Basic and Comprehensive Tutorial of Facial Components Sketchof eyes, nose, lips, ears & hair | H Rafiei & Mariya Karim | Skillshare

Basic and Comprehensive Tutorial of Facial Components Sketchof eyes, nose, lips, ears & hair

H Rafiei & Mariya Karim

Basic and Comprehensive Tutorial of Facial Components Sketchof eyes, nose, lips, ears & hair

H Rafiei & Mariya Karim

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32 Lessons (6h 11m)
    • 1. Promotion

      2:46
    • 2. Introduction to Design

      4:17
    • 3. Introducing different members of the eye and general principles of its design

      7:07
    • 4. Full face design in standard and without model mode- Profile face design without model

      9:28
    • 5. Eye and eyebrow design in full face from the model

      19:08
    • 6. Full eye and eyebrow design from another angle

      17:51
    • 7. Creating a frame for ear design

      2:53
    • 8. Full-face, half-face and three-face ear design in standard mode without model

      14:06
    • 9. Shading the whole face with a pencil

      18:32
    • 10. Designing a full face ear using a model

      9:21
    • 11. Professional ear shading using pencil and brush

      22:30
    • 12. Finish ear shading with a pencil

      10:29
    • 13. Profile lip design in standard mode and without model

      7:36
    • 14. Full face lip design in standard condition and without model

      3:55
    • 15. Three-faced lip design from the model

      8:00
    • 16. Full face lip design from the model-Complete shading using pencil powder

      7:36
    • 17. Start lip shadowing with pencil powder

      6:41
    • 18. Continue shading

      17:00
    • 19. Continue shading and darkening the lips

      9:03
    • 20. Continue shading

      11:42
    • 21. Creating light and electric lip with eraser

      6:42
    • 22. Using paper glue as a frame around the lips

      16:47
    • 23. Nose and full face nose design in standard and without model

      8:51
    • 24. Three-face nose design from the model and shading with a pencil

      9:24
    • 25. Full face nose design standard and without model - shading using pencil

      8:31
    • 26. Basic hair design from the model - separation of high and low light parts

      21:46
    • 27. Hair shading using Conte powder

      20:55
    • 28. Continue shading

      24:27
    • 29. Creating light on the hair using a cleaner

      20:44
    • 30. Additions and general rules of standard face profile design

      7:16
    • 31. General rules and regulations of standard full face design

      6:16
    • 32. Designing a horse from a model - by modeling the principles of face design

      9:15
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About This Class

Welcome to the course. This course teaches you how to easily create a portrait sketch from the ground up. This tutorial in simple and beginner language will help you a lot in learning this style of painting. This course does not require previous knowledge and if you are only interested and a little talented, 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.

Facial parts are eyes, eyebrows, lips, nose, ears and hair. Both we check and draw from the model and without the model. We create these parts in full-angle(front view), profile(side view)and three-face angles so that you can see them all. You can watch and learn shading with three methods of pencil powder, Conte powder and pencil. In one sentence and to sum up, with this course, you will learn the principles and rules of face sketch and you can easily sketch a face.

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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Transcripts

