Drawing Faces: How to draw a portrait | Joshua Johnson | Skillshare

Drawing Faces: How to draw a portrait

Joshua Johnson, Freelance Illustrator

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10 Lessons (2h)
    • 1. Introduction

      1:34
    • 2. Lesson 1 Basic Face Shapes

      6:48
    • 3. Lesson 2 Anatomy of the Eyes

      11:53
    • 4. Lesson 3 Anatomy of the Nose

      7:18
    • 5. Lesson 4 Anatomy of the Mouth

      8:58
    • 6. Lesson 5 Anatomy of the Ears

      8:27
    • 7. Lesson 6 Refining the Basic Face Shapes

      11:21
    • 8. Lesson 7 Drawing from a Photo Reference

      23:35
    • 9. Lesson 8 The Complete Portrait (Part 1)

      21:25
    • 10. Lesson 8 The Complete Portrait (Part 2)

      19:02
82 students are watching this class

About This Class

Do you want to improve your face drawing skills, or just want to impress your parents and friends? Then you have come to the right place. This class discusses how to draw any face, but not in the method that leaves you with the very specific skill of drawing Beyonce with a 6B graphite pencil. We are talking ANY FACE! (That includes Beyonce if you like.) The class includes: breaking the face down into basic shapes, arranging the shapes to make faces from you imagination, learning basic facial anatomy, refining the shapes to look more specific to the person you are drawing, and finally being able to draw whatever face you want in whatever style you prefer.

-Students will create a final portrait of a person of their choice, whether it is themselves, their best friend, their parent, or their favorite movie/tv character.

-This class is geared towards people who want to draw portraits/faces. Portraits can be utilized in illustrations, posters, fine art, animations, gifts for family and friends, or just for fun!

Deliverables

  • page of Basic Face Shapes
  • page of Eyes
  • page of Noses
  • page of Mouths
  • page of Ears
  • page of imaginary faces
  • final portrait

