Draw Your First Imaginary Human Portrait without expensive materials.

1. Introduction: Do you want to master the skills to draw amazing human portrayed with just a few on complicated steps. Do you want to draw straight out of your mind without a full reference for two. What if I told you that you don't need much tools and expensive materials to draw amazing human pre-treat. Well, no need to delete on this. As you are about to find out for yourself the practical answers to these questions and more. Hi, I'm Michael, a visual artist and a teacher. This course, I will be teaching you the simplest thing, inexpensive ways to draw a human portrait without professional skills. This is a beginner to advanced crash course on how you can draw impressive human portray. Just a simple, uncomplicated steps. In this course. I will take you through this simple tricks you will need in order to know how to draw any imaginative human figure. Just like an aspect. I will also teach you the step-by-step guides in drawing every part of the human face. You will also learn how to start drawing, which does rough outlines and fine-tune them into smooth ones. I will again walk you through the strategies that you would need in order to shoot the Tony's dies you've done. I will walk you through the zeros, see do methods and how to shade the various areas of the skin texture and skin tones. You will also learn the basic techniques that you can muster to shoot outlines and turn them into beautiful looking at. You also know the various types of pencils and what the AI useful. At the end of the course, we'll be able to put on a piece of paper in human figure that comes into your mind by using just a piece of paper and a pencil. Thank you. Let's go to class. 2. Project Work: Hi, welcome. Your project for this course is to draw a human poultry milk human portrait from the head to the shoot. First, you are going to draw the outline. Then fine-tune the outline. You draw the eyes, the parts of the feed they knew the ES. Then you shade the skin, the feast, the ear. Then you give it a slight attached to the sugar level. It doesn't matter the size of the head, doesn't matter the size of the year or the nodes. Drawing, she didn't necessarily look like mine because it's an imaginary drawing. It will be different from each and everyone. So we are going to draw an imaginary human porch, going to picture, we are going to draw it from our mind. So that will be uploaded to work for this course. Led get to class and start doing amazing drawings. Just a pencil and a piece of people. Get to class. 3. Types Of Pencils And Their Uses: Hello, welcome. These are the types of pencils that we have when it comes to drawing. And we have the H pencils, pencils, and F pencil with a B pencils, there are different different types. And first, we have HB pencil. Hb pencil. With HB pencil. This type of pencil is extremely dark and comes out as the duck case of grease on paper. It is best used for drawing and sketching. The reason is it makes very dark and prominent max that ended up sticking out on a page. Then we have seven B pencil with a lead pencil. It's a little similar to the FBI. They are not the same, but the difference is very little. And when this type of pencil, which is the 70, it is also great. For art related purposes. It gives off a very dark gray sheet that sticks to the paper and make your drawing look great on any paper. Then we have six B pencil. Remember we are talking about the types of B pencils. This is supposed to be best for those who like to draw. And it is particularly meant for adding dark values to your drawing pieces. This is also a great option for creating portraits, where you want to achieve realistic chest just like the skin, the Fed the head. Then we have the five B pencil. With the 5D pencil, it produces.com Mach than the one that I've mentioned earlier on. And it is placed softer than a to B pencil for example. This is because the higher the number of the B pencil, it's softer and pencil would be, I hope you get it. Now. Then we have four B pencil. This is slightly lighter than the one that I've also mentioned above. It is also an excellent choice for sketching and going purposes. Then we have three B pencil. This pencil is more like a mix of dark and light, but it's more towards a light-tight grid. It is an ideal option for dude, like drawing. To contain light values will slide sheets of dark green. Then we have to be pencil to depressor is best for medium to dark shading and provides a good range of tone or value from light to dark sheet. It is commonly used for art purposes, especially drawing sheet in and sketch. And then we come to HB pencil. Hb pencil. The H in HB refers to the hardness of the pencil. And the B is used to mean, or its loads, the blackness of the particular pencils mat. And it's false in the exact middle of the pencil lead skew. It is a very hard pencil for drawing purposes. Then we have F pencil. The F stands for fine point. This pencil compared to the others, is slightly. While it is certainly easier than a few to keep sharp. It's width to depth for genera and everyday drama. Then we have H pencils. And with the H pencils that are also types. Wave speed, the age data types of each pencils. We have the two H pencil, which is a grid type of pencil for any technical