1. Promotion: Hello, welcome to my tutorial course. In this course, you will learn how and with what principles and rules you can create facial features. You can sketch attractive and professional portraits in a completely basic and easy way. I eyebrow, nose, lip, ear, and Harris sketching both in standard way when you have null model. And you want to draw mentally in the way that you want to sketch from a model. We will teach you the rules and principles of these ways. We also examine these parts at different angles, meaning full face, profile and three faces. We understand the rules for creating them. As you know, shading gives dimension to our designs and gives life to it. Shading has different methods as well, including shaving rid con powder with pencil powder and with pencil itself. And the good news is that in this comprehensive course, you will watch and learn shading in all of these methods with different tools. Therefore, you will be able to choose your tool and method according to your needs and possibilities for a sketching. After practicing these parts alone, it is time to know how to design a complete face that is in the standard state. What proportions does a face follow and what is the distance between the parts of the face? We examine these and proportions and distances of the parts of the face in two cases of full face profile. In addition to basic portrait tutorial, you'll find that with the same basic principles you can easily draw animals. Enjoy your art. So if your goal is to learn simple but principled and completely comprehensive portrait, sketch, whether from model or without a model and in a standard way. And you can learn shading with different tools and powders. Do not waste your time. And Sita scores are right now. 2. Introduction to Design: In the name of God and hello to everyone. Today we want to talk a little about scheduling together. But before we start actually sketching, we should know some knowledge and information about it. For example, sketching has two main sections. One of them is the real sketching that you have a live person or you have a picture or an image or a sketch in front of you and you want to do a sketching based on that. And another one is a standard section, which is actually imaginary section. You don't have anything in front of you and you just use your imagination to work on that. And we want to start sketching with explaining the face competence because the hardest part of sketching is a sketching a face. So when you first learn how to sketch phase components, the rest of the things would be a lot easier for you. So we start with eyes from US side view and three phases view the nose, the lips, and after that, you can get a whole face together. And we can sketch a phase, easy. So again, we said we are going to do an imaginary sketch for the first time. And we want to start with a nose. While parts makes and knows what are the spaces and the distances between them. How are they connected together? Because the sketching of them would be different and we want to create all of them step-by-step. At first is that we want to create a standard imaginary notes from the front view. First we all to create a straight line. And first starting for creating a straight line, you should note, bring your line a strictly to your cardboard and you shouldn't start from 1 because one and would be sharp and the other would not be. So first I move my hand up and the air and then I bring it into my paper. So in this way, when some, someone look at my work, they wouldn't know in one place for the start and the workplace fifth ended. As you can see, the beginning of my line is thicker, but this upper lines that I've created are not like that and they are sharp at both ends. So the first step is I should create both sharp ends for your lines. As you can see, I'm moving my hand back and forth, left and right. We shouldn't start from the left and ended to the right. It doesn't matter. So as you can see, I'm going left and right, back and forth. And for the work that you do not want to put any pressure on it. And you don't want to make them dark. You can use a lighter pencil. So you can use your eraser easily. And even later we will use other pencils with low hand pressure. This is my fabric castle pencil number. Before. You can also do your sketching with HB. Doesn't matter that much. 3. Introducing different members of the eye and general principles of its design: Hello again to all my art lovers, students and my friends. Into continuous of a sketching the face components. We came to the eyes, then we want to start creating a whole face. We usually start our sketching with the eyes. Then we move on to the nose and the lips, then the ears. And then at last we will have a complete face. But we usually start with the eyes. Before we start moving to creating the eyes, I wanted to bring some pictures for you so you can see the different shapes of the eyes. The angles of view are different. In some bars they're looking at derived or lift. And also the views of our eye can be different. They can be front view, side view or three faces view. The first part is pupil, which can be in different colors, the iris. And then we have a small pupil, dark people inside of it. We have the gums of the eye, is the place of the it's a growth place of the eyelashes, which we call the GMB of the eye. And the white part is, of course, the eyeball. Afford the eyes as you can clearly seeing these sketches and these models. We can create a line here. So for creating the angle of the I will create a line from one corner of the eye to another one from the outer cornea corner of the eye to the inner corner of the eye, then we can have easily the angle of the eye. This part is actually the gland of the eye, which is the part that creates the tiers for us. This is the gland of the eye. Size of the eye depends on where we are looking. Some times we have eyes which are almost closed, their wide-open, or they are wider. So it differs and if it consider our pupil and iris, it complete circle, it is important as rare. It matched, varied, got connected to the lower part of the islet or if it didn't, where did it end? For example, very, very likely. First we create this. If this is an iris, will create a complete circle that is not a covered with anything from the top or from the bottom. And there is no eyelid covering it or comment on it. Is like I, T2 and T4. If you wanted to sketch this was say okay, from the lower part, a part of it is covered by our lower eyelid. There's almost 0. Lower eyelids gum has been covered. Some of our IRS This part is being covered. And it's also the same from the top. In this case, we should just realize how much it's been covered with. Our eyelids are are shadings. From the top is just a little part of it is covered by our upper eyelid. There is though that is actually the shadows and the shadings. But the island is covering a very small area of our iris. Dangles of the eyes are different. For example, if you wanted to sketch this one, the situation would be different from the lower area is not covered at all. So the gum up my eye is actually his hair with this same angle. Or what about from the top? It got cut up here. It is covered from here. So from the lower part of the eye it's not covered. The iris is not covered with the lower eyelid, but with this angle. It got covered from the top with the upper eyelid. And this I will be connected at the end so we can have the outer corner. And this part would not be seen anymore because it got underneath our eyelid. And consider this our pupil. So it is very important for us to create an angle of the eye from both corners of the eye. The ADD R1 connecting to that I gland. And the second is to determine the angle of the iris and the pupil. How much of it is covered with the eyelids and what position it is in. You should pay so much attention to the eyes. And you should work on them a lot because there are very, very important and very almost hard comparing to the other parts of the face. But it's very, very important. And from these you can also check the other parts of the face. 4. Full face design in standard and without model mode- Profile face design without model: If talks about the lines, straight lines that should be sharp at both ends. We move our hands back and forth, back and forth, back and forth. And again, I said I move my hand on there and very slowly then I bring it in my paper. And of course, you should control your hand pressure and it should be very, very low because we want to create a very light oval over here. If we consider this a novel, very slowly and smoothly without any stress, without any pressure. The more your lines would be smoother and softer, you will need erasers less. I also continue it from the lower part and we connect it together. We call this gland of the eye. I continue very softly and smoothly. If I divide it into half and also divide this have again into another half. And also this one. This area is actually the place of the pupil and the IRS. The shine of the eyes. I create a very thin line from the corner of the eye to the gland of the eye. This area as a place of eyelashes growing, place of growth of the eyelashes. By there they will become eyelashes. We call this part the GMB of the eye. The place of the eyelashes. Growth is the gum. They call it that. We have one at the top of our eye and one at the bottom. But the AI can also be inside view. First again, create a straight line. Pay attention to this angle. This should be almost the same size. The angles should not be different. There should be both in the same size, same mount. These two angles should be equal. Remember that it is very, very important. The eyeball did gums. This is from assigned value that will determine the placement of the eyelashes. And this is a standard shape of an eye in the side view. Then it can give some color to it. And as we come from this ending part, toward the front of the eyeball is getting lighter and lighter. So as we come forward, it will get lighter and lighter. And after sketching a competence of the face, you do not want to have to practice on other objects as much as before. And I'll say You can't do it at all. And just say, you don't have to do it. Because phase competence are one of the hardest parts of sketching. I've learned that I should create my ovals lightly, then my circle inside of a again, I have another I sorry, and how they're oval. And just like this, very easily. 5. Eye and eyebrow design in full face from the model: All right everyone. Now we want to create I number 1. This is number 1 and we want to create it together. Let's see how we can do that. First look at the angle of the eye. We should create a line from the outer corner of the eye to the, I go to the inner corner of the eye. This would be our eye gland. So we create a straight line that connects these two corners together. Now, if we consider the eyeball as an oval, you see that this line is almost going through the middle of it, meaning that the upper part is almost the same size as the lower part. For example, in this eye, if the whole eyeball is an oval and if we connect, create disconnected line. The lower part of our eyeball is actually smaller than the upper one MET in here. Almost. The two parts of our overall are equal. So the line is going through the middle of it. If this is my overall, I tried to get the line almost from the mids. I love it. As I can see, my model is just till moved to the left because the amount of eyeball and wideness that we see on the right side is more than the left side. So we create our iris almost approximately in the middle of I, a little to the left. And it almost 1 third of this is how I will make sure I've created my coroners in the right place. If we've considered this circle, part of it is covered by our per islet. This area. Here we have DI and gland and has some distance with the lower lid. Like this. And very slowly and very precisely, I create the lower eyelid with the same angle and witness same distance with my iris and I connected to my eye gland. It has more distance here to the outer corner. If you want to have a measuring here, you can easily create a straight line in the middle of our eye, a vertical line. So you can see if I caught my iris and my pupil into half, I can see how much eyeball I have left on this side of it. In your primaries sketch. It's normal that you may have to erase your work several times. So try to create a lighter. So whenever you made a mistake, you can easily erase it. That's what I'm doing. So this is our primary sketch for them. Now, we have the eyelid line trying to create it as the same shape and angle as you can see in your model. Trying to create the beginning and end of your eyelid line. Lighter. And it might be a little darker in the middle. And almost continuous up to here. Then we have I gone, which is a growth glaze of the eyelashes. I give some color to my iris. Trying to dark and dark parts like you can see in the picture and the model. And try to keep the lighter parts. Lighter. May have our pupil in the center of our iris. And we tried to do the same as we can see it. If you want to make sure to see the placement is right. The straight line that connects both corners of the eye is exactly beneath our pupil. Here, might be a little closer for you. You might think is more closed, but now it's the placement of our eyelashes. The upper gum is filled with eyelashes. That's why you cannot see it very well. Now here is the placement of the eyebrow. I will explain it for you separately, but now we just want to get the correct placement of it. And the general shape, because our goal here is not to create the eyebrows. Pay attention if you create a straight line from the beginning part of the eyebrow. So from the point that Iran has grown, if you create a straight line from that, you can see it has some distance with our eye gland and without the shape of the eyebrows are the same in the middle, but at the end of it, they might be different. For example, here, the direction of the lines are not all the same and they will differ. We have this curved shaped eyebrow, but in the model that we are working on right now, we cannot see any special shape. These parts are darker and different parts and the ending parts are, as you can see, lighter. The direction of the lines are not all the same and they will differ. You should make sure that the tip of your pencil is completely sharp. When you want to work on any hair texture, including eyebrows. Consider the distance and the space between the I and the eyebrow. The lines on the beginning of the eyebrow are way more lighter and thinner. Try to create more details and see them as this. While more time we'll review that. We've determined the angle, determine the position of the cut it into half, is in the middle of our eye to the left. And see I'm almost creating it. But just to the left as I can clearly see it in the model. When you're working on it at home, you shouldn't not rush through it at all. You should spend so much more time, especially on the eyes because they are very, very important. They're the most important face competence. So they almost started from here. And with this angle from the lower parts, it's completely around and visible with even a little distance from the lower lid. If you connect a straight line from the part of our eye gland, you can see it comes beneath our IRS. So if I create a line from this