Transcripts

1. Introduction: Hi, I'm Josh Johnson. I'm a freelance illustrator. Mostar's throughout my career. I feud last portraiture, but I found that it is also gratifying to do just whenever you draw face. There is this bit of excitement that comes from seem like start for this class. We will be focusing on how to draw face, whether that's thrown friends, family members, someone you admire or character from your imagination. I will be showing you my process. Almost all the projects started. Just pencil medium I end up using pencil can be powerful to get the idea start. You don't need any prior experience of drawing faces or knowledge of anatomies. Participate the skills you will acquire. Class breaking the face down, facing shapes, arranging the shapes to create different face, refining the shapes to be more specific to your care. Finally finished. This class is geared towards people want to drop for offensive faces for to be utilizing illustration. Fine art animation gifts for friends, posters or just for fun. So let's get started right faces 2. Lesson 1 Basic Face Shapes: I think this lesson all you need is a pencil and paper paper could be just loose. Or it could be in a sketchbook and pencil. Can you just be a regular number two pencil? Or, if you prefer a mechanical pencil, the basic shapes that we will be breaking down include the head, the two eyes, the nose, the mouth and the two years. The first shape we will be working on is this head shape, so we can start with the most basic shapes, such as the circle, the square or the trying. But then we don't have to be so exact. We can come up with their own shapes. They could be Kirby. They could be angular. They can kind of look like the main shapes, or they can completely break the rules. Now you might look at the shape and think, Well, that doesn't look like a head, but by using the other shapes with this shape, we can turn any shape into ahead. Go ahead and fill up the entire page with different head shapes. Again, they could be angular. That could be Kirby. They can look like a circle square or triangle, or they could just be a combination of them made up. Now that you have your page of head shapes, let me show you an easy way to add features to any shape you do. A vertical line that is roughly in the center of the shape cross that vertical line with a horizontal line, and the line could be anywhere on the vertical. It could be high up, could be in the middle. Or it could even be down low. The vertical line tells us where the center of the faces and then the horizontal line tells us where we're going to place the eyes. If we place the vertical line closer to the side of our shape, it tells us that our character is looking in that direction on all of your shapes. Go through and make a vertical line and then cross it with a horizontal line. Now we can easily go in and place the features. The first shape that we're going to add to the face are the two eyes, and all we have to do is place them on our horizontal line. They don't even have to be oval shaped. They could be squares. They could be Holly Donald, or they could just be regular circles. They can be large and they could be small. It is up to you. So go ahead and add two eyes to all of your shapes, making sure to place both of the eyes on the horizontal line and putting one on either side of the vertical line. The next feature we will be adding, is the nose. Place the nose, draw shape along the vertical line. It could be high up close to the eyes. It could be down low, far away from the eyes. It can even go up above the eyes and the shape can be over. It could be square. Could be a triangle. Or you can just make it up from your imagination. Just make sure that it is placed on the vertical line. Go ahead and add a nose to all your faces. Next, we're going to add a map. You can make it in a noble shape. You can make a square shape or made up however you want. Go ahead and add a mouth toe all your heads. Lastly, we're going to add two years to our heads. You can make them up and place them wherever you want, putting one year on each side of the head. They could be curved, they could be square. They could be small, where they could be large, go ahead and had ears to the characters we have laid. The foundations for all different types of character is using the basic shapes. We will take the same heads and turn them into full fledged characters by refining the shapes into actual details. 3. Lesson 2 Anatomy of the Eyes: this lesson, you'll need paper, whether it's loose or in a sketchbook pencil, be to pencil or a mechanical pencil, whichever you prefer. Here we have an anatomical drawing of the it is made up of an eyebrow. The top lid, the bottom tear duct, which is on the side of the nose. And you've got iris, which is the lighter circle. And then inside you have a darker circle, which is the people, and then often times inside of the people, you will have a white highlight. The eye shape is made up of a few simple strokes. Black angle down and cheered out long flat, then coming back up and notice something doesn't quite me. The edge of the comes inside, so it is just made up. Six simple strokes. Let's try that again so that we could drive from our man flat, angled down, cheered up flat and then coming back up, not meeting at the end. Now, with that, the iris and people inside, and we'll have them just looking right at us. Notice how the top lid covers the top of our circle so it is cut off. We have our people inside. Then we have eyeball looking directly at its. They want them to look to the left. We have to do. But our circle, closer to life and again part of the circle is cut off by the edge of the X. Well, we will deal. It's still two guys together, so draw simple line for the nose. We'll start by drawing left. So you got hurt? Uh, a body. Do you on a flat. Coming up now. Do the same for a right hurt down. Here's a long flat. Now we'll have a person looking at us. So just put. I'm missing people covered up that top there. You have to Oslo, right? Do the same thing. But this time will have been looking. I was lying her left eye, right? I And then you will have you want the iris on the west side number? I'm a complete circle turns cut off. We have inside. Let's go back and had some of these other features so well served by drawing time and bottom to these two guys here. No said top lid kind of goes up highest to the one side. It's not exactly, um right