way that involves making lines that are easily erasable. This is particularly because it contains very light amount of lead. It is also a good option for those who began to draw and wish to add very little sheet to the drawing. Then we have the three H pencil. This is an extremely light shade of gray that leaves a very light in print on paper. It can be a great choice for sketches. Way you need to add light sheets or slightly fill empty spaces with a pencil. Then we have the for each pencil with a four-inch pencil for light, fine and even shading. This is an excellent choice of cancer. It is more towards the green side and less shiny because of the amount of it contains. It is also easier to keep sharp two can be easily used for shading and sketching. Then we have the file H pencil. This type of pencil host created the darkness and the thickness of lines. Given its hardness levels. It's a great opportunity, particularly for those who are into drawing and sketching, wish to draw jack and thin lines. Then finally, we have six H pencil. With a six H pencil. This is a top quality graphite pencil that is primarily designed for the purposes of sketching, writing, and drawing. It is an ideal pencil for all artistic and technical applications. So these are the types of pencils that we have. 4. Materials Needed For This Class: Hi, welcome. Now that you are aware of the types of pencils and what the useful, I'm going to give you the material that will be needed for this course. We are going to need a pencil. Well, not necessarily pens, pencils, a few pencils and the all beef pencils. They are OB pencils and pencils. We are going to need that to be B pencil. We'll be using that for the outline. We have the four B pencil. You will need the four B pencil with a. For B pencil. We will use it to fine-tune the outlines. We use it to draw the eyes, the nose, the mouth, and she's some part of the head. Then we need a seven B pencil tool, which will be used to see some parts of the skin tones on the phase HB pencil, which you use to **** the darkest part of the face as well. Then you will need an eraser. And erase, we wouldn't be erasing much. But for, for, for convenience, you will need an eraser and a sheet of paper. Draw me a sheet of paper or a white sheet, or any paper that you can grab. These are the materials that we are going to, the pencil and eraser and a drawing paper. These are the three things that we're going to use. So let's go and find out our project to wait for this course. 5. Outline Of The Portrait(The Head): We are going to use HB pencil for this drawing. We start by drawing our head, the head. And we're going to use the oval shape. The foundation of the human head, Every my head, the whole batch shape. So first, you need to get the overall shape, which is the fundus. Take your time. You do it bit by bit, bit by bit, bit by bit by bit. So we are trying to get to the dealership. Do it. Innovation doesn't have to be smooth sides. The sides you do this. You see the humeral head where they'll join. You have to have it inside, like the shape of an egg by weighing, get to the lower part where you put the amount. You have to have that set. Now, we get the sheep, the forehead. We are trying to create the forehead. In drawing. You don't erase, especially when you announced starting to drop. You don't erase even if you do it mathematically. Because I said, good access. You doing visually use the eraser to get to a point where the mistakes, you can fine tune it to be perfect. It's looked like an old flashy. There are some portions like the jaw and cheeks and the chin. You need to ship. It's changed the shape a little bit. 6. Outline Of Eyes And Ears : We are now coming to draw the eye. And then I should be where the year is. You need to do your calculations very rarely will. You have to know where the ear then you put the two eyes in parallel to that? Yes. We are drained the eyebrow. Eyebrow. And this is the eyeball. The eyeball. Take your time. It's a rough sketch. You fine tune it. As you go on. To take your time, just do the outline. This is just the outline. You have to gauge. Well to make sure that the eyes in parallel on the scene, Let's see height. We come to the pupil, pupil of the eye. Take your attendees. The outline is just the absolute. Now we are back to the ears. The ears. This is just an outline. Yes. Did your time you might have different different different different he had types, but there's an imaginary thing. So we're not looking at a picture this, I'm creating it on my head, so we are going to create it whichever way we want. There are imperfections around but you don't clean it. Now. You'll find it later on. 7. Outline Of Nose And Mouth : Drawing the nose. You place the Lewis in-between the two eyes as that in-between the two eyes. Now, we are drawing the drain them up. Take your time. You see the mouth. She'd be in line with the nose. Should be in line. She'd be in line. Most of the time is raisins. I've gotten from my environment. Though this image is an imaginary one. I can only do it like this, only when I know people are learning when I've seen people. So I would save them. So that later on, when I'm creating something human-like, I can create it. Make it look real. Make it look real. 8. Outline Of Neck And Shoulder : Now we draw the neck. And in drawing the neck, you look at the size of the head, the size and shape of the head, the places you place it in, just below the jaw, where the chin is. You take your time. This is just an outline as I've said. You look at the shape of the head that size, then place the neck. We are drawing the neck. Now we try and get to the shoe retailer to show this. So as you can see, this is the neck leading to the shoulder. 