area, again, it It's beneath our iris. It doesn't cut, throw it. It goes around it. So here would be our plant. And the end of it is closed. This is my eyebrow. The placement of the eyebrows. This is our primary sketch of the brown Number 1. I'm just throwing my hand off the paper. I'm going back and forth. It should be down for all hair texture. And at the end of the I ran the direction of the hair oil change and try to keep the distances as AR. I'm just saying the procedure is the same and I can just check my placements with these lines that I've already told you. I'm sure I can come back and erase all my extra lines. Try to create these lines very lightly so later that you want to use your eraser. You don't have to push it too much. These parts which are lighter, I'll use this hand pressure on that. We can have some lights shining on the eye. And we usually create them with our erasers, so don't worry about them now. Are focused. Right here is not about shading, It's just about sketching our primary model. And again, I say for creating the hair textures like eyebrow, your lines should be sharp at both ends. The direction of the eyebrows change. Wherever you feel. Lighter, trying to create less lines. You see. Now this is sketch, is look-alike model a lot. 6. Full eye and eyebrow design from another angle: This is the eye number 6. For now first, I work with my H2 pencil, which is the lightest pencil. And then I will use another darker pencil for working on it more than before. Or B6 pencil are usually used in eyebrows. So determining the angle of the eye is our first step. Okay? If our eyeball is almost an O wall, you can see this is actually thinner comparing to the upper part of the eyeball. So this line didn't actually divide our eyeball into two equal parts. Color and it might not seem very well. So I go over it again to make it more visible. If the overall is this should be showing more. If we consider the iris in a circle, it got covered from the lower part. This much. It's been covered a little from the top as well. The distance between the iris and the left corner is almost twice as the distance of the IRS. And the right corner. Very, very lightly with your pencil, you should go over it. I can create it in a circle. From the beginning. I can just connected to my lower eyelid. Try now to create that extra part of the iris which is covered by the eyelid. You don't need that. So some part of it goes actually underneath our upper eyelid. This is my angle. Actually. Irs would be this empty space. From the top. It's been covered very, very slightly. Part of it is almost complete from the top. I can come up to here. Is the amount of iris. If I create a line from here and connected, this would be a start. I gland. Do not forget. Because it's the growth plates of the eyelashes. The upper and the lower gum should both be done. I didn't know this line around L VL anymore. To this extra place, extra part. Islet line is almost connected to the eye itself from here. And I can also be a little bit more tighter, more closed form here. The islet line is almost connected to the eye and from here it has a distance in between. Try to create these beginning of it and the end of it. Lighter. If I am making it darker, it's because I want you to see it clearly in the video. This is the placement of our new pill. This line will go actually beneath. These are the things that we do for making sure I think we can even make it tighter and more clothes because the line is more corner ways. Tried to look at your work so much. Because if you do that, you'll definitely understand where your mistakes are. This is the sketch of model numbers six, though when it's complete shadings. Now we should work on the placement of the eyebrows. It has a very short distance from the eyelid line. And if we connect the end of the iris upward, that would be the peak of our eyebrow. It got almost as long as an AI to high, it is almost as long as I. Again, I'm doing it back and forth to create these eyebrows hair. I'll just darken it a bit more. You see the directions will be changing as you come from the beginning to the end. For the beginning, this is better. For the end. You should rotate it. Bridges. Determining the placement of the iris. This area is darker and it has more hair. I start slowly and slowly to work on these hair with throwing my hand off at the end and keeping the ends of my lines sharp. You should work and train on this creating lines. Very much. Of course, if the picture was complete, the beginning of the eyebrow were was actually lighter. Tried to use B for a pencil for our parts which are darker. And as we get to the placement of the hair growth, our hair would be lighter. You shouldn't start with dark color in that first, except the model would be like that itself. This area is darker so I work on it more. And as I get closer, the rest of the eyebrow, my hand pressure will get lower. In here I come in the opposite direction. These parts are lighter. Comparing to the main parts or the middle of these parts are lighter. Okay, my friends, if you've figured out some parts of your work got too dark, or there is an empty space between these hair or you have a white spot. You can use your eraser and use it to create those white parts, those distances. Whatever you see. I will darken the darker. Has. Now when you making sure that you're sketching is complete and correct, then you would do this. You should spend much more time on your schedule than I did here because I'm just creating an recording this video for you and telling you how to do it. But at home when you want to work on a you should spend more time on it. Disbarred, which has gone underneath our eyelashes. The direction of the eyelashes with come from the gum turned out in this direction. And again, pay attention. You should create sharp lines. They should be very sharp at the end of the line. So many times students make this mistake and start from this upper line of the gum, which is not true. And we should start from the bottom part, actually further from the lower line of the income. That would be the placement of the eyelashes growing. This would be our eye number 6 issue in Oregon. It's so much so you can be sure that everything is in its correct placement. We can shade these parts and they tell like itself. And you can use before pencil, Definitely four parts which you can see that are too dark. This is the sketch I number six. 7. Creating a frame for ear design: Hello again to my dear and greatest students. Into continuous of our work. We are going to work on IE or tutorial. All right? At first for creating the ear and for sketching it, we have to create a main lines of the ear. So you should create the main lines of the ear. Now, for doing that, It's better for you because you are beginners and urine basic levels. It's better for you to use a linear reframe work. This is a linear RE framework that I'm creating here, right? For you. I create a straight line. The way that my hand moves back and forth is because we need to create a straight line and it's necessary for any kind of a sketch. So I move my hand like this. I should move it for several time so I can create a straight line. And first I do it on the air and then I bring it onto my paper. So for creating a framework first you should create your straight lines. Now I want to create an ear for you. On the side view. Hi. My framework would be like this. So for creating, again, I say for creating the ear, we should start with the main lines of the ear. And for doing that, we have to use our linearity framework, which is this. Now, what are the main lines of the ear? At sideview? 8. Full-face, half-face and three-face ear design in standard mode without model: Okay, now, because the ear has a kind of a complex shape and 4. And this complex shape might be hard for some people because it has curves and ups and downs. It might be hard for some people. But for us because we want to create these ear, create this ear easier. Alley. I want to create these curves and complex shapes. Easier reshoot, just divide them in several main parts. At first, I should create a general shape of my ear, a general form of my ear. You can use any kind of sketching pencil that you like. Because I'm just recording this video for you. I chose a dark pencil so you can easily see that you are looking at it from a side view. You're looking at it from side. This is actually the general shape of the ear. First. We create the general shape. Then in the next part, you'll create what you have in your mind from each ear. I mean, there must be an image from the ER in your mind, so you'll bring it into your paper. It's better if you create your ears step-by-step. Because this way it would be very easier for you to create your ear. So that complex shape will be divided and will be cut into some more simple parts, some several simpler parts. The first part, the second part, and the wrinkles and a curves that we have inside of the ear. In this way, it would be easier for you to create and draw it. And of course, you can have more caution in your work, which is very important. And you can easily create an ear like this very easily. So this is our ear from this side view. Okay. Now for creating the ear from the front view, from someone who is looking at it and you're looking at the person from the front. I'm going to create that for you right now. So at first, again, I create a framework for myself, a linearly framework. And we are looking at our ear from the front. When we are working on the front view, our site is a bit more limited when we are watching our ear from the side. And the space that we can see is more wide. And again, say it better, but in the front view, our site will be more limited. Now. As we said, because we have more complex shapes in the ear. First we are going to divide it into some more simpler parts. One of them would be like this. Of course, have different shapes and forms and even sizes that would try and exercising from a model or whatever you want. You can do this and you can become better and better in creating the ears. As you can see in front view, we have a more limited side, and this line is actually at the back of the eye. 9. Shading the whole face with a pencil: Okay, now I want to shade this side view ear for you. For doing that. You can use different tools. You can use different tools for shading this. You can use your pencil. You can use pencil powder or powder. Or ear cleaner. Can use anything that you can access easily. So first, I erase my framework, that I use it for creating this sketch of our ear. We can easily erase it and then we're going to start shading. Okay? Now, for shading first, we will darken around, our work, will darken all around our work on the edges. So it would be visible and clear that what is the shape of our ear. Like this? We go on these parts which we can see more and more visible for us. And a shading that I want to create on this ear is on the paper. But if you wanted to create this ear shape on your cardboard and shaded there, you should be very careful that you create a very light lines. And you should put something underneath your hand. So these darkness would not get a spread it out all over your work and your work, but not get messy. Okay? Now for shading, we do not work on the parts which are light. We just keep them light. But for the parts which have more, a little bit more darkness comparing to the other parts. We will do them with a lower hand pressure. And the parts which we have so much darkness, the amount of our darkness that we apply to our work should obviously be more. But for a year, whatever year that you see, this part of the ear is usually dark, that actually gives volume to it. So we can keep that shape of the ear correctly. And we just shaded with our pencil like this. Again, I say you can use pencil powder or you can use your pencil. And for shading, you can use all of these tools. And I guess part of the ears are usually dark in all kinds of, all kinds of ears. Then you can just shade in different directions. We can do it with your pencil. These parts because the darkness is more because it wants to show that there is a hole in it has depth. And let me just so you can see better. And you can definitely he isn't. You can even use a paper tissue. First shading. Do you have access to? You can fade it very easily. And like this, we will apply more pressure on the darker parts and we do not go over the light parts with our pencil at all. And when we are fading, the darkness will just go over our light parts very, very lightly. We just want to leave a trace on there. And for here, we can take some of these darkness, creates some shadings for these edges. To emphasize that for the parts which we denote them when we are fading the darker parts spontaneously some color and some darkness will come to those parts. Now for this side, again, I take my pen, I rotate my work with my pencil. I can do it in any way that you are more comfortable with your shading with the powder. And the technique is a difference, so be careful. But with pencil, you can do the same as I'm doing right now and you're observing it. Again, I take my brush and I will fade these areas. You should choose your brush depending on the size of the area that you want to work on it. Here, I'm using a cosmetic brush. And after you fade it, I come down. I can turn inside, but very slowly. I take some darkness from this part, the inner part of the ear, and I shaded here. Now you can use your pencil again. Create a shape like this. And of course these shapes are imaginary right now. But when you want to work from the model, you can apply darkness wherever you see that. And wherever it's a faded, you have faded and wherever it's slide here, just leave it. Because after you shade the dark parts, it gets some colors spontaneously on your light pipe, on your light parts as well. Now, with my pencil on these edges, because these are darker and it can actually show the volume of our given more dimension. Then again, fade them like this. Again with my brush. I'm going to use darkness that has been left on my brush. And I go over these parts very, very lightly. You don't want to overdo it them easily. Of course, these bars you're more comfortable with. Just be careful. When you are working imaginary, when you're working with a model, you should pay attention to your model. You see darkness, more dark color, and shading. The same darkness that you have here is a very, very simple tutorial of shading. And with the minimum of the minimum amount of tools, you can create this ear, you can shaded create a shadings of it. And when you work on your sketch for several times, you do practice as you can bring it into your cardboard. And you can create different sizes and shapes of ears. And you can do your sketching with your powder. In there. Contrasts are the things which gave our sketch and dimension and volume and actually make them more lifelike, more realistic, more natural. And again, you can use a starkness star have here. And you can spread it out. So this was primary shading for your course, and you can have bed or shapes on it. And wherever that you shade video pencil, you should definitely fade it later with your brush or any tool that you're using. And we'll go a little on our light sides, light parts with our brush, a little dark and these shading so they would show themselves better and more. This was for our side. 10. Designing a full face ear using a model: Okay, now I want to create this air from a model for you. And we will do the sketching and we will shade it together. And as you can see, this air is also from the side view. In my previous explanations. I've told you that in order to create an ear, and in order to create it's more complex shapes, we can use our framework linearly framework. And we will create the main lines of the year. And as I told you before, first, we create a frame work on the air. We cry, we move our hand back and forth and then we'll bring it on our paper. And then we create our framework like this. Very, very lightly, as you can see, because we are going to erase that. I am doing it on a graph notebook. You can use your cardboard or your other cardboards to do the sun. As you can see, here, would be the top of our framework, which we said will match the eye line in a complete phase. If you want to do that, the top part of the ear will actually match line and the lower part of the ear will match the bottom of the nose. Okay? Now, we've said that in the beginning for creating ear, we should determine the main lines for ourselves. We should first sketch them so we can create our ear more easily. Okay, I start from this part here, this area. And I create this curve. This part around here will be one of my main lines. And again I say you shouldn't move your hand back and forth. So here our hand will get used to it. For a sketching. Our head is continuously moving back and forth. So we can create more precise shapes. So this is our main part for the main line will be this part inside of the ear. These parts will be the foundation of the day, will be the main parts of the ear. Again. Create some lines. Now this part will come down. And then it has a space between them. And then recreate this whole space. And they create our lines. And of course, they will show themselves why. They will show themselves. Anymore. We're just determining the placement of the darkness and the lights. At the same time, we are sketching domain parts. We are terminating the placement of our shadings. 