in the middle, it's closer to the nose. So when we draw the top Ireland, we want it to go up higher, right about where it peaks, All right, that notice that it doesn't connect with our other line because is just going over the top of our and then from the bottom, I It's just that bottom part of the round I evolved is where skin meets the eyeball. Think I incised round over? It's a problem. Let's do the same thing for this. I live peaking, you know, higher, closer to the nose, just around part of the eyeball. Let's go back at the Ivor. Eyebrows starts above the tear duct, and it goes on past the age of and it's got a longer top part. And then short part of the now, the eyebrows they could match up. They look the same or one eyebrow normal. The other one are showing up like this again, starting above the tear duct, going on past the So there we have the basic components of are Now we're just going to start making up some eyes from our imagination that still use some of the anatomy from the realistic I before, so we'll start by just drawing eyebrow. It is just a line for the I we just made certain and our people and now even draw the iris . If we wanted to make more realistic, we can add to your dogs. But we don't have to draw everything exactly like first since the cheered up from outside that news that noses over here. So it was practiced wrong. The other I just like this one. Tell me, Are brown are around? I tear duct people and yeah, two eyes that match this I would say that we want to draw square eyes. You have an eyebrow. Rose is gonna be there. This guy. Now I'm gonna show you what happens when you put the peoples in different directions. So let's say this ones down here down this direction. But then this one put up here, who knows what happens is then or character has old become crazy disorient. We can still have the other elements, like tear duct, my eyelids. So your eyes could be all different shapes and still contain some from a realistic I want to draw more realistic portrait that you want to stick closer to the proportions of the anatomically correct. Go ahead and fill your page up with other eyes using the same methods they need to be cartoon or realistic. I would recommend you doing a little bit of everything. 4. Lesson 3 Anatomy of the Nose: this lesson. You leave paper whether it's loose or in a sketchbook pencil. Be number two pencil or a mechanical pencil. Whichever you prefer. You have to be the nose. Include this track is always shape, with Top called the Globe Ella. The long middle parts, which is kind of the diamond shape, the bridge where it angles down to connect with the face or the sides of the bridge. Then we have the ball, which comes many shapes, sometimes pointy, sometimes very round. Then on the sides, we have two wings, which includes nostrils. So let's break this down and practice trying it so that we can draw from memory. We'll start with Ebola at the top. Now. These two lines don't actually show up when we're driving the face. I just included them in the anatomy so you can see the separation between different parts When they actually draw Bella, you just start two diagonal lines that right into the bridge so we won't draw those two lines there. Then we'll have the ball and the bridge overlaps. Then we'll connect our two nostrils to decided of all the wings. Come up around side. Now we do variations of that by making more rounded at the global going right into the bridge. And this time I'm doing Appointee Bridge. We just around bridge on. Then the ball knows people around as well do our non strolls round beings on side? So it's in a drawing all of these different back and forth lines. We could simplify the nose just as a large U shape. So that could be a bell at the top of the bridge in the middle of all. And they're all within just our new shape. Then all we have to do is nostrils at the bottom wings, and there we have a nose. Of course, we're not going to include those middle lines that just to show you of the different parts connect. So there we have it. We can make a wide news nostrils. Wayne's side, pointy nose, pointy wings on the side. But global, a kind of connects like that too rich. You could identify more. You don't even have to have nostrils. You could just include the top are like that. That could be it knows, or you could have top part Onley draw the nostrils and the bottom part of also looks like this completely out of the top part. So it's up to you how much of the anatomy that you actually using your drawing. But it's good to have a foundation. Know where all parts connect. In case you want to draw realistic face, you could use the anatomy, help you build a realistic face. So let's go ahead and fill our pages with noses, and they can range from being realistic to assess cartoony as you want. 5. Lesson 4 Anatomy of the Mouth: this lesson. You leave paper whether it's loose or in a sketchbook pencil. Be number two pencil or a mechanical pencil, whichever you prefer. Here we have the anatomy of the mouth at the top, just below the nose. We have a little debate called the Children, and there's a little space between it. An actual top part of the top part of the left is made up of three parts. The middle part. The tuber goal is this little heart shaped peace, and then on both sides of it, we just have to proving downward sides of the upper left and on the bottom. The lower them is made up of two old shapes and squish and pull together below the bottom lip. We have intention, called the mental labial furrow, just where the muscles pull up underneath the left. Then we have little line where the chin folks out. And then we have this kind of group of muscles that make this Kurt W. Shape that hurt down from the mouth up over the gin and on the other side, the mouth has a lot more parts to it than noticed did but break it down so that we can draw from our memory. Let's start up top with Bill. So whenever we draw the Children, we don't always have to draw this full shape. That is kind of an angular U shape. Also make it curry. We could draw just the bottom part of it. Corbyn richer. Just drop one side. Then there's a little bit of space between it and to recall, which is that heart shaped? Then we've got the curving down signs of the upper lip. Then the bottom live is just These two old shapes that push together are getting in the bottom of the two gold, and we'll draw a line that goes over the lower left and then over the