9. Fine Tunning The Outlines Of The Wole Figure : There's the outline. You've gotten, the head, the eyes, the nose, the mouth, the neck, and the shoulder. You also have the ship. This is a boy or a new figure. Now we are going to fine tune the outlines, dipping it. To get this, to get this smooth edges, to get smooth edges, to react, deepening the outlines. It is very, very important. When Staten, you first start with the outline, the rough sketch. Then after getting the whole she got then you deepen the outlines to make it make it fall back to the outline. Fine-tune the shoulders. Fine-tunes issue this. You do Rock Sioux much. You will see that I haven't received any bad. So you do it gradually, bit by bit. Even when there are mistakes. You ignore them. For later, when it becomes necessary to rub, then bureau by little but, but most of the time, the imperfections. What makes it jeoneun the imperfections. The hour to make it Jenny, to Vn, I'll just rub. But this bias because it's not as I wanted. Lovely twice, You know what? Fine team the nose as well. Deepened our two lines to make it pop and deep. You took your time, There's no rush. Take your time to make it perfect. Depend among the list is as real as human. I'm sure there's somebody out there in the world who looks exactly like this. This is an imaginary figure that out the human figure that I created. I'm sure definitely there's somebody out there who looks exactly like this. That is the beauty of as far as you can imagine and create, assist. You may not know where it is. Definitely an existence. To this mighty ability. Somebody's some way. Fine-tune the eyes. Bows and the eyelashes. Deepen it. Come to the pupil. Deepen it will make a little imperfections by raising their feelings on. It's a little perfect. Now. It's okay to do some East Asia. You see you do it one after the other. Every step you do it bit by bit. You don't prompt all of it. At the time. You take your time and do it bit by bit. You do, for instance, with the ice, you do some patch on the left, do some path on the right. We do it step-by-step to make sure that they are all equal. To ensure that the size, the shape, and some technical aspect of the eyes, they are equal. Now dipping the sheep, forehead, this middle figure, so males have this heavy sheet. The forehead. That path as well. Now cleaned and affections. The top of the head where the hair will be. I'll put the head. This is freehand sketch. Just have pencil and a piece of paper in the body can do this. Anybody. It's inexpensive. Simple. You do need a lot of tools or materials. Just black and white drawing. With a pencil and a piece of white paper. Yeah. Correct. And the imperfections on the edges, Michelle, I've written is at least close to perfect. Even know it, even if it's not perfect. Close to perfect. 10. Fine Tuning Eyes And Other Details : Good day. Eyelids. Eyelashes, sell it to do it in stages by STDs, balloon. When drawing the eyes, you don't do everything around that IR to one side they come, you do it bit by bit by bit. You do unpacked on the left or the right. You do unpacks. On the left. You unpacked on direct, graduate bit by bit by bit by bit. I'm blind the top of the eyelashes. You eat. One side, one side here. Then I know what day this is. What we have. Is what we have. He'd get this. You are good to go. Become painted any way, anyhow you want it. This is the outline. There are few things you need to consider when drawing the human head. Very few things to consider. Positioning the two eyes parallel. They have to be in line. You look at the shape of the head to know exactly where to put the eyes. Just in-between the two years they have to be in line. You see where the ear is, where the place where the year is fixed. Cash inside the head is a new flagship where the ear is. It curves inside caves inside, that is, to make place for the year. That is where we put the ES. Then after getting that in place the eyes. So it should be, the fact that it's an overshoot doesn't mean should be of equal size or it should be straight line. No, you have to have it. Because normally that is how the human head is. Most of the time you can study from the environment. You can study from their environment and memorise. You don't necessarily have to create the same phase. But the basic standard human figure, how the, How book created humans, the shape of the head, that data format, foundation and everything. You look at it and you read it as close as possible. Human head, we have different types of human head. And it comes with its own features. Each comes with its own features. So, you know, when you know what you are doing as an artist, when you are drawing, you look at the head. You decide the size of the eyes, the nose, the mouth, the ES. Look at o, you consider all this to ensure that the human figure is as real as possible. Now, does this, what we have, this is