11. Professional ear shading using pencil and brush: All right, now we want to shade it. But first we should erase our extra lines. In this case, it's our framework that we've created at first. Now, we will choose a sketching pencil. And for shading, you don't have any limits. You can use your pencils. You can use your pencil powders, powders or coal powders in shading so there is no limit for you. Now for a shading, I will work on these dark parts first. So first I start with my pens in very dark parts and I start shading. And so hatching and shading shade this in our whole. You see some parts have a stronger darkness. We should actually apply the shadings more. And we can create our shadings in different directions. And then we can use cosmetic brash and air cleaner or even a paper tissue and faded. First we're going to determine the parts. The parts that need shadings, the dark parts, for example, one of them is here. And again, I say you can use any tool that you're more comfortable with. Usually, most students are more comfortable with powders. But i now we're just going to use our pencil. So you can understand better. See I changed my direction and I shade it in this air, in this direction as well. And then I come back again. And I use my brush on it too faded. Generally in Keras screw technique. Fading is one of the main principles of our work. Dark and dark bars. And these bars which are dark, but not that much. We use the darkness that we've applied here. And we come to the light parts. We move forward. We move toward the lighter parts actually. And I didn't use any pencil on them. I've used the same darkness that are already had a my work and I drag them. Toward the lighter parts. So I can give some color, do those parts as well. Now for my pen. Not as much as here. Then again, if it was needed later, we'll apply more of it. Here. We have absolute darkness. So I come over on it again and then i o, faded with my brush again. So first I shaded and then later I will use my brush, faded to our delight, our parts. And when you're shading, you should be careful that the tip of your pencil would be sharp. And then I fade this area and I bring some darkness to this area which is a little bit lighter, dark, but It's not as dark as that Aadhaar part. Let me take a bigger brush and start from here. And from this darkness it will be guided to our delight, our parts. Hand pressure. You don't need to rush through it or put so much pressure. As you can see, I'm taking the darkness that I already have in my work and I bring it into the lighter parts. Now for a here, I do some shadings in different directions to create this darkness. Hey, did these parts are a bit less? Sketching these shadings are the things that will shape our whole sketch. It will give a volume and dimension to our work. And they will make them more natural and more realistic. So these are the shadings that make this sketch as a way as they are meant to be seen. And we have a dark area in here. My pencil. And of course, I go over these bars again with my brush to fake them. So just like this, whatever darkness that we see in our work should be created. Shaded, faded off course. Now for this area which is a bit darker, shade in a way that I've said. And he wanted to be a bit lighter so I won't go over it too much. Try to keep the lights as much as we can. And for these bars which are lidar, we do not go over them with our pencil. We'll just use our brush to fade the darkness that we have around them and we just bring some color into our work. And because this area is first we are going to create a shading beneath it. I don't need to do any pencil work here. For a year. Again, very slowly. Recreate the shadings. And we completely come over this part with our brush and faded. And spontaneously, shadings will be created. And I can get from this darkness around to just give slides color to my lighter parts. And we get the shape of this area with the brush that I'm holding right now. Here we should add some more darkness because I want to use this darkness and this color and go up with it. And then I'm going to use my brush and bring it out to give these upper parts some more color. 12. Finish ear shading with a pencil: And now, for the bigger parts, I choose a bigger brush. And I take some of this dark and bring it into the lighter parts. I should add more darkness through it and should shade it a bit more. Again. Event dark in this area. We should go over the parts. Again with our pencil. As you can see, the procedures are the same and are repeated. So I explain them again because these parts which are darker, we are going to go all around. It would be better. Some of its outer edges, add our parts, and we'll continue this all around it. The address, my hand pressure is. Then we'll work with our brush shown here. And we shade this area back to the fade, this area like this. So R would be volume. It will get dementia. It can be seen better. Now this is a very simple ear for the beginners, for people who are still at the basic levels and they want to practice on to ear. And the previous ears are very simpler. And this is a model that we've started in and created at very same play. Because if you want to create it exactly alike and natural ear, we should use our erasers on it and we should shade it more. So it's enough for people who are beginners. And if you wanted to work on a more, it would become a hyperreal is sketch. It means it looks like, exactly like what we see in our model. We can create the same thing, the exact same thing that we see in our model. We will be working a hyperreal a sketch. So if you want to work on it more, you should create these. A haired is very small wrinkles. And you should create every little detail exactly like your model. So this is a very simple shape that we gave you. It's tutorial. It's very, very simple. I hope you've enjoyed this tutorial and it was useful for you enough. 13. Profile lip design in standard mode and without model: Hello again. We want to create a side view lip together. And in the standard section, in imaginary when you don't have any model in front of you. And again, we want to use all walls to create our lips. First, recreate a straight line. And we move our hand back and forth For several times, and then I'll bring it into our paper. We create a very light overall, which is on our straight line facing upward. I mean, it's not a stuck to the line. It creates an angle to the horizontal line. The second oval will go through the first one. It means they are connected in some place. In this part, day, went through each other, should try to create them very lightly. The end of this oval will be good down and stick to the horizontal line and it will be closed. So wherever the lower overall came to the upper oval, that would be our lip line here. A little curve to here. And we will close the hands of them. Would be like this. And the end of the lab is actually the darkest part of it. Pay attention if you create a vertical line from the top downwards, it shouldn't actually a cut. Our second oval, there should be some distance between them. Then I give a curve to it for the Chen. And also we give a curve to it from the top. So we can show the place between the lips and the nows. We give some color to our work which show itself. And these extra lines will later go on. This shadings. Either it's coal powder, pencil powder, or whatever material that you're using. The lips are always the darkest part of our lips. Lip line is also much more darker. Line is rare to libs connect to each other and come on top of each other. Now because here we don't know one to focus so much on the shadings. It's enough up to this level. So this is from the side view and you can also create it and opposite position. Again, we do to saying recreate the oval, but all of them above, above the horizontal straight line. The other one will go through are first of all, if you create a vertical line from the top downwards, it shouldn't actually a cut. Our second oval and the part where the lower oval came into the upper oval would be the placement of the lips coming on each other. And try to work with a very low pressure. We should dark line as much as you can. And again, I say we denote get too much into the shadings. Our focus here, our goal here is to recreate the sketch. So my friends, this is a sketch off the lips from the side view in standard section. 14. Full face lip design in standard condition and without model: You'll want to work on a full face slip. From the front view. Again very lightly, we create one oval and a second one almost a day are completely horizontal on our straight line, we do not create them very vertically. Then I would connect these two together very lightly and as much lighter as you work on them, your work would be better and prettier. Then line between the lives is the darkest part of our work. I mean, the part that I'm darkening right now. And also from beneath. Well, again, depending on your model, the size of your lives can be different. Are going to make another one here for you. We have the line, so recreate another one just right beneath it, 200 walls which are almost horizontal on our lines. They're not very vertical sector laying on our straight line, 20 volts under deadline. The mountain shape at the top of the upper lip. And we just continued very smoothly to meet the corners of the lips. We have actually two semi-circles, two semi croissants which are above our straight line. Again, I say it depends the thickness of the lips or the length of them is totally dependent on your model. If you want to give color to it. And this is the darkest part of the lip line and the corners of the lips are also the darkest areas. And as we come to the middle and to the center of the day would become lighter and lighter. These parts are much more darker. And again, I insist as much as we come to the center of the lib, colors will be lighter. It can do some hashing shadings. You can go in different directions. Let your hand move freely and do not be afraid. 15. Three-faced lip design from the model: Okay, you want to sketch the lip again, but in the three faces view, it's more than the side view, but it's not complete as the front view. This is the way that a three faces. You see. This part is three faces and it's not completely visible life this part. Now what we're gonna do, the first thing is to create a straight line and connect two corners of the lips together with this angle. It's a bit corner raise because her face is not completely straight. Soda soda lives would be in a straight angle as coronaries, but we connect a line from one corner of the lip to the other. And then we will create our lives based on that. We try to keep the angle as we can see in our model. Okay? If we consider this as our straight line, when the Live is a bit open and it's not completely closed. The first thing that we do is to create this open space between the lips. And if we consider this area as an oval, or maybe 20 ovals like these, which day is stick together? Or you can consider it a big oval or a half crescent, semi-crystalline. It would be placed on the upper part of our line. I have my straight line, my horizontal line. Then I try to create that empty space, which is between the lips. And then I will divide my lip to half from the top part. These lines would be erased. So it doesn't matter if there's another one which is a bit smaller because it's an angle for ovals here. And a phi one to connect these lines together. First I create this mountain shape, this heart shape. At the top of my list. My upper lip. Try to work lighter in here. And when it goes into this angle is smaller, so you should be very careful around this area. Then we have this empty space between the lips, which of course includes the teeth. And with the same angle that I came down with bringing airline down until it cuts our horizontal line. And there is a wrinkle on our live. It's almost in the middle because here we have the middle of the lips. And I would do the same from this area. It might, may not completely visible for you right now, but here we have some shadings and it covered our teeth. The lower lips line is very visible because they are proline, has some shading, but the lower lip line is more visible. All walls are actually for creating my sketch approximately. I get into my work and start working. The change, its width or its length a little. For example, here I thought our lib is thicker than our oval. There is no problem. I'll create my line a little bit lower than my ovals. These ovals are for determining the approximate placement of the lip lines. If you choose your battles wisely and correctly, it's better. You don't have to change them again. Now we have the lines of teeth. And if we want to even create those wrinkles on the labs, we can easily do that. As I already said. And explanation, the corner of the lips are the darkest parts of the lips. So again, I connect the two corners of the lips together with an angle and I've created that straight line. And then I said, if we consider this empty space between the lips as a semi croissant or an oval. This part will be on the top of our straight line. Then we've divided the lips into half. We have created deal loans, both for the upper lip and a lower lip. And then you made sure that your primary sketch is correctly. You can easily come in and erase those guidelines and extra lines. You should put so much time on your sketching because it's very important. 