Basic Portrait Sketching Techniques for Beginners | H Rafiei & Mariya Karim | Skillshare

Basic Portrait Sketching Techniques for Beginners

H Rafiei & Mariya Karim

Basic Portrait Sketching Techniques for Beginners

H Rafiei & Mariya Karim

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12 Lessons (3h 40m)
    • 1. Promotion

    • 2. Introduction of the model and initial implementation of the design on the shee

    • 3. Sketching and shading eyebrows

    • 4. Sketching and shading the eyes

    • 5. Sketching and shading of nose and lips

    • 6. Shading the forehead and face

    • 7. Shading the neck

    • 8. Creating lights inside the eyes, Hair shading design and techniques

    • 9. Continue shading hair

    • 10. Completing hair shading-Creating facial skin texture and moles

    • 11. Creating hair strands using Etude eraser. Creating sparkles on the lips

    • 12. Completing the shading of the face, forehead and below the eyes

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About This Class

Welcome to the "Basic portrait sketching techniques for beginners" course. This course teaches you how to easily create a portrait sketch from the very first basics. This tutorial in simple and beginner language will help you a lot in learning this style of painting. This course does not require any previous knowledge and if you are only a little interested in painting and have talent, with the help of this course you can easily create beautiful portraits because we have tried to teach you all the steps , step by step.

Face sketching is The topic that has been and is a favorite of all painters. Many people, even before starting to sketch, have made a lot of efforts in this field and consider sketch-related activities and exercises to be successful as a result of being successful in face sketching.

To create a face, you need to have a suitable model. You can ask people around you to work with you as a model, otherwise use a medium-sized mirror (not smaller than your own face) to draw your own face. Once you have enough skills, you can draw from pictures and photos, but in any case, our emphasis is on drawing from an actual model, not a mental (imaginary) one.

So it is better not to waste time and become a skilled painter right now with the help of this course.