other side of the lower left, and I will connected up to the top lip and then we'll just part of the top lip, which will be the overlap. Then we can Darvin part of the lower left, and then we'll do occur, going the other direction, which will be our mental legal for oh, and then we can hint at this muscle here by qwerty W shape and then okay here and we could have indented chin. You just have regular check like that. And sometimes this skin connected by a nose like this. So there we have all the parts of the mouth. What's drawing in because there are a lot of parts and want to be able to draw this from our memory quickly. So let's practice it again. This time, let's use this U shape so again are to recall, is going to mirror the bottom shape of this bill. So instead of having appointing heart shaped, what we can do is have the top part of heart. Kirby. Just like spot part of guilt. And we'll have the sides of the lips put in ovals over, and we can go ahead and do lines show the separation of the lips so dark and this part of the two goal are over the top of the bottom that you are lower lip a little bit to show knows he's lower that for over there, and then we don't have to drop the whole shape. We can just show a little parts of it like that, and we can completely leave out the lines mouth. Here's the bottom of the Children, and we're going to draw to recall it's going to look just like the bottom of the Children, but then making the heart. And this time we can make a triangular top. We don't have to curb it. And for the bottom left, instead of drawing these old Now that we know that there we can just draw that line over them, making angular to connect it to the side of the lips. Nos and imagine that those overalls were still there. So now we're just going to drop a bottom lip. But again, we're gonna make it angular just because you can bottom lip for away from me, angular as well. And then courses got curry w shape, but it's making a curvy We're gonna make it angular. So Okay, so let's keep drawing more of these so that we can memorize all these different parts and so we can draw the mouth more quickly from our 6. Lesson 5 Anatomy of the Ears: this lesson. You leave paper whether it's loose or in a sketchbook, a pencil, be number two pencil or a mechanical pencil, whichever you prefer. Lastly, we have the anatomy of the year over the top. The outer rim is called the Helix, and on the inside we have this why shaped fold. Call the anti UX. Then we have that little your lap on the inside called Travis. And then we have a little bomb the other side of the year hole called the anti Travis. And then at the bottom we have your love so less parts, then the mouth and no consumed complex at first. But let's break it down so we can drive from our memory. So the start, we're going to draw the outer shape of the year first, so we'll draw. Jest shaped like that to mammal include the whole outer part of the year. Now build inside. So to start with, we're going to start up here in this corner, going on down and around the track so above the helix, and then we'll have our Travis right there. Then what we can do is again put this little triangle all right. There that will be inside of the anti helix. They will have this little bump here, the anti Travis and that her up. That and then we'll mirror this on the outside to get the recipe and you like Sometimes it's in the side of your shame. Sometimes it will actually stick out of your shape, and we'll take a look at that later. Then at the bottom, we have your low, but we don't really have to do anything to that because it's mostly just part of the average shape. And then our head go like this on the Hugh Expended comes down over the rest of the year like that have overlapped. So let's try that again. We'll start with our shape this time. Weaken changed Europe because years air different. We can make this year more around. Okay, so again we'll start with that has shaped starting up in this corner, coming down and getting the Travis there. Then we'll make our little triangle shape Wilker over to do this anti Travis here. I think I'm saying it up here. Do this again on this and I, Felix, come down here to do this time. Some years will actually connect right with head. They don't have this little intention between Logan Just connects. Right? Make that you X. So this time we'll start with bigger, Wider. It's over here. We'll start with that shape. Starts over the corner, goes almost all the way to the head shape and dumb sound for Travis. We can continue it on during Anti Travis on like this. Then we shape and then we'll do this. So I'm here with loads, sticks out, and then we can from it we can connect up here. Travis, the resort. That's the huge the anti Felix on this side. I'm in it for the low we can. We can make it go out a little bit more. But we will bring you example. Then, if you want, you can target inside Particle, that's where starts or two. You do point here. L fear, darling. Here it follows. The same saying follows the same steps as years before. But this time, instead of doing such a curve, yes, we can make it more. Yes, that we can do it all. Travis trying shape there. Uh, he likes there is one. We can Q X. Pretty good. We're here now if we wanted to simplify it, all you have to do is do the outside edge two quick as shape. You dio. That's okay that do that. I would be in here or shape less. Okay, just do that much here. We could do our hotline shape. And just a little Yes, like that. And just to about apart like that is up to you. How much of this anatomy? Didn't you included each of them? You can add all the parts to make it more realistic looking. Or you can come out some of the parts to make it look However you like. Go ahead and continue on building this page that you draw here from memory. Actually, when I suggest you Dio is on this side of the paper draw the you're going opposite way so that you're used to drawing years going in both directions. So I'll drop one of those with you right now. So it's just the opposite of like here, soldier are outside of your shape. We got head here this time starting this corner. You are asked shape to do it on around triangle. Yeah. You low there on and separate that from that year there. You're no here. You got all the same steps. And actually, we commit this. This year, this Travis part will make it bigger, and it's smaller you. 7. Lesson 6 Refining the Basic Face Shapes: