferred over what you learned in this course artist struggle a lot, especially in the beginning stages, to found their own style, something that they're more comfortable with. You may not be a happy, realistic artist, or you may not be a cartoonist, but you'll soon find out where you fall on those two lines. When you lean more towards realism, Ally Abstract is up to you. I hope you found a listens fun and informative. And if you still have any other questions or wish to get your opinions on some final artworks before the course ins be sure to message me in the discussions, and I'd happily give any criticism Goodall bad to help steer in the right direction. Of course, I definitely wouldn't before seen any of my own styles and opinions on to anyone else so you can stick with your style. I just try and pointing in a direction that will help you improve in your own way and get you to the point where you're happy. And now I'm going to say a final goodbye. My name is Matthew doing. I'm Arata, artist and instructor. You can find me at this website here, the pain sleuth dot com I have many other courses on both art and writing. So if you wish, you can check out my profile and find something that you're so interested in and out in the video here. Thank you for joining me in the school's good day. Good not and happy joint