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1. Promotion: Welcome to my tutorial course. In this course, we will help the beginners and people who are interested in the sketching guard to simply create faces and different port traits with the minimum required tools and without any premier knowledge. Did goal of this course is to teach beginners students how to create and sketch phase components such as different eyes, eyebrows, nose, lips, skin texture, and even hair. All in a simple, yet very attractive way. To goal of this course is not only about sketching this portrait, but also is this model a tool, an object for teaching portrait is sketching completely for the beginners. In this course, we will learn to use what tools and also when and how to use them. So as a result, you can create beautiful port traits. This course includes very useful remarks that all the students should know them and use them in their sketches. For commend all artist's interests in, in a sketching guard and also beginners who want to create different portraits easily too, and definitely watch this course and use it's useful remarks and hints. With this course, you can sketch the eyes, nose, lips, and other face competence in a very natural and close to hyperreal way. Therefore, joined us students of this course right now. 2. Introduction of the model and initial implementation of the design on the shee: Hello again to all my dear friends. In this course, I am with you with teaching you this full face. Okay? In this episode, first, I want to create their primary sketch of this woman. And I tell you how to create it. And then in continuation, we will complete it step-by-step. So this is a full face. As you can see. The full phase is actually an angle that the head is completely in the front. And now for creating it. But whatever the faces, whether it's two faces, three faces, or a full face, we should consider a head as an oval. And then we create that overall on our paper. And for creating that overall, we need some guidelines. We start from the beginning of the hair until below the chin, and we create the overall of the head. In these parts. Now we continued arrests, have it on our paper so you can completely undress sanded. So we start from the beginning of the hair, where the hair is starch sucrose. We consider the top of our overall in that area. Rule. Definitely erase the extra lines from our work. So whatever the angle of your picture is due picture can be in the two phase angle, three faces angle, or a full face. It doesn't matter to head will always be an oval. Bio. Of course, the ovals for the two faces and three faces are a bit different. But the full face, it looks like this. So this is the beginning of the hair and the part below the chin. Let me make it a little bit. Bolder and darker, so it would be more visible for you in the video. All right. Now, this oval that they've created from the hair to the chin, it should be divided into three equal parts. So we should divide this oval into three almost equal parts. I mean, we don't have to get any or rulers to get exact measurements. As you can see, try to keep these three parts equal. So we consider a horizontal line for ourself. This is our horizon. Okay? So these are actually those equal parse that we are going to consider for ourselves. Now, these three parts that we've divided would be our main focuses, main horizontal focuses of the face. So these are the main horizontal parts of the face. Now, what will be bringing into these main parts and how can we create them? Even a little bit darker would be better. Again, I say so you can see them more clearly. The first nine is placement of the eyes. Now, like do I mean by the eyes? It's actually the placement of the cavity of the eye that contains and from the eyebrow until the lower part of the eyes. It has the ending of the eyes, diol, eyeball, the eyelids and the eyelashes. So on the first horizontal line, we will create the cavity of the eye, the muscles, the eyeballs, the eyelids. And as you can see, the most part of the cavity of the eye. Let me create this line for you. If this is our horizontal line, the main part of the eye cavity, which contains domain part of the eye, will be under this horizontal line and on our second part. And the second line, which creates the 1 third middle of the face would be beneath the nose. If I want to create it in the picture, it would be placed here. It would be exactly beneath them as. So. The second part would be beneath the nose. And a nose has also three surfaces. There's a top surface, the front surface, and two side surfaces. So we have the first 1 third, the second 1 third, and the last 1 third. Our nose would be in the second 1 third. So first we do the middle part, and then we will work on the ending part. And always be careful. You should be careful that did this between these two eyes would be almost as long as one other eye. So depending on your model, when you want to create the two eyes, you should put the distance and space of the amount of one eye between them. So first I create a placement of my eyes. But the details that we want to consider. So the left one and the distance between them. I am considering the eyeline. And here the eyeball, the pupils. And don't get too much with the details because we are going to create most of the lines in this shading phase. And our eyebrows will be a little bit up or down. Our horizontal line here. Just a little. We create the shape of it right now. So later in our construction phase, in our shading phase, completed with their hair right now and just create a general shape of it. So one eye in-between and we'll start the other eye, the other side of the face. Her eye line. Here we have the eyebrows. As we said before, in the eyebrows would go higher than this horizontal line. Okay. You see this that we've considered. Like this, this was my oval. And right now the hair is actually coming into some parts of it. So we have some distance between i and the overall, almost an eye. The distance is equal to almost an eye a little bit less. But you see we have distance between the ending of the eye to the overall that we've created. But in the picture we have some hair on it. So I also, we can see this is our main oval. And we create the hair that is covering some part of our face. Same. The hair is actually covering it. So we have to do it. Okay? Now for creating the nose, we said we consider this horizontal line exactly beneath the nose. So we should start R knows exactly at the top of it. And we've said that the nodes have and has three surfaces, the front surface and two side surfaces. Now for creating your nose Morris specifically, according to your picture. Always remember that a few create a vertical line from the inner corner of the eye down to this second horizontal line. Let me create it. The nostrils should start from these parts. They should actually come on these parts. These lines are extra, shouldn't keep them but they can actually guide us through our work. You see the nostrils are coming