this lesson, you'll need paper, whether it's loose or in a sketchbook pencil, be to pencil or a mechanical pencil, whichever you prefer. You also need the page faces that we driven less than one. So if you haven't done that yet, go back. Wash Lesson one and Philip the page. Creating the different faces from your imagination using the basic shapes now that we've gone through the anatomy of all the different features old just Fillion with shapes. So we've got the rounds. The top of the shapes a week, the shades on boards on line, these islands no shape. Who knows Here, The global of the top part that knows we'll reach just above the eye leading towards the eyebrow. Like that bridge strolls on the side. We want to Sorry, we'll move down to the mouth. So what are filled room just below the nose? Will do. House. Shall this side of shape under lives? It's those muscles. They will move on over to the year. We'll start with that shape. Dragons triable shape. There, Hugh licks us here. Go to the other side of the same staying in shape, I guess. Tribal shape Ux ux. You're a so far as other features that you can, and I'll show you a couple. One part of the cheeks there is a cheapo. It cuts diagonally between the nose and years going back, and it goes down into muscle that goes around she if you want to. It actually backs all Vairelles and the top of the head before changes planes on these two sides just above the eyebrows, and we can also getting shit. Lastly, we can hear you want, and for that just make a shape. Want hair cut over there? We have character. Of course. You can always go back again and really some of those guiding lines made. But now we have the idea of character, and we can always go and draw give without all the guidelines this time. But this is a good way to build up face. Start with the eyes, this time over more of a cartooning. So get big eyebrows on top, looking over to the right here, I for his nose, even though our sheep is down here, we don't want a global are here because the rubella it's always up next to the eyes. So since there's no shape is down here. We can just leave out available together and just picture bridge just above it. And then this could just be the ball. So we'll just have wings on the side getting inside of our shape and for the mouth from Why did you know? Here, since it's a small shape, we don't have Teoh all Oh, go into the years. They're square, so we can shape. You're low here. Same thing here, um, additional features. More I had Oh, you're mulch around that corner Or beginning she a little bit just local. Tom's hair has been cartoon eyes, rounds, eyelashes to make up over the top lip to start a bit more eyelashes on the end. I was just trying work. She's smiling. So no, that's also top lip. Take her if you want to know. So cover Okay, years shape. Really Finish it off. It was fair over this. I'm gonna go through and finish on. My face is on. You could do the same to your page. - So there you have a full page of characters she came up with from your imagination. In the next video, we're going to finding the shapes and the anatomy from reference those so when we look at a picture, will be able to find these same shapes and will be able to see the anatomy more closely. 8. Lesson 7 Drawing from a Photo Reference: this lesson. You leave paper whether it's loose or in a sketchbook pencil. Be number two pencil or a mechanical pencil, whichever you prefer. In this lesson, I will be showing you how to draw the face. Using a photo reference, I'll go through my process of finding the basic shapes on different faces and then lightly sketching in the features before placing the final details. If you're unsure about what face you want to draw, often times artists rely on their own face. It's easy enough to look at yourself in the mirror or take a photo of yourself that you could draw from. The best part about drawing a self portrait is that you are the biggest critic of your appearance. You know how you look, So when you're drawing your own face, you will be aware if certain features look correct or not. So take a photo of yourself and view the image while you draw. I will be using a photo of myself for the example, but feel free to draw your own face as you follow along. These steps will apply to any face you draw, so to start, we're just going to be looking for those main shapes that we used when drawing from our imagination. Those were the head shape. The eye shapes no shape. The mouth shape and in ear shapes will start with the head shape. And we're not looking for exact details. So you don't have to go slowly along and follow along like that. What you actually want to dio Let's just get the main idea of the head so we'll do just big strokes with head. And as you can see, the head goes up behind the hair and it doesn't have to be exact school shape because we won't even be seeing it in the end. And then we'll come down around my chin and on up, and then we will fix that little spot. There doesn't have to be perfect that Okay, so now we're gonna look for the tea. So we've got the line that goes through the middle of the eyes and then the vertical line, which we concerned about it the eyebrows and just go down to about the chin. Whenever you're using the trying to find the shapes in the face, you can use features of the face as landmarks. So for this will just go up and around the eyebrow and then will come down here, swing over, and it doesn't have to even be that exact. You can just do a quick circle. The main thing that you want to do when you're drawing the shapes is that you want toe get all the features inside of them so you wouldn't want to draw a shape like that because it's not including the eyebrows. But you also don't want to shape like that because then the features are much smaller than your shape. So you just want to try to get all the features inside of the shape that you can so kind of like that, an eyebrow in getting the under eye in. There we go. We got to I shapes, but the nose. You can just start right about here and we're going to go down this, come around the bottom of the nostril and then back up. So notice that I didn't follow along the bridge and go around the ball. That will be something that will dio later on. When we're refining the features. We just want to get the outside area next. We'll do the mouth and this mouth is going to start actually right at the bottom of the nose, and then we're going to go around