16. Full face lip design from the model-Complete shading using pencil powder: Now we want to create a front view of the lips and we want to create completely with its shadings. Again, like we did for the side view, we create a straight line from one corner of the lip to the other one. And I drag my hand on the air at first back and forth and then I bring it on a paper. So we have a horizontal line and a vertical line. The horizontal line is from one corner of the lip to the other. And very, very lightly, we create two ovals at the top. And to add a bottom line. Usually upper lip is thinner comparing to the lower left, lower lobes are usually thicker. And we have that heart shape of the limb in the middle. And after we've made sure that our sketching, our primary is sketch is completely correct. And that point we start to create some shadings or details on our primary original sketch. Both sides should be completely asymmetrical. A horizontal line that connects two corners of the lips together. Then we had a vertical line to cut our lives into half. And then two. Under the line. We've created our lips very easily. Guidelines are simple shapes. Now is start erasing the extra lines from our work. Work on it's shading and its details. For creating the shadings into color. I can use directly with my pencil, HB pencil for parts which are lighter and the B4 and B6 pencil for the parts which are darker. Or I can use my pencil powder and my brush to do that. How can we create that? How can we worked with pencil powder depends on pattern technique, is that we use HB pencil, which is not a very dark or a very light pencil. We're going to use that and we'll create the powder from that. And then we use our brush and we start shading our face competence. This is before pencil, fabric castle before pencil. And this is our brush that I want to use. Of course. As you can see, size 10. We usually use that for our Kiara screw technique. For creating a pencil powder, we need a sanding. This is a sample sending that you can easily buy and use it. Well, I've chosen before pencil and brush, the size of your brush is totally depending on the space that you want to work with. If you're working on a small space, you should have a smaller brush. And if you want to work on a biggest phase, you will use your bigger brush. As you can see, we have different sizes. And even if it was a very big size, a very biggest space, you can use even bigger brushes. The size of the brush is not that important and you can even decide which brush to use. Even by looking at your area, by looking at your sketch. You don't even have to care so much about the size. This is size two, but that was a size ten. And I think size 10 is better for my work. But I can use size two for the edges of my lines because I don't want to get out of the lines that much. And for very thin and small places, I'm going to use that. Okay? Now how are we going to create? Depends. So powder, alright, now are going to use her own pencil to create the pencil powder. Take a useless paper here. And be careful you do not get any powder on your original work. Then I take my before pencil and easily I drag it on my sanding. 17. Start lip shadowing with pencil powder: Okay. Now as you've seen, we've dragged the tip of our pencil on the sanding. It should be sharp and then we'll drag it on to sanding. And we will have our pencil powder. Because right now I want you to see what I'm doing. I put this paper on top of my sketch. But you should do it in another place. Definitely don't do it on your sketch because you might get some of the powder on 12 on your work. So we're dragging this pencil on the sanding. We got our pencil powder. We put it away. Now, very slowly. We'll pick an appropriate size brush. You see, we have, again, I say we have different sizes. It depends on the volume of our work, on the thickness of our work. Very, very slowly and very lightly. I will take some of its powder. I get some of its color on this paper. And then very slowly I bring it into my work. And as you can see with circularity movements, I will go all over my sketch. But my brush. As more you work on your sketch and you spend more time on it. The lips volume will get better and better and it will get more natural. You see how lightly I'm working and just moving my brush on my sketch. But it's a very, very light color. I didn't start with suddenly a great amount of color and powder and make it all dark. It's almost with no color. It's very light because we should add darkness layer by layer. So it would not make any mistake. More color, as you can see, some parts of it are darker now. Very, very, very slowly and smoothly. Do not rush through it. You should spend so much time on your work and you should have so much patients. You might even have to work on a simple live for an hour. But it doesn't matter because the result of your work to outcome would be amazing. You see very nicely, although I'm working on it so much, still it's very light. Of course it's pencil pattern and it's too dark. But as you can see, I took a little amount of it and I use a low hand pressure and started working on my lips. So it will have a very light color and step-by-step, it will get it will make molly, and for our work, even, see, look at lip number 7. These middle parts of the lives, that part between the lips are very dark or departs beneath the lower lip, or very dark. If you look at the other two lips, these parts are lighter and upper part is darker. So it is different In lips. And although we know some parts are completely dark and are very dark, still, we start with lighter colors. And if you do not take a big amount of powder and bring it suddenly into our work with the idea of getting it exactly the color that I want all in one motion. You can do that. So you should spend so much time on your work. You should do your shadings a step-by-step and start from light colors and then work on the parse which needs to be darker. If you do these steps, as a result, your lip would be good volumes that bicep little by little and it will become and natural lip. I took brush number 16, which is a bit wider. And pay attention to one thing my friends, IK use a smaller brush but it takes more time from me. Comparing to the bigger brushes, I can use them to. 18. Continue shading: Okay, So again I repeat. You can use the side of your brush like this. Or you can use circularly movements and keep your brush in your hand in a vertical position. So use the tip of it completely. Both of them are correct. But try to use the circulatory technique more. It's better. And pay attention. I worked on some places would very much lower hand pressure because some parts of it are just slider. And we tried to keep some places light. And for doing that, we try to work on them with a very low hand pressure. This brush is size 16. The bigger the bigger our brush and the smaller our work, the smaller our brush. Let me show you that when I say some places are lighter, what do I mean exactly? For example, the clip number 14. You see in some parts we have some lights. As you can see. Some parts are lighter, some parts are darker, and you can clearly see the difference into colors. These parts are liner. So I worked on them more lightly. The part beneath the lower lip is darker and if you consider the upper lip, it's not all in one color. The left side is darker and as we go up and to the right side, it's lighter. Wherever is lighter, we will use less pencil powder and less hand pressure. And forever, which is darker, we obviously use more hand pressure and a bit more of our powder. The line between the lips are much darker, is actually the darkest area of our poll. A sketch. Again, I started working with my brush. As you can clearly see, I'm still using the small amount of pattern that I've created at the beginning of our work. Very slowly from the light to the dark. As more time as you spend on your work, you'll get a better outcome. Will get more volume and more dimension even right now the lower limb has got some volume. Coming out of the paper. When I come to a lighter parts, I lower my hand pressure and decrease it. Usually I use the side of my brush on parts which are at the edges of my lines. I can use the side of my brush in the middle of my lip. But it's better to use circularity movements, but they're ever, I get to the edges of the lines and the lips. Whenever I get to the borders, I tried to use the side of my brush. That will be better. Then again, I start and very, very lightly with circular movements, I give color to this area. I get a little bit of pencil patter, very, very little amount of it. And another point is that venue put your brush into your powder. Do not directly bring it into your work. First to sit on another paper, take a little bit of its color, and then bring it into your work. So your work would not get any spots on it, any stains on it. Because now your brush has so much color in on it. You should not put your brush in the light parts of your work. Always when you put your brush into powder and you want to, after testing Good, you want to bring it into your work. You should start from the dark parts like this. And I put my brush here and then I move on to the lighter parts. So I never start directly from the lighter parts. You see how slowly and working on it? I mean, I don't tip my dip my sorry, dip my brush into my powder continuously. Going forward. Slowly procedure. But I'm getting a very good results. And I still try to keep the lights wherever my live is shining and has a shine on it. I lower my hand pressure and I tried to keep them lighter back and forth. You can use all of them for creating our shadings. Do not rush through your work and do not Haredi to finish your work. Very soon. It doesn't matter if it gets done sooner. It matters if the quality of your work as we want it. I haven't worked on these two Lidar parts. And moving my brush back and forth, I will shade this lower area so I can get a good volume out of it. I do not have any pressure right now. I'm just moving my brush. I am giving color to this slider areas. It's not like it would just stay white. It has a difference with the white paper, but it has a very, very small color on it. It is very, very light. And even later, I'm going to use my eraser on it so I should give some color to it. Do not use only one method through your whole work. Circularity movements back and forth movements, movement with the use of my brushes. Bad, most of our work will be read circular movements because this is actually what can give our work a good volume. Now, I'm working, I'm still working on the darker parts of the lips. Again, I get some more color and it'll amount. But before I continue my work, I want to introduce you to my eraser. To eraser is very, very good for creating light lines in our work. You see these light lines, they'll be all made by our eraser very easily. And I just get help from it for creating the lip shined a lip gloss. Usually the tip of our racers are around, but we can use our shape it like this and make a very sharp tip for it. To create lines better. Mary is slow. My friends, the corners of the lips are very, very dark. So I can easily darken them. And I prefer to use a smaller brush for that. For example, size 10. Because we will have a smaller area, especially on our upper lip. And if I use a paintbrush aid even can go out of the lines. So I prefer to use this brush and I take some powder on it and then start working on the lip line and the corners of my lips. I start darkening my work step-by-step and we will do it step-by-step, add a solely so we can get a better volume out of it. At the same time as we're darkening it. And these parts are darker and as we go up, it will get lighter. And the corners are dark. And as we come to the center of the lip and will get lighter. As you can see, our work gets a good volume. Okay? Now because I do not want to lose this sketching lines. So I would make any mistakes because they are getting faded while we're shading. So I use my HB pencil, which is so light. And I will go over these parts. And I said, we will erase these lines after we made sure that our sketch is correct. It was very easy to get from some lines in all walls to this beautiful lip. 19. Continue shading and darkening the lips: We're having our lip I mean, from that plus shape and those overalls, we are almost getting into their completely you see, I went to work on the corner of the lip. It's not as dark as the left corner. But this corner is known as also to light. So I do not push my hand and press my hand damage in here. I will decrease my hand pressure. Comparing to the left side. I will have my hand pressure. Cerebral artery movements are going back and forth because this part is dark. And the more we work, then we'll sketch would be natural. Slowly, I will start to give color to this upper part of the lip. Make careful I do not get too much water on my brush. It. Each time that I dip my brush into the powder, I use it for five whole minutes. Some students will get a stains under works, a stains and spots. There can be two reasons. One, they use big amount of powder and today directly bring it into their work and use more hand pressure. Minute by minute, our work is getting more complete. Again, when you get to the edges, when you get to the borders of the lab, we can use the side of the airbrush. Try to work on your pencil lines as well to fade them as much as you can. In the parts where trace of pencil is still exists. Because you should try to not have any pencil trace on your work. And this is another important thing for us that a darkness should not just a suddenly ends. It shouldn't have a border between the darkness and the light. And the darkness has slowly transformed into their light. There shouldn't be any border between the dark and light. Very slowly. We will bring the dark colors into the light ones, exactly like sunset. When you look at the sky in the sunset, you see a dark red comes to Allied red comes to orange to yellow and so on. It should be like that in here as well. Because we do not want any border between the dark and light, we should just slowly transform them together, combine them together. So when somebody is looking at our work, they can't say, Oh your darkness as just suddenly stopped here. And it got light. All of a sudden. You can also use circular movements in here. You're free to do that. If I don't do that so much because I want you to see the angle of my hand. And again, I say we're working on the lines that we have created now primary sketch. We were working on them with our brush. And as you can see, the corners of our lives is dark. Try to create whatever you can see your original model, even the smallest details. You should not just pass them through. Careful for doing this circle or remove vents. You shouldn't just move your wrist or your fingers. Try to move your whole hand from your elbow or from your shoulder. It's not that only your risk goes in a circle RE movements or your fingers, your hand should completely move from the shoulder or the elbow. Okay. After you've worked a little, try to bring another big brush on your whole work. Bring it into all your work. So make your work all cohesive as the same time as you're giving volume to it. The line is very, very important for getting that volume data