from here. Hi. So now I erase them so you can see better. I just wanted to show you where you can start. Your nostril is you create a vertical line from the inner corner of the eye until the second horizon line. And there you can start your nostrils. We just have to consider these two parts for ourselves in their primary sketch. And then later, when we want to start the shading phase, we can get the complete shape of the nose so we do not need the lines right now I'm miss our work up. I just wanted to show you where you can start it. Okay. At the last part of our face, we would want to create our mouth and lips. Now, if we want to divide this lower apart into two parts, C, we can create a line here that shows the lower the lower part of the lower lip beneath the lower lip until the chin. So our third part, B should also divide our third part into two parts so we can create the lips better and easier. Now, we'll be placed on this line. We have the Chen. So this is our lip. We've divided our last ending part into two other parts. And ending part of the lower lip would be at the top of this last line, last horizontal line that we've created. And now they just give it a general shape and later on we create the details while we are shading it. All right? Now, right now, the year is not very visible here. But if you had sorry, if you had another picture that you wanted to show the ears perfectly, the ears would be placed in here. You see exactly from beneath the nose, would be the bottom of your ear. They have a little bit of the ear showing up in this picture. So I create just that little image and then the hair covers it. But if you had a more visible picture, the beginning of the year would be at the top top horizon line, and the ending GVD would be on our second horizontal line. For the last part of our primary sketch, we should create. And also the neg if I continue the neck line would be the end of our eye, the outer corner of our eye. So I create the neck like this for both sides would create a line. And these are actually dead hair which are covering these lines. So they should be erased. These lines that I've marked, they should all be erased. There are extra lines and they might cause you some problems. And also here we have a twist in her hair. For creating the hair. We should also determine the main parts of it and then we can work on it, the tails. So this is our primary sketch. I've also told you about the ears, which will be placed in the middle 1 third. And size of it will be from the horizontal line for the eyes up to beneath the nose. If you had another model that had visible ears, those would be the principles. And then we added some details. We said about the distance between the two eyes, which is an amount of another I, almost. The nostrils will be created from those vertical lines from the inner corner of the eyes. And these were the basics of creating a phase. The general oval for the head. And then create the horizontal lines dividing our oval into three parts. These would be the main horizontal lines of our phase and creating each component in each part. And in our next episode we will be continue to transferring this and shading and adding details to our work. So first we will erase these extra lines that I've marked for you. These will be all erased. You should try to create them very lighter than what I've done here because I just create them bolder so you can see it better in the video. But you try to make them lighter. So when you erase it, there would be no trace of them and your work would not get messy. We keep the main lines and we continue shading. 3. Sketching and shading eyebrows: Now, after you've erased your extra lines, you can put some tape around your work so you would keep your framework clean. And then you should place a clean paper underneath your hand so wherever you work on you do not mess with other parts. And then put a picture of your model next year a hand. So you can easily create the details on your work. You can use so many different techniques for your shadings. But now I'm going to use my pencil and my coal powder. Or a pencil. If you wanted to use a pencil, you can use cone pencil or it's powder or coal powder anymore. So you either use pencil and pen so powder or you use cond pencil and coal powder or con pencil powder. So I want to start from here, from the eyebrows. And I try to bring whatever I see on my work. So you will sharpen the tip of your pencil and you should create a hair like this. You should throw your hand off the paper at the end of your hair. And you should have very low hand pressure. You do not want these hair to get so much thick or white. So I come from down and then I go up, I throw my hand off the paper or cardboard. And it's the same. Even if you want to work with a pencil. Dave N, for an a foundation, you can also use some powder first on your work, and then you should bring your pencil on it. So for a hyperreal work, it should be like this. So you can show all the details. As we move on to the end of the eyebrow to just have it change of direction. Then you can get a brush. And just like this, you will fade these lines. So you're using pencil when you want to fade, it spontaneously gets darker. In this tip part because the hair has some spaces between them. You can work like that. And you can drag your brush and create that whiteness on your eyebrows. On the other eyebrow. Exactly as we did on the right eyebrow. So I'm creating these lines with throwing my hand. I have a low hand pressure. When I'm using pencil. I shouldn't press my pencil too much into my work because it's a dark pencil. I'm using my heart count pencil. And if I push it and if I use more hand pressure, it would be too dark and it will mess up our work a little. So it will use low hand pressure. And then I'll faded with my brush. And spontaneously it gets dark. And you see these parts are almost too dark and you can actually not see so much of hair. So it's not necessarily that I create every bit of hair. And after that, of course, we use our brush and we go over the hair now we have already created. If you wanted to work with the sketching pencils, again, you can do the same first, we will create the hair with our pencil. Work darker. Pencils are a bit dark themselves. We work with them. But if you are using a sketching pencil, pressure, so you can pull more darkness into it and then you can fade it with a brush, with a paper tissue or whatever tool that you want to use. I tried to keep the hair texture. The darkness that I have on the upper areas, I drag them down. And then again, because it's darker, I will go over it with my pencil. So it's better that you work light from the beginning and then after. If you felt like it was needed, you can come over it again and make it darker. But if you start to dark from the beginning, well, and if you make a mistake, you can't fix it anymore. So first you start light and then if you felt like you needed to go over some parts, make them darker, you do that. So I went over them with my pencil once