what we have. 11. Shading The Hair: We are going to see the hair. And it is very, very important to consider a lot of things when shading the, hey, this is a male hair and it has rough edges. Rough edges. So you make it look as few as possible. And you are using the HB pencil. We are shooting with HB pencil. And with this human head, take a very close look at it. We are going to pinch the head, shake the head to get spotting leaves. Painting the head to get spotting these two, if you want to get there, That's coating will look. You have to look at how I am shading this. Forgot how I am shading the human head, the wolf surface, the rough edges, that is what I'm presenting now, created a wolf has to be as real as possible. The mere heads, it's not as smooth as the female. Humans who have printed ahead to this one, the rough edges. That is what you get. You take your time to seek time to shoot. And you do initiate. Anyhow, know, there are rules. You do **** across, cross this line, this line, no ****. Just look at what I'm doing now. That is the process. You have to use it horizontally, vertically, circularly. Know, when you do that, it becomes unrealistic. You shade it in a way to make it look like a man. Hey, man, hey, we are shifting the hair. It's very important to get it as close as possible, like a human hair. Time, the shading in particular time and do the backup pads, lighter plots and in-betweens. That is a highlights and midtones. And the shadows. Your time do the edges very, very well. The mill sheep time, they're shifting their hair, you will see what you can see. It is not ingest any man his sheet and they are not willing to shade it. Anyhow. We want a particular specific look. That is why we are using this process. A specific hair look like soft, sporting, we'd like, Hey, that is what we are doing. Do it dates back and you look at the process that I'm doing, you can generate your own process. But as a beginner, you watch and see how you see it. You can shade it across. Of course. Of course. Just in her urine gets you to look at how she'd do it carefully, diligently to get the human hair like that you want. At the end of the shading of the head, you see a typo. This is the first part of the shifting of the head. This is the first part of the shading of the head. You have a nice gentleman. He had therein lies gentle. We're going to delete the wind shifts. So take your time after getting the foundation of the head. Now we are going to create the way reshaped to look at what I'm doing. It's forming the way we ship is for graduate. You may not see it. Now by the end of the sheet, you will see It's a work that needs patients. When you are rushing, you are not going to get it as you want. So you need patience to get realistic look to the waves. You see there are places that have high light and the dark parts. And you can see it is gradually, gradually appearing. It's Godwin is appearing. This one is black and white drawing. We can use different pencil colors to do it, but this time you are using only black and white. Mainly for beginners. Creating this 14, these leaves in the hair. To make a test food as possible. We're almost done with the hair. We are done with the have nots in as I said, not thoroughly Do. We are done. You come and come back later and fine tune it. Just a sheep led to make it look as real as possible. That is very, very important. Is having a new haircut. Haircut you just went to the Bubba. He just went to divide by n hat is new haircut. So you can see that she is as clear and as neat as it should be. Just came from the barber shop. You can see the hairstyle is not, it's not an ordinary has done. This one has not a lot but a little. We spotting leaves, nice dentin are exploiting the scaly head. So you can see we had seeded anyhow, wouldn't have gotten this type of hair root to every type of shading. With this, we went into squatting, just created it using the grad represents that we used. Now, this is what we have. We are going to fine tune the hair. Using the finger to rush through. Make the surface a little smoother. You take your time. Raise your hand over it to make it look smooth and realistic, shiny little shine. We are not using any tool, any painting to anything. I just using a piece of paper, white paper, pencil, and just our hand. See what we have created in just a few minutes. You are not done yet. The finger to brush over the head. Use it to shaded as we're using the pencil. You will bring to bear it bit by bit, not thoroughly, just a little lighter and throughout some places due to diligently and carefully in order not to distract the shape and the texture of the hair. Now you can see that texture of the hair. 12. Shading The Eye Brows, Lashes And Other Eye Details 1: Coming to start with the fish shading, but we're going to start with the islet. Everyday I live, we are going to use for B, the head, we used h be the eyelid, the eyelashes, the eyebrow. You are going to use for B. Because it's more lighter than the a, the head. It's lighter than the head. And you see the eyebrow. Most of the time people with this type of hay have a lot of eyebrow hairs. The eyebrows have a lot of hair they sue. You, make it look realistic. But by having the scene, hey, we are using the lighter pencil, which is four b. For the ice. We are printing