you want by brush doesn't have any color on it. It's the color that it already had. And that this brush, but a very, very little amount of color. I will go over these parts. And as much work on it will get more volume. And of course we try to keep the light parts light. I did not take any powder on this brush. I'm just using the color that it already has in it and that already exist in our work. 20. Continue shading: I wanted to dark and my opera live above a bit more because it needs more darkness as I compare it to my model. And we tried to feel the parts that the left untouched. And I say I didn't take any more powder because there is still some of it on my brush. I'm working on it in all directions. So I would miss any place back and forth, back and forth and circularity movements. I will go over the lighter parts and little later, I can teach you how to use your erasers. When you want to use erasers, your background should have a slight color. So the eraser can show itself. Let me show you. When we start taking the color and the powder. We take some of its color on another paper. And it's very important and you should pay attention to that. So you want make any stains and spots on your work. After we've tested on another paper, we will bring our brush on a dark part at first and then we'll move it to the other parts. This is the brush size. Why am I choosing a smaller brush? Because I want to work on this area which is very thin. This is deliberate. I want to work on the lip line and if I choose a bigger brush ahead covers all of my lip. So I'm choosing this one because this is a very thin area. Of course. Now by now you know that you should choose the size of your brush depending on the place that you want to work on. As you can see, these parts are darker. So I just easily I wanted to fade this darkness and bring it to my lights because now I can see some border between my darkness and light. Shouldn't have that. You should get help from your elbow and your shoulder. Keep your hands. Use your wrist only place for getting our work even darker. We should not forget that after we worked on details once in a while we use a big brush. I'm using size 24. You see it doesn't have any color on itself. If I bring it on a white paper, it doesn't make it dark. I just bring it into all of my work. I just go over all of my work with it to make all of my colors more cohesive. Combine them together to not leave any borders or any traces. And it can give a very good volume to our work. If your work is not faded perfectly in one place. With this work, the problem will be solved. Okay. Do you remember that I've talked to you about my entered eraser. Now, I'm going to use my eraser with its sharp edge. I've caught it with my cutter and manage sharp and one edge. Now with that sharp edge, I'm going to create this light lines that I can clearly see in my model. Pay attention. They shouldn't be all straight. They have a slight curve because our lip has a volume, has a dimension. And as you come down, you should throw your hand off the cardboard. Or I'll fear paper because we want our colors to get lighter. We don't want to completely get them away. Try to create lines, straight lines. Because that would then show us these parts are lighter, so I'm going to use my eraser over these parts as the same, as the same way that I did with my brush that came from darkness to the light, is the same for using the eraser. I use it. I go from the lighter parts and make them lighter and lighter step-by-step, layer by layer. We do not have any rush. 21. Creating light and electric lip with eraser: Sometimes the tip of our eraser will get sanded away and it would lose its sharpness, and it also gets messy. We're using our eraser to create sharp lines. So when ever you felt like your eraser is not sharp anymore. You can use your cutter again. And in this corner ways, we will cut the tip of our Eraser again. Air, we go just like this. Again. We have a sharp edge. Now our eraser is appropriate for creating the lights. And say now those guidelines and those ovals are completely faded. And another thing that I wanted to introduce you is the brush eraser. One end of it as the eraser and one end of it is to clear extra things from your work. Well, it's a racers walls to create sharp lines. But our brush Marry, sir, is to get some color away from your work to make some parts lighter. So editor Acer for sharp lines, sharp light lines. But brush eraser is used whenever we want to make our work lighter without any hand pressure, are going to make it lighter. And pay attention to this area. We have this wrinkled, this caught, which is darker. And wherever we see a light, we create a darkness right next to it. Wherever you are creating lines. As a result of any light. Shine reflecting on your work. Try to use one of your HB pencils. Depending on the color of your work. Nike. We should try to create dark line next to the line that we've created. Next to each darkness. And light, or vice versa. It's all the same because they'll have some lines that we should create them. But in some lives like number 15, we have these wrinkles on the upper lip too. But for example, in number 14, we didn't know and have them. So it depends again on our module in some models we have wrinkles on both lips for making your work even more beautiful. Because this line between their lives, as Doug should come over it again and darken it more. This line between the lips, how much it affected our work and made it more beautiful. And you feel like your work is too light. You can go over it with your brush and make it darker. And you can also get some color on your brush for creating these lines and use them. That right now I'm just doing it for a year as an example. So you would know how it works. Just darken this area which is near to the labs, should darken them into a bit more. Some more color again. And very, very slowly blood pressure, hi, work on it. 22. Using paper glue as a frame around the lips: Okay, After that, we've got the darkness that we want. We'll use our before pencil to create this darkness for our work, to create the correct the volume. I'm using my pencil for the parts which are completely darker, especially on these corners and the lower part of the lower lip, the part beneath the lower lip. And later I will work on them, but my brush so I can fade the traces. Now, we want to do something new and learn something new. So except that we've created our work on, we want to use czarist around our work. We want to create a framework for it. You say days our paper tapes. One of the ways to create a more beautiful work is to create a framework for it. Get these tapes too close to your original work, you should always leave a space between them. Saying I can use this brush to give color to my background. But because I want my work to end sooner and I don't want to put so much time on here. I'm going to use my brush size 40. And I want to give the whole background of it a color. And my work would be done sooner. And we are going to use a very, very low hand pressure because we don't want that background to be the same color as our work. You see, it's very, very light. Try to work cohesively. Do not leave some parts to lied or some parts too dark. Much more slower in home. And I want to finish our work sooner. Current going with a higher pace. And do not worry if you go on to tapes, you should go on the tapes and you should shade all the background. Because later we will take off to tapes and we will have a good background color. I start very slowly shading the area and background. Again, I say you should pay attention that your hand pressure should be the same. All the way. You can even do this is totally your choice. But I just wanted to do it so my work will show itself better. Try not to get out of the tapes. You can't go over. It's okay but try not to get out of them. So is started with a very light color. Just like the color of the skin. Can work on the address as well with a smaller brush. And with much more patients. Now I want to take off the tapes, deaf friends and effect that it had on my work off very slowly. As they say, this is one of the most enjoyable parts and most satisfying parts of our work. The part when painting the sketch is done, start taking off the CRB. Outcome. Okay. Now you can clearly see the difference between the par dive removed my tapes and a part that I didn't. Now, if I want, I can work on these dark parts a little bit more and make them darker because I've gave color to the background. These darker parts should be a little more darker. As I said before, I want to have a little bit more powder with my sanding and I will go over some dark parts. Okay. I hope you've enjoyed up to here. I can put some more details and textures here so my would look more natural. You can see how much different it Got. It Got. Do not ignore any details. Here. You can see all of them and you can give a very slight shade to work with your eraser with your sharp eraser. In some sketches, you can even create some horizontal lines on your lips as the textures. In here. Still some parts may need some more detailing to do some more work to do. You see how much time I spend on only one lip? And you should even spend more time because now I'm just teaching you. But when you want to work on it yourself, you should spend way more time. I'm working on these parts with my before pencil with a very low hand pressure and I'm darkening these areas. We should work on these bars again, again and again. Because if you pay attention to contrast and our work is the thing that makes our work look more beautiful. So this is a very beautiful, leave it a very simple shape and sketch. And we started from guidelines and we came to this final outcome. I hope you've enjoyed and you've learned up to here. 23. Nose and full face nose design in standard and without model: Who would work on a front view of a nose for creating a front view nose. First we create a straight line and also a vertical line. Now, in this area, very, very lightly, you want to create a very light and small circle. As slowly. I bring it from the air to my paper. It's not necessary that it would be completely circle because they will be edited. And exactly next to this bigger circle, this would be the tip of our nose. We will create two smaller circles. These are the nasal septum, septum and the left nasal septum. And they are stuck to the nose tip. The size of the nasal septum, each one of them should be 2 third of the nose tip. And always, remember my friends. The nasal symptoms are always on the horizontal line, but the tip of the nose can be on a straight line depending on the shape of your face. Or it can be upper or lower. So it depends on your face. Now we will divide the nasal septum into half, also the other one. And also we divide the half of the nose tip into another half. And from there half of nasal septum to the half of tip nose, which is stick to the horizontal line is actually our nostril. And it's also the same for the other side. Now. Above them, from above them. We come down a little like that. This would be the tip of our nose. We will continue the nasal septum from where we've created it. And we come up very slowly. And also from the other side. We continue to nasal septum. And as it comes up more, it gets slider. The nasal septum gets lighter as it comes up. The nostrils, which are the darkest parts of our nose. So we had a tip of our nose and the nostrils were 2 third of that. Now, where does our nose and what's the principle? The principle is that as the same size of my nose tip, I create another circle above it. See very, very nicely. And again, I come up as the amount or one nasal septum. And this would be the end of our nose and the start of our eyebrows. This is the height of the nose bridge, dat, right now, I've learned that we can create it as the amount of one No SIP and one nasal septum top of each other. One of the mistakes sets so many of the students make is that when they want to create the nose bridge, they connect the line from the top side to the nasal septum. We shouldn't stick these two lines together and connect them together. It actually connects to the sides of our nose tip, two edges of my nose tip. If I consider this line from above coming down, these are actually matching these circles. These lines are matching these circles and it come down. I will continue them until they hit the sides of our first circle. This would be our nose bridge. Pay attention my friends, when I'm continue this, when I'm continuing this line to create the nose bridge is that this line should get around my smaller circle and it shouldn't get inside of it at any way. Now, if I want to show this. Bigger circle for you. A bit more. As you can see when I continue the line, this part, we'll get out of the line. So my line is actually coming inside of my bigger circle a little. So denosumab and the smaller circle a should be matching the lines, but the bigger circle, our lines will go through it. Now I want to create a nose from the side view. Again, I create a straight line and then a vertical line and imaginary circle. As you can see, the circles are connected to each other, are stuck to each other. And both of them are on the horizontal line, not up or not lower. The nasal septum, which is 2 third of our nose tip. I divide both of them into half. And this area will be nostril. Again, I create another circle at the top of my nose tip with the same size of it. But this time we go through our vertical line and little and as size and amount of one is the nasal septum. We come up her from our horizontal line, we come up for creating the nasal septum. In this area would have a curve, a crescent, which will match our vertical line. How much we should continue our nasal septum up. And if this is our sip, the nasal septum comes almost to the top of the CIP. We said as we continue bringing it up, the nasal septum will get lighter. Just this easy. We've created. A side view, knows we'd only four circles in different sides. Again, I start from the top exactly like we did in here. It got match a match. Just read this, the lines that matches the small circle. It comes third, second circle a little, the bigger one. And then again it will match around the tip of our nose. Means it didn't go through and as tip. So in both sides, these lines will go the same way. Both views, front view or side view. As you can see, we've got a beautiful shape of our animals. 