Drawing Portraits: Sketching Eyes, Noses, Mouths | Emily Armstrong | Skillshare

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Drawing Portraits: Sketching Eyes, Noses, Mouths

teacher avatar Emily Armstrong, The Pencil Room Online

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

13 Lessons (1h 56m)
    • 1. Intro To The Class

      2:03
    • 2. Your Project

      1:00
    • 3. Why I Teach This Way (And Why Portraits Seem So Tricky!)

      2:24
    • 4. Eyes 1: The Full Process

      32:08
    • 5. Eyes 2 (Sped Up Process)

      5:32
    • 6. Eyes 3 (Sped Up Process)

      5:36
    • 7. Nose 1: The full process

      24:11
    • 8. Nose 2 (Sped up video)

      3:31
    • 9. Nose 3 (Sped up video)

      4:01
    • 10. Mouth 1: The Full Process

      19:55
    • 11. Mouth 2 (Sped Up Process)

      4:25
    • 12. Mouth 3 (Sped Up Process)

      8:45
    • 13. Summary

      2:56
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About This Class

Welcome to this class on sketching the features of the face. In this class you will learn techniques to help you see line and tone and accurately draw eyes, noses and mouths.

Faces are one of the most intriguing and also the most difficult subjects to draw, in large part because of the preconceived ideas we have of what a face SHOULD look like. In this class I'll help you to cut through what you think you know about faces to help you see exactly what you are looking at in terms of line and tone.

And it's a long one! The full class starts by taking you through drawing a set of eyes from start to finish with direction and tips as we go. After this you will see two short videos showing a similar process that have been sped up to fit within five minutes. This is repeated with the noses and then again with the mouths.

How best to use this class:

Ive attached free image sheets of the eyes, noses and mouths I use in this class in the Project & Resources section and I would really encourage you to draw along with the first video of each feature of the face so you can notice the elements I discuss and practice applying them to your own drawing. You can then see these concepts repeated in the two quick following videos.  (Please note: Resource downloads are not available on the Skillshare app, only through the webpage).

Give yourself enough time to go slowly and look carefully at the images you are drawing. Practice makes better than no practice!

This is an intermediate level class that assumes an understanding of basic drawing techniques including sketching and shading. If you feel you need more practice in these areas you could check out the following classes:

https://www.skillshare.com/classes/Drawing-Line-Quality/894565513

https://www.skillshare.com/classes/Drawing-Shading/670481197

If you have any questions please don't hesitate to ask via the Discussion tab.