side and then we'll come down just about halfway to the chin and then same on that side. So there we have our mouth shape and notice that the mouth fits within our shape. And if you want to add an extra line, you can put a horizontal line that shows where the mouth is. That so that when we refine the features, you know that the mouth is not lower, higher you can and the ears air kind of hidden behind the hair. But since we've drawn them before, we kind of know that they start about where the eyebrows are and we don't have to be exact weaken going down and they finished about at the bottom of the nose, and you, I actually can't even really see this year because my head has turned a little bit. But I can still make a shape like that. That kind of hints at the other ear, and then we can go ahead and add the neck. Noticed that the neck doesn't started the edge of the face. It actually starts in a little bit and will just draw a straight line down there. And again. This neck doesn't start at the edge of the face. It starts inside a little bit. And then we can just draw a straight line for where the shoulders air at doesn't have to be exact or anything. Okay? And then the last thing we're gonna adult change colors for this is we're gonna add in the hair, and we don't have to be specific. We just want the general shape of it. So I'm just gonna go around the outside of all my hair and you'll notice here that it starts to overlap head shape because we want our hair to be, um, we wanted to be on the head. Okay. And then lastly, I can even do a little shape like that. Show. Which way? It's curling that. So this is what you want toe lightly sketch in before we start actually drawing the details of the face. You want to get this laid out so that you can to see if the face is too long If it's too wide. If all the features air placed correctly and you're not actually going to be drawing over your photo, you're going to be drawing beside the photo. I'm just drawing on top of the photos so that you can actually see what I'm talking about now that we have our basic shapes late in weaken and lightly sketch in the features based on the anatomy that we've learned in the previous lesson. So if you remember the anatomy of the eye, we're gonna start with our side curve, then for the top part of the eye, instead of doing it flat like that, we're going to do it up and rounded a little bit. And then we've got our side when they're so it's got still got those three strokes that we had when we're practicing drawing the anatomical I then we've got the tear duct here. The long, flat part at the bottom is actually curving around the eyeball, so we'll make it a little curvy er and then that last stroke that leads not into the edge of the line. But up inside it we can add the iris next, which is the larger circle, and inside we have the people. And as you can see, there's that white highlight that is inside the people, there's actually three. But instead of doing all three get away with just doing one highlight, and we'll add that in when we shade it later. So next will do the top eyelid and notice how it doesn't touch the line of the inner eye that we drew before it's laying over the top that goes like that. The same thing for the bottom. I It doesn't connect with the lines we true before, and it goes around that round eyeball. Sit inside the head kind of folds up like that. And another line that you could do is this little eyelash line here to show the thickness of that bottom lid. And the same could be done for that top lip, too. Show thickness for both of those lids. Okay, and then we've got our eyebrow. So it's got a longer top portion and and goes like that, and it peaks up over here, drops down on side and again, we'll fill that in later. Right now, we're just lightly sketching in the anatomy. Okay, let's go to the other I. Same thing. It's got the curved part on the inside then the top part. It's a little more Kirby dropping down. So three strokes again 12 and three, and on the bottom we got the tear duct curves around the bottom of the I. It goes up inside. We got the top I lead, which does not actually touch the line that we did before. Now we got the bottom curving around that eyeball, and we can add in the little I I lash line there to give that thickness, and you'll also notice over here, where it shaded a little bit more. That this top eyelid continues on in this line here and often times it elite all the way up to the eyebrow, and you don't have to dark in this line. But when we shade later, it is a good reference point, so we can lightly draw it in there and you can't see it so much over on this side because the lighting just doesn't hit it right. But when you shade it, you can still show a little bit of it to show the form better. Okay, and then we'll add. This eyebrow appeared got again long top part, and then it curves down so and we'll get the iris people and we'll add that highlight in there when we shaded another line that you can include for this for the eyes. If I take this away, you can see that there's kind of this faint line down here where the skin meets the the hold, its in the school on and so weaken kind of Put that line in and notice how it follows along that that shape that we had made at the very beginning same thing on this side goes along that shape and actually this one, this one actually cuts in a little bit more from the shape that we made. But it then catches up and follows along there. All right, so there's our eyes. And if I go like that, you can see we have our eyes set up and again. When you sketch this, it should be light. You don't want to press too hard and make a dart because this is just kind of setting it up for us to then go back filling with the darker details. So for the nose, remember, at the top part we had the globe, Ella, and it connects right there with the eyebrows and we were practiced trying. We didn't actually draw this line that connected here. I'll take that back out. But no, that's where the top of the globe L. A. Is, and then it brakes right into the bridge, and it's kind of curvy spot and then our bridges nicely, well lit, so it should be easy to see. I'll actually take away our guidelines. You can see a little bit better. So our bridge curves up that so noticed that it's not as wide and angular as when we were practicing the anatomy, because noses come in different sizes. Um, so it's a little bit skinnier than we practice. But