the hair on the eyebrow. We are painting their hair. You fine-tune the edges. You took your time. It's patients with particular time. Then we'll go to the other side, the right side of the eye, brow. Then we do the same thing that the C. Take your time. Now we've come to the other side of the IS well, we fine-tune it where we started earlier. Let's get shadows. Claim. Come to the eyelashes. That I bought it. The painting, the outline. I haven't done much. Erasing here is very, very important. There are a lot of imperfections in here, but I haven't done any division. That is what artists are doing. Erase every mistake they make. Music to create another thing. The eyelashes, just below the eyebrow. You see I didn't do one from a to Z before going to the other set. I do it bit by bit. That will make you get to the loop. Gets equal eyes shift before I format before I typed. So we did the eyebrow faced on each side. Now we are on the eyelashes to do the eyelashes on the left side, men now. Yeah. The backside there on the left side. And now we add the right side being the eyelashes. Take your time. Do it. You do a lot. So here on the left, do a little, on the right, do a little here, a little bit. Fine tune the decide to get the sheep. They will come to that. I will come to the eyeballs. Take your time. It needs patience. He take your time and make it look as good as possible. I bought this side as well. Painting inside the eye. Take your time. You do a little here. You do L2. Here. We do a little here. You do the order to the guest. Bins by ***** does new rash bit by bit to kiss time to create human zoo. As artists use to take our time to make sure we get as close as possible. At God is an artist's enemies. So like because to create few months on a sheet of paper with sculpture would add that since Calvin's and all that, they are not good to be able to make a little clues to what God has done. Led too close, not too close, but I will, I see it later. We can breathe life into it. That is the only program and give it intestines, bladder and all that. We can create. The figure, emotionless figure. The details in the eyes. Very, very important. You do it bit by bit. You do rush to do cram all of them and do it at once. I didn't know. You do it bit by bit by bit by bit. They will come to the point where they tears dropped from. You find in that side, make sure that when this is where when he wants to cry business, when it tears will come through to come into the corner. So VI do it by bit by bit. I do l2 here than I do on a two here, I do a link to yet and I do a little here. It's very important to get that aspect. Don't do one side from top to down, they go to the other side. No. You do it bit by bit. L2 here. The symptom UP the thing, go to the next step. Back, leg, get the details in the ice. Transition later into the eyeball. Very, very important. Make it look real. It's very, very, very important. The details make it look as real as possible, as close, as close as possible. Is that the gentleman of the day here? What? She did die unless he said but she had pads. You live with lights. 13. Shading The Nose: Now we're back to the news. You're going to see the leucine. We are using the same pencil. We are using the same pencil that we use for the eye. Take your time. Take your time. And the test. Make sure you are getting tested. That looks like the humans can see texture. The news. You're doing, see it anyhow. They're prudent strategy we used in shading the hair is different from what we are using to shift the news. They are not the same. Take note. Take note. Though this is a 2D figure. The nose. You need to get the depth that 3D like that. To make it look realistic. This is a 2D figure. You need to create that 3D look. That depths in the news, the heaviness. So it's, it's not flat. It's not flat. We need to get some depth in there. And that is what we are creating now. That is what you are trying to create. Aside inside of the noose. The darker parts, mostly. We are painting the dark pads. That is a sinusitis. See the 3D like look. It's coming out. It's imagine getting their 3D like the darker parts, shadows. So we've gotten that, please work on that path as well. So you see that now we have the 3D like this. Though. This is a 2D picture. You see the news is creating the 3D like look that gets in the heaviness. That is the beauty of work on the edges. Not part of the highlights, the shadows, the mid tones. It's very, very necessary. Sheet. The highlights, the top of the moose, just the top of the news. That side has to be very thin, very light. It's not as dark as the other sites came to where it's just a little easier hand doing independent, easier hunt. 14. Shading The Lips And Mouth : Now we're going to shoot the mouth. Fine-tune the month. After dealing with the Lewis. We'll come back to the notes. Do we need to do it bit by bit? Now, we are with the math. The math too. We are using the same pencil. The same pencil. That is for the same pencil. Work on the left, you see the lifts. You see how the lips look like, the texture of the list. It's not you don't paint it. Are you doing **** horizontally? You do it vertically. We do it vertically. So that is how the taste of the human lives is. Fine. Teenager. The lower part of the lip deepen the edges. We want that part is very, very thick. The edges of the little man lives is very thick. So we deepen that part, includes the inner one, the one separating the upper and the lower leg. That is, when the mouth is closed. The shadow there. Now we are painting that top lip. Achieving the top part of the lip by which we come to the lower back. You see that the edges of the lip, he had dead cat and the notepads dark darker than the inner part. Yeah, we are done with their lives. We had done with the list, fainting death. She and I lead to L2. 