Meet Your Teacher

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Emily Armstrong

The Pencil Room Online

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Transcripts

1. Intro To The Class: thanks for joining me for the second class in portraiture. In the first class, we looked at how to lay out to the face. And if you haven't done that class already, you might want to go back and do that one first before you carry on with this one. So you know how to start your portrait. This class will be looking specifically at the features of the face. So the eyes and nose the mouth so we'll be sketching will be shading will be working on during realistically and getting an accurate likeness. This is an intermediate level listen and a basic understanding of shading and sketching ISS required. If you want to fully benefit from this class, we won't be completing a finished portrait in this. Listen that hopefully you can take what you learn here, and you can apply it to drawing that you might already be doing. Or you could take the follow on this and unfortunately, which will take you through during a portrait from stat to finish project for this class is to create a page of sketches of different eyes, different noses in different amounts and will draw these from photographs. Andi I think if you can choose at least two different variations being it gives you a good chance to practice, but also to see how Mels and eyes and noses can really differ from each other. If you are able to download the resource sheet said I've got for you and print those off being you can draw along with me and you have your project at least halfway complete by the end of the Lisa. The materials for this class of really simple. You'll just need a piece paper or a sketchbook, and you need three pencils. You need a light pencil meeting pencil in a dark pencil, and I would suggest a to H for your lighter. Spencer A to be for your meeting pencil and a six B for your doctors pencil. Oh, and you might want a patty a razor as well, just to erase some of our light initial sketching 2. Your Project: project for this class is to create a page of sketches of different eyes, different noses in different amounts and will draw these from photographs. Andi, I think if you can choose at least two different variations being, it gives you a good chance to practice, but also to see how Mels and eyes and noses can really differ from each other. If you are able to download the resource sheet said I've got for you and print those off being you can draw along with me and you have your project at least halfway complete by the end of policing the materials. For this class of really simple, you'll just need a piece paper or a sketchbook, and you need three pencils. You need a light pencil meeting pencil in a dark pencil, and I would suggest a to H for your lighter. Spencer A. To be for your meeting pencil and a six B for your doctors pencil. Oh, and you might want a patty a razor as well, just to erase some of our light initial sketching 3. Why I Teach This Way (And Why Portraits Seem So Tricky!): So when I takes realistic drawing, I focus on helping students to draw what they see rather than what they know of what we're looking at, because their brains can play tricks on us. And they're a couple of techniques that I have used in previous listens, and I'll be using them again today. Probably the most useful, when I think, is to start off your sketching with straight lines, and I'll show you how to do this as we go along. But I wanted to explain why we're gonna be drawing that way first. So if you can think of a time when you've seen a young child draw a face or maybe even imagine how you would go about explaining to a child how to draw a face, you'd probably here in instruction. That goes something like official. Draw a circle, and then you draw two eyes, or there could be two eyes and an arm and shape her nose and then curved mouth. And while this is a really valid way to learn how to draw and had a communicate ideas visually, it illustrates a way that we tend to simplify. Forms were drawing, and especially with people in animals. We draw shapes it visually, communicate or symbolize something rather than what we actually see. Now the problem with this is it. Sometimes we want to draw realistically. Those general shapes there, so entrenched, begin to take the place of the real thing in our mind's eye, which is way a beginner's portrait might feature maybe a generally rounded face, those arm and shaped eyes, maybe a son lipped mouse with an outline around us. If you've taken the previous listen on portrait layout, you might remember the very simple sketch that we did, and that's really find to communicate an idea. But then we want to be able to take that food that in buildup, realistic looking features that beer a resemblance to whoever you're drawing. So how do we do this sketching with straight lines? So this helps us to avoid drawing overly rounded shapes, especially with the eyes and the mouth. And it helps us to see the correct angles and lines of what we're drawing, rather than drawing what we think that it looks like. So I know that's a bit of a spiel, but thank you for listening. I think it's really important to understand why we're doing things a certain way in these lessons 4. Eyes 1: The Full Process: we're going to start off during some eyes and this is the sheet that you can download. It will be somewhere in a link below, so you can print that off. Then you can draw along with me. And like I said earlier, you can have most of your project done by the Internet. Listen, I'm going to choose just one set of eyes to draw. I'll take you through that step by step, and then I will also show you you video of me during the other two. But I'll speed it up so that doesn't take so much time. You can still see the process, but you don't have toe. Listen to me or watch me painstakingly during order. Little details. I've got my three pencils here. I've got to H for my lighters Pencil to be for my middle pencil in in the six B for my darker Spencer, and we'll be using those and net water. So I'm starting with my two h pencil too lightly skitch. In my initial lines, I've also got a grape party, a razor, and here's the print out. I've just covered over the other two piers of eyes so that they're not distracting. I'm going to start with this pair of eyes at the top, and this is a really good example of eyes that are fairly general looking eyes that we would look at them and say It's the arm and shaped, But we need have a really good look at them. This bottom lead here. It's actually a straight line from about here to about here. It's did straight across. It's a horizontal line, and on this I maybe I can't find a horizontal line. But I confined this straight line here on an angle. I confined this one on the top lead that goes straight at about 45 degrees, and I could even break this lower lid up into maybe two or three straight lines joined together. Same with this top lead here, which looks very curved, but there's definitely a straight line to about here on an angle, and then I can break this up and 23 straight lines overall. So that's what I'm going to do first is I'm going to look for the straight lines. We're gonna start with this I here in the corner, small straight line there. I'm just using light sketching marks. So I got the no part of the corner