more. Again. I bring my brush onto it or any other tool that you are more comfortable with. And we will fade them. It's enough up to now. Now for the eyes. We're going to use our fader. And you see some parts we have live. So we are going to keep those lights in our pupil. Of course, definitely day might get a little dark while we are shading. But then we can use our erasers to make them better. But we try to keep the lights as much as we can. So if you're working with pencil, you can put the tape Javier fader in your pencil powder and then create these. Or you can even do it with your brush as well. So first, I'm just creating some framework for my pupil, for my iris and a little bit of my eye. Then I'm going to use my brush first. I tested on my paper. You see from here we have a dark eyeliner. So you can do it with a fader, your brush. If you're using a pencil, you can do it with pencil or pen cell powder. See now, we're just determining the placement and then you can come over them again with your pencil. And this is a line for our eyelid. And we tried to create some shading like this. As we come downward. You can create some shadings. And another thing is that when you want to work with Kiara screw technique, It's better if you choose your model in a black and white picture. So if you want to print it, you can print it in black and white so you can work on it easier and determined the colors easier. But if you're an advanced, it would be okay to work with colored prints. Very, very, you could, you can use your brush to create these lines. You see, for example, here is darker, so I will go over it again. I'm using my brush on it, but you can also use your fader or anything else that you can use. Now on this bar that we have a very dark eyeliner. I'm going to use my pencil. After I've determined the foundation of it with my brush. I can come of red with my pencil. And again, we should come over with our brush and fade it one more time. Be careful about this corner. Your hand would not get too far. So again, we bring our Raj onto our work for fading the eyeliner. And another thing that I wanted you to know was that why am I using my heart count pencil, fabric castle heart count pencil right now? Because it's almost so dry and rigid. And for fading good. Actually I can fade it very easier. But we have soft pencil too. And it's a little bit more oily. And then I want to fade it. It might get a little messy. So I think it's better to use your hard pencil for a KR is screw techniques. I'm more comfortable with hard pencil. I just said this hand that I thought that might be some use to it. Again, we see these parts are dark. So again, I put the tip of my fader into the powder and I bring it in my work. I want to use a cosmetic brush for that are smaller, it's better to use a smaller brush. I'm using a cosmetic brush here. And I tried to get these shadings inside of my pupil and IRS. Again, I take my pencil. I work on the pupil itself. And I will fill it with our pencil. And it's better if you keep the light parts as much as you can. And again, I come over, I use my fader to make it fader. It doesn't look so I use the darkness that I still have on the tip of my brush and I shade below DI, exactly like what you're seeing right now. Then I take a little bit more darkness first. Maybe wouldn't be so visible and obvious in your brush, but definitely before you put your brush on your work, you should test that on another paper. Then suddenly just bring it into your work so it would get messy. Your word. One get messy. We have a line here. So you can use your brush to create that line that you can see over here on the eyelid. So I work with look more natural. Again. I add some color and darkness in this part. 4. Sketching and shading the eyes: All right, now we want to create the eyelashes for her. And they say, I'm going to create the eyelashes like this with a curve in my lines. And you see the end of deadlines are very sharp. So I'm just throwing my hand off at the end of the line. So they would keep sharp and they can show the eyelashes perfectly. And be careful your pencil should also be sharp. And pay attention to the shape of my hand. Goes up and down. You can even fate them. A little. Video our brush. And definitely you can blow off the extra powder from your work. Again, I will darken this area. I get some powder from the paper that I have here and bring some darkness in here. As clear as I can see in my picture. Now for this area that we have the nose line, I take a brush in my hand and I create a very light shading up to this part beneath the eyebrow to create a shading like this. And then for the part between the eyebrow, eyelid, I'm going to use this brush. I do not take so much darkness on the tip of it. You can also use your cosmetic brushes. But I'm using this brush and with circular movements, I'm just creating that shading. To not make limits for yourself. Cosmetic brushes or you can use this kind of brushes. Whatever you're more comfortable with. Then I'll take my fader and I work on this inner corner of the eye. And though do you think that inside of the eye actually the eye ball should stay white, but it's not white. It has a very, very light color. I do not take any more darkness on the tip of my brush. I just use the darkness that I have in my work. And I give that area light color. Okay, it's enough up to now for this. I know I want to work on the other eye as well. And again, we're going to use our fader. And we create the pupil. And again, I try to keep the white parts, the light parts. And you can also use your pencil like this. So I use a sharp pencil. I go around my work. And then again I come onto it with my fader. And I make it fader to do exactly as we did for the other eye. So again, I take my brush and determine the placement of the eyeliner, the eyelid line. And as it goes and comes back and you drag it down, it creates a good shading for you. Also inside of the pupil would be colored like this. Maybe a little bit more color in here. Now again, I'm going to use. And little bit more of my fader and darken around my pupil a little bit more. And we drag it towards the inside and make it fader. Okay? Then again, use a pencil. We add more darkness with our pencil. When you see a place is too dark, it's better to use your pencil. Then we will fade it. And you should definitely the extra powder and extra things from your work. Then a nano e is the same brash. And we create these lines. So we can have a little bit of shading below that. And in here, like this, it drag the shadings toward inside of the eye with a hating your brush. So you can get the darkness that you can see at the outer corner of the eye. Then I'm going to use my cosmetic brash would take a little bit darkness or we use a darkness that is still into Tupac dip brush and we create a good shading here. And also in here, which is the line for our nose and various cell you can create these shadings. Then again, I change my brush and with circularity movements, I create some shading here. And if you pay