15. Shading The Face. (Highlights, Shadows And Mid-tones): Now we are coming to the fish. We are done with the ellipse area, but we are now coming to shield the fish with the phase we are using 77 B because it's very dark. The human face is very dark. However, we are going to see it in three parts. The first part is the highlights, mid tones and shadows. The highlights or the lighter parts of the skin. The Chaldeans are the darker parts. And the mid tones is between the shadows and the highlights. Midtones is between the shadows and the highlights. We are shifting the fish. We are dealing with their cheek. They cheat, some parts are high, some parts are blue. We are painting, we're shading the face. You see the humanity taster. The, the, the pull down, the lines come down. They don't go across horizontally known by the vesicle. That is how the shading as you create it. You didn't do the sea horse and on one side they come together, said No, we do it bit by bit. So now moving to the right side of the face and do the same thing we've done on the right side. The units on the cheek, cheek, pain, the shadows and the highlights. We are creating the foundation for the whole fees. So she ended diligently carefully with time. The patient's real human face. This side is the shadows, backpacks, shadows. Then we move a little closer to the chin, to the midtones. Midtones, the mid tones. Gifted kids need to get that dent in their lives under the news. So she was trying to create that 3D like the way the mustaches. He doesn't have a mustache do this justice. Creating random mustaches. He seemed it looks like a 3D drawing. That is it. And gone to the lower parts of their lives and their lives, let it change. When did she say? That's sad, is that mid-tones. Getting to the duck cup, but getting to the darker parts that in the shadows. Come to the chin. Mbas group. We're not giving it we're not given a beer. Yes. She didn't wear the very important to get that dark patch. So now we come to the forehead. Forehead. This place is very dicey. Lot of highlights, blue lights and midtones here. The shading has to be done diligent. Take your time and do the shading on the forehead. Look at how I'm doing the sheet. Do it bit by bit. Gradually, gradually a new sheet downwards. You doing she the cross. Vertically, not horizontally. I see sheet that there may be imperfections around the edges. You tried to fine tune that. Now as we seen, that face, Colorado, the interface around the eyes, the nose, and every part of the body, every part of the face. This bar to the shadows that. But now we are using 70 for the face. The eye using seven for the face is the button to create the shadows. Now you can see the highlights, mid tones and shadows. The highlights, this is the brightest spots. So where the shin is, the cheek, cheek than the path of the cheek, that midtones. And just above it, that is the highlights. You see that I've left some portions where there is no shielding that please is the highlights. Those places are the highlights. And it demands diligent sheet as well. I'll come back later and work on that path. But for now, I'm working on that darker patch, the shadows, and the mid tones. I'll come back to the highlights later on because that please niche critical. She'd let me work on the mid tones and shadows feste. Come back to the highlights. So you see we're creating a human being. Yeah, still working on the shadows, the mid tones. Now we're back to the highlights. So you see the halides. You losing your hand, you're doing deep in your hand. Losing your hand and led to the highlights are the brightest spot in the skin. That is the shape. The cheek, sorry, the cheek. You painted legs, you light the light do at those spots are the highlights, the brights and pride, right? Part of the skin. So you take your time and do ship that part properly. And just under the eyes. Just under the eyes too. There are a few highlights there. Then. Just in-between the eyes. In-between the two eyes leading to the news. The forehead. Some highlights to the aswell. You take your time. Then around the eyes than a few highlights that it's not easy doing this kind of shading, especially she didn't pencil. But with time and patience and diligence, you can create amazing things and skin tones. Create amazing skin tones. Look at the texture of the skin that we are creating. This is not a realistic drawing. This just black and white to draw. So you see what we have. 16. Fine Tuning The Skin Tones And Texture : Now we are coming to see the ears. We are using the same seven B pencil. So you see the ears, the inner part of the ears. And it has to be real. You take your time. There are shadows and highlights. The so if you've observed people, the ears, you see there are places that are buried