24. Three-face nose design from the model and shading with a pencil: We want to work on the nose number 18, you should practice whatever shapes that you see as much as you can from the ride from the left. Because of main principles are the same. The nasal septum are a little smaller than the mouse tip. The distance between the septum and the nose tip will be the nostril. And we would create one straight line from one nasal septum to the other to determine all these measurements. Here we have these lines in all these three models. This angle would be our horizontal line back and forth. Recreate this line. If we consider the tip of our nose and oval, it's actually completely connected to our horizontal line. So just like that, I will stick it to my horizontal line. We've got a little distance. It didn't cut anything from beneath the nasal septum and beneath the nose tip. It's all underlying. Is the placement of the whole of our nostril. Try to create the circle, every shape of the nasal septum, as you can see it in your model. There is a little of the other nasal septum being seen. And that makes our model and our sketch even more. Three Faces. Septum is almost the stock to the darkness. When you have a curve to it. Because we can see a little bit of the nasal septum. And as I know, and of course, you know, in the side view you can only see one nasal septum. One of them is only visible for you. And darkness for the nostrils holes. And now that we are sure that it is similar to our model, we will make this darker and darker. I'm making darker so you can see better because if we are going to shade this as much as these all walls will be lighter, it would be better for you because you won't need to use erasers anymore. This is my nasal septum, the nostrils, this is a tip of our nose. Some parts of it are darker, some of it are lighter, and it can easily give some color to it. I will show it for you with the shading. So you see these parts are darker, the tip of our nose, this can be actually the lightest part of our work. These parts have more color. Also can see some colors in here. This area is actually delight as part is the tip of the nose because we usually have a light on it. We usually have shining light on it. The whole of our nostril are usually dark. And right now we do not want to get into this shading explanations too much I just told you, so you'll know why I've shaded around it and left it a little bit more uncolored. And the next time, again, we will work on another nodes together. And we from 0, Two 100, I mean, from everything. And then all shaded to see how we can shade darker so you know the placement of the nostril. But because I made a mistake here, this curve should be more. Now I have to work a lot to erase this. We do not need this. So just easily erase them very slowly. You can start doing your shadings. I left the tip of my nose lighter. We can still work on our nasal septum and make it more circular. In these parts we have darkness. The nose number 18. So pay attention. There isn't any special hint or special points that I would tell you here because with enough knowledge that we have right now, you can easily create your works and you'd know where to place them. 25. Full face nose design standard and without model - shading using pencil: Now we want to show a whole nose. Once again with shading. I draw a vertical and horizontal line and middle circle that becomes the tip of the nose. Now two smaller circles, Bacon the nasal septum. I cut the symptoms in half and the halves of the tip of the nose in half again. This will determine the location of the nostril. I extend the symptoms a little to mark the end of the nose. I go up as circle in the size of the tip of the nose and a circle the size of the symptoms of the nose. This is where the end of the nose is. I extended along the small circle on both sides so that it does not cut the tip of the nose and touches it. I erase the extra lines. With before pencil. I will darken the nostrils and darken the lines so I can shade them with darkness. I also fade the nasal septum, the fader, and a life that I create some shadings around the nose. I create a darkness into nose bridge like this with the sides of my pencil so that I can create the shading for the nose bridge with these darkness. Then I fade the darkness with my fader. From the sides of my symptoms. I bring the darkness toward inside and I create a little shading. I need to make it darker once more. Your fader turns black. We cleaned the fader like this with a sandpaper. This is the eraser. With the help of this eraser, I create lights on the nose. It is a dove and a comes in any shape. I sharpen the tip like this and with a very gentle tab, we create light on the bridge next to the nasal septum and the lower edge of the nose. Once again, I create some darkness, then I fade them with offender. I work on it with the eraser and create light on the tip of the nose and the bridge. Then decide. Now with, uh, before pencil, I darken the upper part of the nose because these parts are also part of the darkness in the sketch. Then we fade them with a fader. Repeat these steps twice or three times to reach our desired shade. Now, to make it more natural, we work with HB pencil and we create a spots on the dark parts by tapping. 26. Basic hair design from the model - separation of high and low light parts: Hello again to all my dear friends and students. In this episode of our tutorial, we want to work on the hair. So I want to create the hair of this woman's hair. At first, we will create the main shape of the hair. It means we will go all over the phase, the edges of the face. And then we create the parts of the hair. Well, for your model, you can get a print page of your model in the size that you want it to be done. And then you can do some measurements made a paper or whatever tool you have. For example, I just did with my eye, but you can use measurements that you see. How much distance and space is needed from the edge of the paper to the beginning of the hair. Because right now our focus is only on day hair and we do not want to focus on details or any other parts of our sketch. For example, the distance between these two parts. Printed picture. You can use any tool that you want for doing these measurements. I'm just saying continue where I create the shape of the hair. Dark parts from the light parts at the same time as you're creating the primary sketch. So shading phase, we will do our work. For example, this area is darker, so I separated from this area. So what happened here? Again, I say, we will separate the lighter parts from the darker parts. At the same time as we are working on the primary sketch. We'll just separate them. So in the shading phase, we will have an easier job to do. And try to have a paper underneath your hand. So as dragged on some parts, your work would not get. Now we want to work on shading to hair. Now for starting this shading and for creating our hair, I want to use my pencil, pencil powder. Or you can use a usual pencil powder. But the point is that if you want to use the pencil powder, you cannot use the powder or the coal powder because they don't go together. So we're going to use our brush. Look at it. I tried to use my small flat tip brush because I wanted to create very fine and elegant lines here. Thin lines. So this is my pattern first, I tested on another paper. And for these parts which we have the start of the hair where the hair is growing. I didn't note make it too dark because I want to create some light on it later. But wherever we feel like it's dark, We move our hand like this and we create our hair. And again I say we cannot just dark and every verb because a mock note gets an a, we cannot get any eraser on Add and it will lose that natural shape. So I start right now. And for that, I'm using my brush. As you can see, the movement of my hand is very important. I create the parts that they hair starts to grow like this. See, I'm just throwing my hand off the paper off to cardboard at the end. So to ends of it, tips would stay sharp. And even if you want to work with your pencil first, you should do it on the air. And then we make it more darker so you can see it better. And just like this, we're going to use our pencil and we create days too sharp ended lines. You see, the line is not like this. I know it's a started from here and ended from here. But when you create a line like this which is sharp at both ends, you can use it for the hair. So if you wanted to work with a pencil, you should do that. You should keep the endings of your lines very sharp so they can represent hair. Yeah. Start from this top part of the ear. And I come to this part. And then I'll use a bigger brush in the direction of the hair. You should pay attention that where the hair is going, is it going up, down, or wherever? You should pay attention to that? And you should move your brush in the same way, in the same direction. I wanted to create some hair on it. It will give us a very good shape. So dark and these parts completely switch. We do not use absolute darkness. Darkness out. We already have in our brush. Bigger brush. In this area. You see the direction of my hair is toward toward this way. And it goes up. So I start from here and then I go up. I consider its shape completely because it's very important. As I've already said. I create the shape of the hair with my brush. I guess some more dark. I will shade from this area to here because this is a place of hair growing and we don't want it to get too dark. So again, just fail this area. A smaller brush, extra powder from me. Try to remember that. So a bigger brush. Go over. These parts are completely dark. This model, you can create any model that you should just pay attention to the direction of the hair. Which direction? Dark area completely. As you can see, I'm going back and forth to darken this area completely. And these bars will also get some erasers add to n. So do not worry about it because we will use our eraser on it and we'll complete our work set for creating the hair. First, we create a general shape of the hair space that it contains the hair. And then we will separate the dark parts from the light parts because I should note shade the light parts like this that I did here. For example, here is lied and I shouldn't not shaded as much as I did for here. 27. Hair shading using Conte powder: Okay. Now for this area, you see they worked on this part. And for here, the direction of the hair is going upward. And also it's going to lift. So it should create a darkness in this direction. All right. So again, I'm going to use my powder like this. First you determine that for yourself. Then again, we will bring more darkness to our work. The direction of my hair, like this. May be careful about and just bring it down here so my hand would be more comfortable. Because I wanted to create this shape. You can also create these shapes that I'm painting with my brush, with your pencil. Says so totally your choice here. Or you can even use your pencil powder. You can create darker parts. Radio our pencil, pencil powder. Not that much light. And just do it like this. I shaded like this so it would not get too dark. So just like this, here is dark. So I will bring more powder into my work to do that. Of course, for the lighter parts, I take more or less powder and I just drag my brush on it. Just didn't leave a trace. So then later when we want to use erasers will actually show itself. And you shouldn't dark in this area. And that much. We continue like this till to serve as our work will be failed. We are going to use a bigger brush. And these parts are darker. And as we come down to here, we will make it less because we're going to use eraser on here in the direction of the hair. We're going to create our darkness. Because the air is coming down. We can not shaded upward. Be careful. If you do that, it would not give you a natural hair. So we continue like that. And between them, a shade, all the parts in between. Darkness will feel the white parts of our cardboard completely. And the direction that we have the hair. You should do that. You say this part is too light, so I do not take any more powder on my brush. I use a powder which is still in my brush. And I create this hair with it. Again, I come back and wherever it was needed, faded more so our work would look more and more cohesively. Do not take any more powder and darkness for here. And just like this, we will create these shadings for the hair. These areas darker, so I get some more powder, some more darkness. But these bars. I'll just do them lighter and just use a darkness in its surroundings. Just to feel, just to cover the white parts of the cardboard. And then later, I'll use my eraser to create the lights on it. This is actually the foundation of our hair, and it's just the basic part. So later you can use your muscles or your sketching pencils or even pencil powders to complete these parts and add more details to them. In here that is, again, see more white hair. You will move your brush like that. And you can come from the dark parts to this part in between in the middle. So not leave any white parts on our cardboard. Like this. Here I want to create a shadings towards right side because that is the direction of the hair. In this area. Always tried to go darker parts toward done lighter parts. I'm just throwing my hand off the cardboard Dan. Dan. So in this light area, I would not have any absolute darkness. Some people are more comfortable with pencils and they do it with that. Some people are more comfortable with powder with that. So just completely depends on you and your taste. And the way that you're comfortable for your shading. Totally depends on you. Right now, again, I come over here. This is the medulla and we do not want any too much lights here. Knows where to darkness. I keep my brush kind of a horizontal way and I create a darkness Florida hair, even in this parts which are too light. Alright. Again, we look at our word generally to see where it needs more darkness. Now I believe in here, we should have our lines, so I'm just gonna do more color to it. Looking more cohesively. Now for this area, this part of the hair, I wanted to work on this lower part of the hair. Our work is dark, but we still have a sunlight parts in the middle. The beginning and the end of our work is dark, but it is lied in the middle. So it's starting in. And we use our smaller brush to work on these parts. We are actually determining and applying our dark parts. You see now the shape of my hair is like this. But you should create addicts shape that you can see. Whatever shape that you see, you should create it in your work. This is actually a wavy hair and there is a wave and a big curve here. So it doesn't matter. You should create whatever kind of hair that they gave you. If either it's currently straight or whatever, you should just be cautious and create a darkness in their correct places or delights. And as you can see, I go upward and I throw my hands off the cardboard. And I come from the dark side, turn the lights and see what I throw my hand off the card port at the end of my line and actually create that hair texture for us. So it is very important that you do that. You can see, I'm going up. It looks very, it looks like it has a linearly and a striped shape, which is actually the hair texture. And now anything here needs more darkness as I can see my model. And now from the dark side, I come to the lights in a striped shape. Okay, now what I'm gonna do, I do not take any more powder in darkness. I just fade to darkness that I already have here. With that movement, I just pushed the darkness toward my LIDAR parts. I do not dark in these areas too much because we would have to apply our erasers on this area later. So you faded. And again, because we want to we want our darkness to be seen more. I come over this area, I throw my hand off the cardboard at the end of it. And also from the top, I come down and form down, I go up. 28. Continue shading: Okay, Now for here, again we have some, some darkness a little, and then we have a light part, and then again, we have a dark part. And just like that with this order, you should create and separate all the parts which you can see dark or light. And then later, you can do other things on your work and add more details to it. So right now we're just determining delight parts and a dark parts. Here