notice that it bulges on the sides, though, just like before. And then it comes down and widens back up for the bowl and on this face, there's not so much that separation of the ball between the wings. They kind of go together, so we don't really need to draw the ball all the way around like that. We can just come in from the wings and then do the nostril that goes right into the bottom of the ball and it right into the other nostril, and then we can add the wing on the side, okay? And then we can also get you see this faint little shading line here? That's that side of the bridge that we had seen in the anatomy like that. So we can share that in to show the three dimensions of the nose later. Okay, then we've got he's lines that come from the wings. And there we have our nose. Next up, we you will add in the mouth. So at the top, we've got our Phil trim and then right under the filter, um, we've got our to brickle on under the typical on the bottom side of the lift it had those two oval shapes, which we then just true over the top. And then we have the top lip come down outside's. Then we brought that bottom lip up to meet the top lip, and then it's got a little extra. Um, And then there's the node. Same thing on this side comes up to meet the top, flip in an extra bump, and then, um and then for this lip, we're not gonna dark it in right here, underneath here as you can see how the light hits it is actually doesn't get dark until down here. So this is where well, draw bottom. And then that part is where that mental labial furrow comes in right over the chin. You see, it kind of curves up inside of the mouth there, extra lines stepped nose down a little bit more, okay, And we'll go back and had to go to later when we do the hair, so we have the mouth drawn it. And lastly, we got two years. Start over here. So if you remember, we started with that s shaped that went around the helix. And even though you can't really see it, still know it's there. That little Travis. And then again, you can only see the other little anti Travis. But then it you know, it curves back up like that. We had that little triangle shaped there and then anti helix that came around like that matter helix in over the top. And then at the bottom, we had our ear lobe. And then we can do this line that divides the year from the side of the face. Okay, let's go to our other ear again. Get that s shape and since you can't really see it, but we know it's there drag ASUs looping up into that helix can. You can't see the anti Travis very well, but we know it's there curving up triangular spot in the and the helix going into the ear lobe, she looks on the top again. We can draw where the face meets the edge of the year. Since we've already got the head shape laid in and we see where the hairline meets, we don't need to sketch in the head because we're not gonna be able to see it behind the hair. Since we can see the chin, though, let's go ahead and and draw it in. So you're just going to be following that bottom side, the larger shape that you drew. But we're going to refine it a little. So as you go along notice, the little bumps that occur occurs slowly, chipping away, making the features more specific in less general. Other facial features that we can add in are those cheeks, and you can see them from the lighting they come down. This this one's lip a little bit more so you can make a bigger line on that side of the face and these cheek lines remember, they come down and they kind of curve around the mouth shape you can. You don't have to draw a big, strong line there, but when you shade later, you kind of shade in that area. Then up at the top of the head, there's this curve around this top part of the eye, and then it continues up into the top of the forehead. This side way the lighting comes. You kind of see that it goes in a little bit more. Then it curves around like so lightly sketched in. And then lastly, we can add in the hair, and whenever you start drawing in the hair, you want to start with big shapes. You don't want to go in and draw every single strand of hair. For example, this clump right here, which then will be able to shade later. Come on, take this section right here as a group and then following the direction that the hair goes . Simplify that a little bit. I'll take another group here, curving to Besides, so make our lines curve. Take this group here on side group here, come down side. Let's deal mass group here and how it just comes down and curls up. Do the same for the other side. So there we have hair lady with large shapes of hair and then for the clothes. We don't have to draw every curve of the clothes. We can kind of simplify it. We got our shoulder lines. I kind of do this. Me here, shoulder over here, you can draw the caller, um and then he's got a bow so we can just add in a boat. And if you want, you can get some of these lines on his shirt collar. See how they follow the curve of the neck instead of them being straight across. They go down and around following the curve of the neck. There, you've got what will be lightly sketched on your page, and now it's ready to go back in and add in the shading details. So, in the next lesson, I will walk you through this process with pencil and paper, um, and then show you how to shade it and add the background and finish your portrait 9. Lesson 8 The Complete Portrait (Part 1): this lesson. You leave paper whether it's loose or in a sketchbook pencil. Be number two pencil or a mechanical pencil, whichever you prefer. For the last lesson in this class, I will be walking through my process of drawing a complete portrait for this portrait. I chose the character Ray from Star Wars. I went online and I went on Google and typed in Ray. And then I just scroll through until I found some photos of her that we're in a position that I wanted to drop her with good lighting so that I could see your futures. And I actually chose a couple, which I will be combining together as I walk you through this process, you can choose your own image, whether it's of yourself or a friend family member. But you want to have a photo reference while you drop starting with the head shake, and we don't have to worry about all the little details of the around face. We just want to get the general size of the face. Okay, then we can put our tea face slightly tilted. Sure that a vertical line there and notice it is I'm drawing, drawing Langley so that later