death. There are places that are very bright. The places that are in-between. You recall those images and you recreate. The inner part of the year is very dark, very dark, and get into the outer parts where the layers are. Those paths have shadows and a few highlights. Then you try to create a shade it to be as close as possible, to make it look like, at least closer to real. So that is how she did it. Take your time. Take your time. Then if we fine-tune the skin. Now we're going to fine-tune this game by webinar, as we did for the head. To the smooth skin, it has to be smooth after shading. You'll see that it's not, it, it's not as smooth as the human skin. So you use your hand to rub it where they naturally the humans can have something like dead, deep, deep, deep, deep shadows, DAC packs. Now we are going to use that hand to rub over the paintings, the shading to ensure that we get those dark parts produce human-like features. Use the fees that touches on the face. So that is what we are trying to create. Lobar fingers that gets that. And we call it the imperfections. We are almost done right now. We are trying to fine-tune the whole thing, creating textures on the skin, the face. So it is very important to add this path as well. She'd with your fingers where you need them. You need to bring the penciling. You bring it in where you need to use your finger, you use your finger. This is a low budget sketch. That is why I decided to use just a pencil and a piece of paper. Anybody can do this in importance, can do this. We will get to the surface to get some shiny little shiny look. Whoops. Fainting the cheek. Nice. Details. Them all. By using our finger to spread it out. Spread it out, and to transition that tastes us well. We are doing, we are using the fingers to **** well over the shifting to ensure smooth transition. For there are places that have very sharp edges to reuse the fingers to ensure the smooth transition between those lines. That is how the human skin, that is how the texture is. So we use the finger to Robert to ensure smooth transition between the skin tones and textures. We're coming to the lower part of the budget, come into the lower part of the body. And now we are working on the neck. We're going to work on the neck. And we give it an accident. We give him an attack. Fine tuning the edges of the shoulder and the neck and the acti he's wearing. 17. Shading The Neck : Now we're seeing the neck. So this is how we do it. It takes time. There are also a few shadows and highlights here, together with the mid tones. So you ensure you get it as real, as close to real as possible. You take your time, then you see the neck as well. Just under the chin. Is the DAC packs. You and show those bytes are dark, then get into the sides of the chin to those places are dark as well. The shadows then come into the middle of the neck. Few mid tones and highlights that you tried to blend the two to get the realistic look that we want. Is our nice gentleman. Very nice, gentle. What's the name do we give him? You didn't know him yet? Let's finish. You lose like Maxwell lists like that. Let's finish. So come to the neck where the mid tones shadows and the highlights. Then as you know, we use a finger to move to ensure smooth transitions. Between the smooth transition. Word, look through rocky edges. But maybe humans, Perfect. So when trying to recreate an image of human, you make it as close as possible as perfect. You can get exactly the same. But make it so clues as perfect. 18. Designing And Giving Texture To The Attire : Now we come to that. We are coming to shade the actor he is wearing. This one we are just creating this attack has no formula. So unlike the human skin, where there's a standard protocol you need to follow that are created as anyhow you like. But it has to be real to shading the attacker he's wearing. The shading of that time he's wearing has no exact formula, unlike the skin tones or texture. But it has to be close to real. This is the button He's wearing. A button. The button is, as you can see, that has lights, Ticket time. You lose in your hand a little bit. And brushes through will be through a little. Yes. To give it some texture. Then you robot finger leverage ratios, smooth transition between the lines. She did. Show that level of the attack. Then do some small design here. Something like this. I just creating something small disaster until it's used as well. We create some taste cell for data by Robin there. So just to deepen your hand, just losing it to them. You brush it through varicella till then to get, to get the texture that attacker has In this part two, but because it's an odd time, it's on a light background. We give it this style. Then. We shifted just a little little softer now a hand when she didn't hear. Just and then we give it that look to make it look like a real, a real actor. Then ensure smooth transitions whereby Robin our fingers too late. 19. Final Work : This portrait of a nice gentleman that we haven't seen before that will treat and look at the head. You see the head, the shape of the forehead, eye, the details they lose. That lifts the cheek, chin, the neck that he's wearing. And you see that this is a complete with a nice gentleman. Thank you for watching this course. See you in the next course. Bye bye.