attention, I'm taking the brush in my hand. In a vertical position. And I feel like it's darker. I increase my hand pressure a little. Now. Again, I can emphasize on this line of her eyelid a little bit more because we can see more darkness on it. And then I take my pencil and I will create the eyelashes. The extra powder from your work. Never forget that because if they stay, they might mess up your work. And you can create this darkness with your brush, exactly like what I'm doing right here. So you can come over this part too with your brush and make it fader. And our occur. And we create this inner corner of the eye, make it more visible, completed. And then again, we use our cosmetic brush and we gave and generally very, very light shade and color to our eyeball. Again here is dark. So use our brush to make them parts darker. The outer corners of the eye are a little bit darker. And of course, the lower parts of the eye. 5. Sketching and shading of nose and lips: We will use our pencil on these areas around the POP because days parts are a bit darker, so we're going to work on it like this. These opera parts are also darker. And we can go around this area as well. Now we take our fader in our hand. First I tested on a paper, and then I bring it into my work to create these upper darker parts. And then again, if it was needed, it will darken it even more. Okay. Now for our nose, we do take that launched darkness because we don't want it to get too dark. First, we create the shading around the nostrils and the parts above them. Now for this barn which is darker, I'm going to use my flat tip brush. And we connect these parts together. And we create the nose. We worked so lightly. We're going to use a smaller brush, rough brush, but it should be smaller. We start from here very slowly and we shade the area. And do not forget, you should do that with circularity movements. And in this part, here is darker. And we have a circularity shape here. And we should create that shape with the shape of VRE hand, shape of the movement of your hand. And recreate that circular shape with the rotation of your hand. And the third Calorie movements with your brush. Then in these areas, it's will be a circle. From the nostrils. We shade with a circularity rotation toward inside of the nose. And the direction is very important, which is again toward inside of the nose. That's how we create the tip of the nose. And in these bars we have the lights are work. Then continuation. We will create these darker parts. So I take a bigger brush and I start from the top part, from this dark part, I come down so I can create a shape of my nose. And again, I come on to these parts. This area should be darker in my work here. And again, I'm going to use my brush and I drag it outward toward outside actually. For these parts various slowly I'm using the same brush and I create a shadings because I don't want any white spots left on my cardboard. All the parts should have a very even light shading. Darken this area as well. A little bit more. With the same brush down we have in our hand, we come to this part and we create the lower shape of the notes. And then we come down. And one can also create a shadings behind the upper lip. And now for the labs, you see we have a dark part here, so we're going to use our brush and darken that area. The sides and the corners of the lips. And this middle part. The air is not showing that much is not very visible. So now I'm going to use my eraser. Tooth is showing very little. So are going to use our dough for a second to create that. Now would be enough. Then we determine this line. And then again, we sharpen the two calls for a CR, make it sharp because our tooth, it's not showing too much and it's very little. And again, we used a brush. You can do all of this with shading with the pencil and then you will fade it with your brush or your pencil powder. However you're more comfortable with. You can do that. These parts are darker, so I'm going to use that darkness. We'll darken these parts. You can do exactly the same way as I'm doing right now. For he did, darkness should be showing a little bit more. So it would be shown separately. Again, I take some darkness. I work on this area with my brush and I will darken the corners of the lip. And we keep the lighter parts who try to keep them lied. We do not bring too much shading onto them. So again, these corners of the lips and the sites, they'll make them darker. And on the lights we go very smoothly and very lightly. We do not want to create too much shading in those areas. Then again, on the sides and corners. I can take a little bit more darkness, bit more powder. I work on this area again. You can come on and say there are two. Correct. It may kit. 6. Shading the forehead and face: Alright, now we want to start shading the forehead with the same brush and I'm holding I'm going to shade this area and the corner ways and keeping my brush almost horizontal in my hand. Okay, let me put my paper under my hand. So I take some powder first you test it on a paper and then we'll bring it into our work from these sides toward inside of the face. And with exact sir coloring movements. You can also use a bigger brush because it's a bigger area. Again, I take some powder, I tested it on paper, and I bring it into my work. You see these parts are lighter, so I start to darkness from here. And I come to the light parts from both sides of the forehead. It should come to the center of it because the center is light and the sides are darker. So again, I take my brush, I take some powder tests that on paper, and I bring the shadings from the darker areas to the center, which is lighter. Again from this side, but Circle. Drag these dark best downward. And to our delight. Now I take a bigger brush and I don't take too much darkness on it and just use a darkness that I already have. And of course I tested onto paper. And again, I'm going to fade these parts toward the center. And again with circularity movements. Also from this side, it would be the same. All right. Now we want to work on the cheeks. So again, I take my smaller brush and I take some powder and I work on the sides of the face first. So first I take my cosmetic brush. I'm taking good almost horizontal in my hand. I shade the edges of my face, the sides of my face. And I choose this badge and movements. We start shading the side part of our face. Okay, now I'll take a bigger brush. I do not take any more darkness on it. You see in this area, if you want to make it black and white, this area would be dark. You see from here to here would be darker as her cheek. So trying to create that darkness, to create her cheek. Rida, curve, we bring the shadings into the face. Then I choose. And I take some little amount of powder. I tested on a paper. And again, I bring it to my work with circularity movements with a curve toward up. As you can see, the curve is going up. That's the direction that we would be shading. And in from this side, I'll come down. And all of them would be with circularity