we have darkness. It knows, it's not too much, but we still have it. Now again, I change my brush for the darkness that I can see in this area. I just consider the shape await as well. Looks like a wave. And I keep the shape of it. Then again, I change my brush to a bigger one. And then I go over here. We denote over like this. Again, we're going to add some more darkness. Here in the middle. Dark hair would be seen. And then again, we come over them like this and we fade them very easily. And then we go over these parts. It doesn't matter what kind of hair I'm going to have. Whatever it is, you can easily pay attention to the direction of the hair and the shape of it and create your beautiful hair. These parts are bit dark. Okay? Now this area is of course darker. So you see determined and their placements in your primary sketch here. It's going to be of use to you. So you would not look for anything. You would not be busy looking for the placement of the dark parts or the light bars and you can create them much more easier. Now I will create a dark parts for myself again, because we also have some light parts over here. Now. You see this part is dark. Its shape. You should be very careful about that would give you a very natural for fading your work, for your darkness. I do not take any more dark. My brush anymore pattern on my brush. I create delights with the darkness that I already have in my brush. Around it. We will fade everywhere. Smaller brush because here we have a smaller area. I can see some light and then continue in this way. Be done in disbarred and the rest of this area is dark. I do like this. It would look like natural hair. Here. This area like this, to darkness that I already have on my brush. Just get it right. These parts are lighter. Shade them like this. I create these edges up to level. I applied a dark sky. And these cards are lighter. First off course out. Determine this line which is a border between duress is going wherever its direction. I will do my work. You see, for example, right now, this hair is coming this way. And you should pay attention to the direction of your hair. Where is it going? And then whatever hair you have in front of you, you can easily created with this tutorial. Now my hair has gone to this to this direction and make them fader. One thing that is should pay attention to is that the hair is not always going in one direction. There is so much chaos and disorder in your work. So if you want to work with your pencil or your current pencil, you should create them randomly, not in one direction. You should create them in a disorder way. So it will keep the natural shape of hair so it would look natural and realistic style. So when I want to use my eraser on a more cohesive, We're going to fade them. And then later we're going to use to create the rest of the hair. 29. Creating light on the hair using a cleaner: Okay. We've faded our work, the light parts or the dark parts. When we fade it there. We're going to use other tools to enter the eraser day competent cell that fabric castle hard pencil because the soft pencil would not be very useful in this type of our work. There being some other places we can use a soft pencil. But for here, I'm going to use my hard pencil. We also need a cutter and an eraser looks like this. We will cut it corner ways. So we will have very sharp edges, very sharp tips of it. We're going to use them for the parts which we can see as so much sharper and stronger lights. Now, for this big parts of hair, we're going to use our edge eraser and we cut it coroner ways. Okay. After we've done that, we come here and we create the shape of the hair. Pay attention to the movement of my hand. And I will create the shapes and these lines into direction of my hair. Obviously. I've told you the hair should not be all in the same way, in the same direction and the same shape and size. So it would get that natural shape of it. It will look more realistic. Now for these parts. Creating lines. Now for these parts, It's better if you come from the top to the bottom. So you will throw your hand at the end of it. And the end of our lines would be sharp completely. Because I'm recording this video for you. I can now rotate my hand that much, but you can easily rotate your work and your hand put your hand in a more comfortable position. For the parts which we can see a stronger lives. You will increase your hand pressure, both for departments which have. You know, smoother line. You will decrease your hand pressure. Now I come down, you see these parts are lighter and my hand pressure is obviously higher. And of course again, I say we'll throw our hand at the end. And for these bars vary randomly and without any special order, we should create these hair. Now in this eraser and I've sharpened. We're going to create this light because the thickness of hair is more so we can use this eraser. I'm using the sharp devoted to create this chunk of hair. I create the shape of its direction and of course randomly. Okay. And the tip of it has been darkened. It got messy. And then I caught it again. I can use my work again. Pressure is very low in here. Do not mistaken. You should control your hand pressure. You just create these hair randomly and not a special order can create very disordered chunks of hair. This way. Johann, to make them all look the same. Wherever he's still feel like you need more lights. Again, you come over them with the eraser to create your hair. Now in these bars, my hand pressure is a little bit higher, just a little. Now for the hair which are coming out of this part. And it's actually is battered. If you want to work with your sketching pencil, you would do that. If not. And if you're working with your coal powder, you should definitely use your pencil for that. Again, I practice on Dare. I move my hand back and forth. And after I've practiced a little on the air, I bring my hand on my cardboard and I create my hair. Here. We can have more, again, see more of it over these parts. Disorder. Just leave them like this. Should be definitely, definitely sharp. Make sure before you start working on any part of your hair because it's very important. So much pain. Pressure. Hi, of hair. Just like you can see right now. We've created the darker and delight her with a very low hand pressure and very slowly, wages lead our hand go free. And we just throw our hand off the cardboard at the end of the line so they would have very sharp ends. So we're just going to create some more hair on it and then we'll finish our work. So for our hair tutorial, we've said first, we create the general shape of the lines and general space of the hair. And we sketch it. And then we will separate each dark part and light part. And then we'll shade them separately. You can use your brush or your paper tissue or anything to fade these shadings. You can use your normal pencils or your pencil or your current powder, but this should not be over each other. You cannot use normal sketching pencil and then combine it with your pencil. These can now go together. These are the hands that I've told you during our tutorial. As if you learn these hints, you can easily create any kind of hair that you want and you're given. You can create them very easily. The important points are that you see where your hair is going, in what direction it is. And wherever you've used your powder, you should fade it. And then you would not add any extra powder to your work. And then you can use your erasers on them after you have faded the whole thing. And there is nothing more to explain. The necessary explanations were given. And it's very easy you can use this method and create your hair perfect. Say. Okay. 30. Additions and general rules of standard face profile design: Now we want to create it ourselves assigned to create a straight line. I've changed the color of my pencil so you can see it better. The lips is at the size of two lips to a standard. A standard and normal size is about two lips between the lab and chain. If we create a straight line from the nasal septum, this would be our ear to ear would be matched. This line. If I come up as the size and amount of one nasal septum because you said nasal septum at the size of September. From I to the ER, we have four eyes. So this is a principles of a simple sketching, a simple sideview sketching. You should practice a lot on these things so you can spontaneously create them and do not think about them too much. Be careful about the size as about the distance says, I've wrote it for you in the video, but you should try to remember them and just create some eyelashes for it as well. So once more we want to talk about the principles of the eye. So if we create a, if we have a straight line, I just move my hand in the air and without taking the side of my hand off the paper, I play my hand, I worked with my hand on the air. And I do not want to take my hand off. I just want to drag my hand. I work with it a little. I have an oval here. If I want to create derived eye, the eye gland would be placed here. And try to work very lightly. This would be the gland of the eye. And you say, you should always have a review on your work, my new work on some parts, you should come back again and review the parts that you've already learned. So you've learned the eye, the nose, and the lips. Then again, you can come back and review your work on the eye again. As we said, if a divide these into half, this would be the placement of our iris and pupil. He said we have a shine in DIs, wherever the eye reflects. The light reflects on the eye. We can see a shine like this. I wanted to emphasize on that venue. Want to create the eyelashes. You shouldn't create the eyelashes from here, the upper line, you should start from the lower line of the eyelashes. It should start from here. And we've said this eyelashes should be sharp at the end of the lines. And at the size the eyelashes are more horizontal and as you get to the middle of the eye, your eyelashes would be more vertical and you can create an eyebrow. 31. General rules and regulations of standard full face design: Hello again to all of you. The tutorial of faces sketching. So we got to the complete face. We've explained each phase components one by one, separately. And then we said how we can combine them and create a complete front view Phase 1 to learn all of these details and know how to create them. Again, I say we started sketching from up, down. First the eyes and nose, the lives and the ears, the hair and the eyebrows are working on your original work. We will leave the eyelashes for the end of our work. We will work on the eyelashes and eyebrows and a hair any hair texture for the end of our work. Do you remember what we've done for sketching the eye? First, they had to determine the angle of dy. So when we have two eyes, we should continue that line that connects two corners of the eye together. We said it's, the distance between the two eyes is as the size of one eye. If you create a straight line from the corner of the eye and you come up, the eyebrow will be out of this line and lethal as the amount of an eye gland. Now from the eyes and the nose too, we still have a distance as a size of one. I have the tip of the nose. If it come down as the amount of one nasal septum, it would be the beginning of the lips. Now here we want to teach you something that you would understand how much your sketch is similar to the real, to the natural model. If we create a corner ray lines from the corner of the lips, it should go aside the nasal septum and eight gets between the two eyes. Should go at the edge of the nasal septum, not inside of them, and not an outer of them. It should just go alongside the nasal septum and it, it should reach the center of the forehead. If we create a straight line from the inner corner of the eye down, it will get to the edge of my nasal septum. Again, it does not go through it or outer of it. If we come down from the two glands, we should get to the two nasal septum. We should meet two nasal symptoms and go alongside them. We should be sure that the placement of our eyes and lips and nose is correct. We have the lips and size of one. I almost have the chain. Again as a size of one eye and a front view. It was about four eyes, but here it is. One i. We have the ears, which was an oval. Then we sketched the eyes. And we'll continue from this side. So this is a standard full face that we've just created together. You should practice Sumatran this. You should create the eyes, correct? The, and then you create the nose caloric. And then you'll create the lib correctly. If you get one of them wrong, if you get the eyes wrong, the rest of our work would be ruined and it wouldn't be good. Consider that the eyes are notes in the correct placement. So you cannot get from the eye glands to the nasal septum and a whole sketching will the, in this order. So the hole is scheduled will be ruined. So try to practice so much on the eyes, on the all parts, but especially the eyes, should review them over and over again. 32. Designing a horse from a model - by modeling the principles of face design: Today we want to go to animals and sketch them out. We want to create a horse today. Again, say it's kind of an oval if you want to make this shape simpler. Okay? For example, I consider this area as an oval. As when you learn how to create a face spontaneously and stay you know about the principles and you'd know how to create other objects or even animals. It would be very easier for you. So, oh, created in this area. Come down and little bow to have its job. It smells. And we go up again with a straight line through the forehead. And then it would be a prominent part 4, it's because a horse is in a side view here. We can create a straight line from the mouth to the ear that will be damaged. If I wanted to create a line, I would first get to the placement of it. And then I will connect it to the ear. The second year would be placed here. Just work on its mouth. And it's just a little bit more. So this is the placement of the eyes. Continue a line from its mouth. Today. As you can see from here, we will meet the eyes. My ear should be to this side. Again, I want to check my work so I can see my work is correct or not if the placements are correct or not from the beginning of the eye. So this is the correct placement of the ear. Now it's way better. And its mouth would be placed over here. Now that I'm sure it is correct, I will come here with my eraser and erase the extra lines from my work. Okay. Sure that it is correct. Your work was only with pencil without any color. You can darken the lines. Should also create some hair foreign. Try to throw your hand off the cardboard or paper at the end. In working with hair, any kind of hairy texture. Because both ends of your lines should be sharp. So whoever looks at it would not know that. Ready just started them. And where did you finish them? Again, I say for any heartaches. Sure. The lines should be like this. So if you pay attention, there are some lines that can help us. For example, like this line that we've created from the mouth to the air. And you can also add some more lines to it as details. So your work would look better because these simple lines have actual impact on your work and it would make them look prettier and more attractive. So we also create some inside of the air. I do not need these lines anymore. Again, we can work on it more and make it better.