when I go over it, I can put the details and darker and then erase the way these guidelines start with eyes just looking for how far the futures go across the page high, they go, they go close. They are our shapes. When I'm looking for when it draws amounts, shape is that it goes about halfway through the shape. Both sides doesn't go out too wide. And it's not. You're shapes these years, actually. But the island and they come down. They had in our neck. It starts inside of the face shape. Not then draw shoulder. No. Here years relax. That Beijing driving about comes here. Here's where you use other photo to. So there are basic Chase lady. Now we're ready to go in and add details still lightly. And then so that we can adjust them, make sure they're references. I now start with I just follows that shape that I do earlier here. Art comes down. Cheers. Okay, top. It's closer. All right. So it actually does touch the top of their but it doesn't shoes rece ground care here. Bottom. That's right, Iris. Just a couple of other Okay, ever to rise. Next will do knows. Start with that club. L A top that comes right from the eyebrows. The bridge bridge. A little bit goes way. - Okay ? I don't know. She here Excited. Okay, Face, I'm going down. Start with that to recall sighs Top. Bottom line is she showed little. So I'm gonna draw that bottom. Those two a holes in the bottom went right there next to talk, actually down a little bit. This separation , you control the separation of some of the teeth. Then we'll get that curving muscle that comes down from the side of the mouth goes up. She doesn't really have much of separation coming down with nostril, so we won't draw that she Yeah. Now it's going up to the years. I can't see it. It's kind of hit you years. No there, way trying your shape. But we also really Stevo put it in. My God, it comes that and you eggs outside. This comes down to your That's right. Our face straight line there and wife goes down way do about no there. Then it cuts close to you that muscle or hers around that muscle. - Other here. Separation of capitalists she muscle that comes. - I'm just adding little details around face where I see the light hitting so that when I go back shade, these two are said to follow. So dinner with top got for Wait, This there here. And we're just trying being shapes. - Come on, neck Where? The nose over my main shape. That's right. That's why we're likely sketching so that we can make those little adjustments now, before we dark in it in Just Oh, got this line waas Just around this, Josh. Just a shame. Yeah, well, okay, so there we've got all our features laid in way can now double check to make sure that everything looks right into the eyes of basing the correct direction that we want to make sure that features are not spread apart. Too much too wide. We were distorted in any way, and they are You just go back in a race. And just so then once you got to this point instead was going to go back and shade 10. Lesson 8 The Complete Portrait (Part 2): I'm gonna start with my eyes. The darkest part is actually the people. And what I'm gonna do, though, is leave a little white spot inside of that people. That's the highlight. And that's really going to give life to the eyes. So we went. I believe that. And then I'm gonna do the same for the other one. We're gonna live my life in the same spot that we did it. So I put it up in the upper left. So I'm gonna clear in the afterlife. This people as well, even though we're photo doesn't necessarily rabbit in that spot. Still, wouldn't you start by lightly coloring in the eyeless? Lightly colored in iris there is tends to be darker. You this right? And then it is lighter As it comes down Way ice. You can see that I like remains. Does you'll sign? Okay, thanks. We're going Teoh. Here. It's a little bit your I as dark charges. Here, get slider. Yeah, - your lighters. That's the darkness. Part of the eyes. We'll come back to shake in medium tones. So now for the darkness. Tom's nose we've got He knows that the shadow is very big shadow it's about darts. Us. Okay, then with mass Underneath this top live separate justice darks years This year's in okay by most of the lion, so it only has medium and light tones this year. Over here, however, is a little bit of shadows. So it's dark spot 100 helix. It's got here and you hear this. And now that I've got my big shapes of my hair laid in and I got direction lines and show me which with air goes I don't just want a color in the hair I want to move my pencil direction that here goes just getting those thoughts. Hair is darkest now for clothing. Also here. I'm just going to erase a little bit of those guidelines that started with. So the tea race that shames. Now we can go back in and lay in medium tones. So that area around I for I she's next to the novella under Spot Church back. Okay, You love it. Top of the cliff. Bella, we're going to dark is another look like she has unibrow. But we didn't want those muscles coming down her stare. You're the brown. It's lighter. Round it's underneath. Yeah, - she this shame. Okay, Lips, actually. Let's do the bridge of the nose first shaded up here. Oh, wait. Do the Children go ahead and she a little bit right and top to topple it 100. It gets lighter or so come down here. She part of the bottom lip is shaving dark and then has a highlight. Middle of it. A little white man. Why showing through right here on the left to show that highlight? I just there this muscle does your muscle. She actually make this area a little darker. - Okay , go for it then. As well for years . Sure. Leaving words white on hair that are being hit by lightning lights spots we want to drive in the direction of years. So now getting to a point where the shading is mostly complete, I take it a step further. If I wanted to make it look more realistic, I could smudge the shading so that it smooths out creates these smoother transitions. But I kind of like the look of the pencil lines, so I'm gonna like it is. So what? I'm in dues. I'm gonna go in on a dark in the background, and then I'm also going to make a body a little darker as well. Hey, always make certain parts smoother just running this finger. But I'm gonna leave the lines inside the figures. I like the way that the pencil marks look for. And then last thing, we're gonna dio sign it for the date if you want or even just leave it like that. And there you have the finished portrait.