movements. And you can do this with going and coming back, back and forth. Now, these parts which are lidar, we do not take any more darkness on it. And then I'll come to these lighter areas with a lower hand pressure. Can see these parts which are darker. I'll go over them again later and make them darker. So first, I'm going to complete my lighter parts as well, and then I will work on my darker parts again. And again with this brush, we come here, the smaller brush. And we shade this corner of the eye, it's dark. So I'm going to create more darkness here. Circular movements, of course. Then I change to a bigger brush again from the sides of the face. I come toward inside of the face. Then I take some more darkness. Okay, now I can take a bigger brush. Again. I want to create the cheek like this with this curve. Exactly as we did for the right side of the face, we would do for the left side. So I create a shadings with circularity movements with that curve. We take a little bit more darkness, just the Lazada. I don't mean too much of it. Okay. Now we don't take any more darker shade. So we'll have just a faded color and combine all of these colors together, make them look more cohesive. Again, I take a smaller brush and I use it for adding some more darkness into my work. Again, I choose a bigger Ron. And I come toward inside of the face again. And I emphasize on my cheek and my cheekbones because it's darker. So I will darken it as well. I test it. Try to shade all the parts cohesively exactly as I'm doing right now. And you can even take a bigger brush in your hand so you can fade all the colors together. Make it more fade. 7. Shading the neck: Okay. Now, because this area is darker, so first I'm going to do depart beneath the chin and the neck, the throat. Okay. You see this as my powder. Here? I put all my brush into my powder. You see these parts that are more empty but they have darkness. So I put the tip of my brush into those parts. I hit. And then first I tested on my paper so I did not pay too much powder into my work and then bring my brush into my actual work. Then I will shade this area with my cosmetic brush. Again, I say I do not tap into all of the powder. I make it to the MTA or parts. And then I bring it to my work after testing it on another paper and create desk shading underneath the chin. And now with this brush, with this size, again, I take some powder. I tested on a paper. Because sometimes you might lose it when you are typing it into the powder, you might take too much batter. That's why first we tested on another paper. And just like this. Bring it into your work because this area is dark. That's why we're darkening good as well. Like this. All of this area beneath the chin is actually our throat. Just shading this area. And again, I feel like we need even more darkness. If it's light, You can always fix it and edited with more powder. But if you just bring too much darkness at first, you might lose your control over it. Might make some problems for you. We do it like this. Take a bigger brush. I bring it into my work. I like this. So we create our dark. Okay, We want to create a darkness which are more visible and more emphasized through each of these areas. So I wanted to create the darkness more. I can see that in my picture. There was some extra powder on your brush. You can blow it off. Even if you have some extra powder on your work, of course, you can blow them off too. As much darkness as you see, you should create them. This brush. I'm using my tongue brush parts because these parts are very dark. And my model in my picture, I'm holding my brush horizontal. Shadings for the rest of this. I don't take too much powder. I'm going to use the powder that I have on the tip of my brush and various slowly I come to shade this area around the chin. It's actually hard jaw. And from the sides of her john face, I'm coming to the center of the face. And again, I say I didn't take any more darkness. I'm just using the darkness that I already have and the tip of my brush. And in my work, it would be very faded. Shading. We have dark. And we are going to create this brush determinants placement. You can make them darker. Tip brush. So I can create a dark side we can see here and shape it in a better way. Okay? You see from here, this part is lighter and I'm going to shade it with this curve. Again, as you can see, I didn't take any more darkness. I'm using the darkness that I already have in my work, from the chin and beneath the chin and here it should be shade. It should be shaded like a crescent because the center is lighter. So on the size I'm going to shade in a crescent shape. So because we have some light here, we try to keep it. I do not take any more darkness. I love this. The other side of the face. 8. Creating lights inside the eyes, Hair shading design and techniques: Okay. Now for this darker parts, you see here, again, let me rotate my work so my hand would be in a more comfortable angle. Then. You will use your brush. Shade. This dark area. Here brash in a horizontal way, almost. Then again, I rotate my work. And these parts, I'll also dark. So it later down we want to create the hair. We would add more darkness to these areas. Now for a here, we can see some very small eyelashes and I'm going to use my pencil to create them very slowly. See, I don't know, create all of them like this. One of them is longer, one of them is shorter. Again, one longer, one shorter. So the result would be this. Again, I'm going to use my brush to fade some of these parts so they would look more cohesive. I would also do the same for the other eye. Too much miserable. In a too visible. We tried to create them as much as we can see them and regrade them lightly. Actually, the darkness of them are more visible. Now, for the light, Cindy, I, you can use your electronic eraser. Night. This is sharpened tip of it and then you use it to create the lights inside of your eye this way so you can see it better than par said you kept the light, you hit your eraser on it so you can show the light's better. Very slowly keep your hand and you add the lights. Okay? Now I'm going to use a flat brush. Whatever size according to the model and the work that you are having. I'm taking it and I tried to create these parts. First, we start with the dark parts, which are the sites. And we do not have to test it on the paper. For the parse data are dark. For the parts that are very dark and we can easily bring airbrush into our work. It's dark up to here and again it's lied. Again it's dark. You see like this. For creating the hair, we would actually divide the parts for ourselves. Which parts are dark and rich parts are light. So according to that, we would determine our dark areas. First we shape them, and then we will move on to the lighter parts. By you should do that very carefully so you would not get any extra darkness in your face. So first, I'm going to unshare the dark parts and then I will continue into the light parts. Also created with your pencil and then faded with your brush. Some people are more comfortable with pencils, and some others are more comfortable with brushes. That totally depends on you. So first we divide r here. The parts that are darker would be created with a hair texture. Then again, we will bring some shadings into our lighter parts without adding extra darkness to it. For example, here is light, so I do not take any extra darkness and I shade this area. We did darkness that I already have on the tip of my brush and I faded like this. So we did not take any more powder. Because we'll going to use our eraser as well and create the hair one by one. That was for our lighter part. Now, again, for an a darker part. And take some powder into direction of the hair, you should create your shadings. For example, my hair is coming down this way here. So I keep the direction and I create that hair texture. Sam, talking about this shape, we pay attention to the texture of the hair so it can create it and also to the directional. And the direction is here now that are smaller and my brushes bigger. So you would change to a smaller brush and create these shadings. And you would also create a border between the hair and the face. Remember that So try to keep the light. I do not take any more darkness. Darkness that I already have on my brush. And take some more powder. And the direction is here now. Now for these parts. And then we're going to continue our work in these areas. And again, this part is light. And here I can again see some light come from the dark parts. Toured up. There are showing one-by-one and air is actually lighter and bar darkness to here. And I create that texture of the hair one by one. And we tried to keep the light in the parts that are lighter. And we drag decide to darkness to r. Now we create them around the light parts. Here. I'm going to fade it more. I will come to the live without taking any more dark this. And just as easy as that. A dark and light. So our light will actually pop out. And I know it will fade the slider area without taking any more darkness. Now that you've shaded it is C Here, we need more darkness. 9. Continue shading hair: All right, now we are going to continue to shading of the hair. First we put a paper under, underneath our hand. For these parts, I'm going to use this brush, a smaller brush, which has a flat tip. I'm going to create this dark part here. And like this, I create texture. You can even use the darkness that you have on your paper. And create these shadings. Say this area is completely dark and here it's a bit lighter. And very slowly we go over these parts because it's the part that the hair starts to grow slowly or create numerous slowly. So it doesn't come to the face. And I, again, for these parts, I create these lines to give us that hair texture. First, we create this texture with our smaller brush. And if it was needed later, we will go over it with a bigger brush. Wherever you see the darkness. A show created like this. Exactly the same way that I'm doing right now. And the part sand, you see them too dark. You don't need to test your brush on the paper first. You can directly bring the brush and the powder onto your work because some parts are just too dark. There are almost completely black. And here first, I'm going lighter because it's where the hair starts to grow. And a fifth was needed later. I can add to its darkness. Alright, now I'm taking a bigger brush. I'm tapping it into the powder and we will shade during rest of these areas. And be careful we do this in direction. The hair goes. For all parts of the hair. We're going to do this, say the parts which are lighter, we're going over it with our brush fader. And in the parse that we can see more darkness. We will increase our hand pressure and we will increase our darkness. Again, I emphasize, it is very important that you create the direction of the hair in this way. A few shade in the correct direction will get the correct shape overall. I choose a smaller brush and I go over this area because here we have more darkness. And we darkening egg again. Say first I worked a little bit lighter. Then again, I look at my model and wherever I felt like we need more darkness, we go over it again. Now we choose a bigger brush and make it fader. And we also do the same for the other side of the hair. Would take some powder, some darkness. And we shade all these parts. So this part would be separated from the face. The hair should be separated from the phase. And you should pay more attention here. Should be very careful so you do not get any extra darkness inside of your face. We make two sides of the hair closer together. Yet again, we choose a bigger rash. Hair. These parts which are completely dark. And as you can see, I'm bringing my way into my work. And I'm just going in continuation of the rest of it. And at the same time, I am keeping the correct direction for the hair. This part is completely dark in between and we dock in it as well. According to our model. Here is a LIDAR be very visible for you in this picture, but it's a bit lighter. So we keep it light and And again, we darken around it. Here. I don't have any more of it. So you should just watch carefully. Do days a stepped bar carefully. Hi, just very lightly. Darkness that we have around it. We fade this white area in between the hair, two sides of the hair. So we can just have a trace of it because as you can see in the model is thought to white. And then we create the rest of the work exact, exact same way. Okay. Now, because if you want to start from here and might get a little to the face. So I changed the angle of my hand and I shade it that way. So if there is any powder, it comes to the inside of the hair, not to the inside of the face. Up to the ear area which is here. You see. So if you put your hand in this angle, in this position, you have more control in creating these shadings. See, because I'm taking my hand and a horizontal way if I want to work on that angle, the darkness inside of the face. But I'm going to create it in this angle. So the jar costs will come to the hair up to here that we have to bear. You can continue your shadings. And very faintly. You can even color this area up to here. And we have just a trace and just a lighter part. These parts needs more dark and that's why I check my brush and darken them more. 10. Completing hair shading-Creating facial skin texture and moles: Okay, now for this part, I'm going to choose a smaller brush. And very faint. We're going to work on the ear. First, we should darken these parts and continue to darkness downward just around the edges of the face. But be careful not to go inside of the face. And I take some darkness from here. I can again create a border for the continued with a bigger brush. So this area is dark. So it will do to save. These parts are lighter. Again from this side icon and place these darkness and this powder into here. As they come forward. And for enterprise, which are lighter, again, I say we do not take any extra powder and any extra darkness on our brush. And we just used a darkness that we have and we create these linearly texture on our lidar hair. And of course we will use our eraser on it later. And fade lady will darken this area. We come down like this so it can fade all these parts and make them combined together and be more cohesive, more dark. And that's exactly what we do for the brush like this. Very slowly and smoothly. It's still visible. We just try to create as much as we can see. We make this area darker. Then with a bigger brush, we do not take any more powder or any more darkness. We just use a darkness that we have. And very faintly we shade the ear. You can use a darkness that you have at the side of the hair. Okay? Now, we will add the darkness that we have in these areas. With this brush, for this rough brush, I'm going to shade this area. Let me put the model and on this side saying can see my work better. Very, very slowly. I use this brush and we do not take any more powder on the tip of our brush. We use darkness that we have on our hair. And with circular movements. Very slowly, I come to the forehead so it would look more natural. And then with a bigger rough brush, I will make it fader toward inside of the face. When you fade it. And these just dark parts that we have here, they just get lighter spontaneously. So later on you can work on those darkness with pencil or brush. So they would have enough color, enough darkness that you want them to have. Because it's hair, you can use Khan pencil as well. Right now I'm just creating these shadings. And then again, we'll use our pencil to create the literary hair texture. I take a bigger brush again. I take a bigger brush again. To this direction. I'm going to use my flat brush. I will come over these bars, which shade around the forehead, and they got a bit lighter. Now we're going to use this brush and we're going to create some shading on these parts because we have the shadow of the hair on the face. So we get some dark. We create these shadings. The necessary darkness should be applied here. Now we're going to use our pencil. I have so much darkness. Come over them again. There are some small details that create them. We do not have so much pressure. Flat brush over these bars and make them a little more darker. Darken this area. A bit more. Specs. Spots on her face is beauty marks. And be tested on our paper first and bring it in two spots. We're going to create them. On our face. We have another one here. So much pressure ridges create them very slowly with a very low pressure. Because we just want some very light dots. 11. Creating hair strands using Etude eraser. Creating sparkles on the lips: Okay, now you want to create the heretics. Sure. With our edit eraser. You see my Azure, the eraser. I caught the tip of it, corner ways with my cutter. And now I'm going to use it to create that linearly hair texture. So I'm creating some lines length is, and of course, randomly they shouldn't be in a special order. In the virus that are too dark. We create less lights and create less lines. And wherever it's lighter, we can increase our hand, pretty sure even. So these bars should be lighter. And these bars should be more hand pressure. Now for these parts, as you can see here, I'm just tapping my eraser. And then again, we create deadlines. According to the direction that the hair is going. We create the lines are parallel lines. According to the direction of the hair. To have some very thin lines on your work like this for these parts because they're so light. I increased by hand pressure so I can get enough light. Also the same for this area. Okay? Now for this, I'm going to use my pencil and create very small behalf here. So you should sharpen your pencil upward and toward inside of the hair, you create some small hair. Now for our deadline of the lips, you can use your eraser or you can use your electronic eraser. I'm having a very, very low hand pressure. I'm not pressuring my hand onto my cardboard as well. And with the eraser, we hit our eraser on our work. And we create the lights. And of course, if you can see some lines on it, you can create them with your pencil or your brush. So you will sharpen detail like this. And then you can use your brush to create these lines for it. The wrinkles and the lines that you see on the lip. And then at the end of your work, you can very slowly take off the tape around your work. And there are even some hair still left on these bars you see in here that are very thin lines that came out of the hair. You can use your pencil to create them slowly and smoothly and with low hand pressure. Of course. If you wanted to work with pencil, you can use your sketching pencil for that. You don't need any pencil. And you can work on these parts and create some more hair. These are just the final edits and final details. Then you can come onto your work even in little lines. These lines would be completely visible. 12. Completing the shading of the face, forehead and below the eyes: So fifth grade are linearly heritage sure. More with our eraser. And in continuation of that, I'm going to go over my shades and little bit more so I can make them fader. And I'm going to use my brush with this size and with circularity movements. I'm going to shade these parts. Now. In this area we have light in our work. So we come over it a little bit less. We go all around the forehead and become a center of the forehead. Then I choose even a bigger brush. You do not take any more darkness on it and we just faded toward the light. Okay. And now for the other parts, I'm going to use a bigger brush and shade all the parts and combine them all together to make them all cohesive. Of course, with circularity move events. We do not take any more darkness on the tip of our brush. And just like this, we faded more. Again on these fires, and here on D i t is the same darkness that we have on your brush. And create these shadings and make them more cohesive. Wherever you feel like it, way down, taking any more darkness. You can shade these areas, edit them with the darkness that you already have on the tip of your brush. You see that sometimes, for example, I have my model on myself. It delights and the shadings are different comparing to the printed picture of it. So it depends on the angle that you're looking at your model. But whatever you use, you should work from the beginning to the end with a print picture. Or you should have your model on your cell phone from the beginning to the end. You should choose one of them and work from one of them. Because you might have some parts, for example, darker in your printed picture. Then look at your phone and say, no, it's lighter. So choose one of them, even it's printed picture or it's a model on your cell phone. And you keep that from the beginning to the end. You should go according to that. For not getting confused. You need to edit some parts. You should do that. Our bigger brush, shade the lidar but bearing initiated 11. And after you finish it like this, This is the end of our work. I hope you've enjoyed it and it was useful.