of the eye and then I've got 123 straight lines that I've joined together. And later on, when I go to build this up, I could join those enough form. Hopefully, that curve quite accurately. I'm gonna come up to the apple, it thinking about the angle apple it is on. And even though this is very curved here, I'm going to treat it as a straight line as much as I can Is a straight line that comes down here, Not a little line here. Might have taken this a little bit too extreme, so I'm just gonna bring it down a little bit. Even the, um, iris inside the eye. Aiken treatise. Straight lines. Maybe two or three straight lines joined together instead of around Kurth. And I'm also looking at the negative space off the white of the eye forms a kind of a triangle in there. Then on this side, there's a bigger triangle. It's a bit of a straight line here. What would be a really good idea if you can print this out is to go through an actually drawer straight lines over those curves. Siris of straight lines. Maybe 1234 for the lower lid and maybe three for the apple. It we can do the same thing with this crease of the I hear Weaken Jordan straight lines again. It looks very cooped, but I'm going to try and break it up this line and straight across the top, come down a bit, come down a bit. A keen. So there's all my initial sketches. It's a Siris of straight lines, and I'm gonna come across to the second I. And if you remember from the first video, usually there's about five eyes across the face. So, generally speaking, the space here should be about the length of one. I I'm just gonna measure that. I would say that's about right about here. To hear should be about the same as from here to here. Put in the other eye, starting with this straight line. It's a bit different to this. First, I doesn't have so much of a change in this inner I pat this one just steps from the corner and then go straight up on an angle. It's a little bit list in 45 degrees, and I'm going to draw a line straight across here. See if I can break this up into about three lines and mean wrong. Bert, just inside the iris, comes straight down it. So fairly long line there. Let's go back to this corner. It's a little bit of a line on its own, their straight line. Then it comes, did straight across, and then it starts to come up and meet with the other part of the eye. I'm going to look at the iris again and looking at the white spaces off the I to help gauge the shape of the iris. And even though we know the irises round, I'm going to draw each with straight lines where I can. Small straight lines have got about three there. This one might be a bit small because I've also got that little bit. And yes, I'm just gonna make this across a little bit and again with the I Crease, even though we might think it follows the exact same CUF ISS. The eyelid I'm going to draw a straight line is going to draw what I see rather than what I think I know about it. So that's the first stage. The next stage is we can start rounding off some of these straight lines if we're happy with, um but it's important to be really careful about outlining, because if you have a look at these eyes, yes, they might be quite a dark outline along the top where the eyelashes are. But the bottom island here is probably quite likes, like a mid grey. So if we were to go and put a really big dark line along the underneath of this I hear for essentially fleshing out the whole form, we want to have this lighter been this upper? I lived here, so I'm gonna move to my to be a pencil. I'm gonna work on the apple it where I know that it's darker. I mean, rounding that off a little bit decrease. The increase is quite dark, rounding it off a bit. I'm just gonna leave the lower lids for now because I don't want to overdo them. Now. Most off the form we were drawing faces in the features comes from the shading. And you'll see that, especially when we get onto doing knows this is very little line work to do when you're drawing and knows it's mostly shading. So we're going to move on to shading now. And I'm going to shade the irises, everything I concede e except that a shaded except for these little white parts here so I could even draw around those just make a little indication where those are so that I don't go over them very lightly, shading in the race of the iris musing Cat Ridge paper. It's got a little bit of a texture to it, which means that my pizza max are gonna show up quite clearly. I'm gonna come right down to that little and I'm lower lid. I'm actually going to use the darkness off the iris to define the lower lid rather than drawing a big heavy line on the lower lid. So it's starting to look for tone now and shapes of tone. I'm going to go ahead and do this side as well in marking out some of those little highlights. You could also come and within a razor later and take most highlights out. But if you can get it right first, then it just means you're not going to mess up any of your shading by coming in within a raise it later on. Hopefully you're during along with me so you can apply these things we're talking about to your enduring again. I'm going to look at the shape of the iris at the bottom. Here we're meets the Lowell it and docking that up. It's almost black, and I'm using it to define the shape of the lower lid. This building this up a little bit, fear that it's quite back. It's pretty close to black. You have some really subtle tones inside the irises there. Yes, well, it's going to look at the in a corner of the eye, so light shed are there. There's also a highlight just here, and I want to leave that what? It's work on both eyes together, leaving those white highlights and using my two beeping. So, but I'm using it pretty lightly, just like pressure on it, because the to be can go quite back. I'm in. This person here has darker features. If I was doing someone who was very blond and it blonde eyelashes, and I probably wouldn't be using a to be right now, we'd still be using the two H and building everything up might actually go to my two h again now because I do want to put some shading in the whites of the eyes. Just see my shapes a little bit out here. The big dark area here that's part of the licious. If you have a close look at the whites of the ice, they're not actually white. They usually a very, very like gray, and there have shadow in them a swell. So I'm looking for those areas of shed open the whites of the eyes can. Maybe here, this spot here is quite white. There is a tiny little bit shadow on the inside, and that's going to help to give the eyeball a bit of roundness because it's receding here . It's more shadow on the side here. It's actually a light gray rather than a white, and I'm also going to use my two H to come up in to the fold. That's the high for the island is a highlight just here, and I'm going to leave that white, but either side of it for that to be a highlight. Either side of that needs to be show I didn just slightly in the other side as well. There's a highlight in the middle with the light of sitting. It's a little bit lighter on this side. We could do this crease. It comes right around here. Still, using my two h pencil in the color of the skin is darker than the white of the eye here. So, technically speaking, if I wanted this to be really accurate in terms of form, all of this skin area under the I should be shaded and said that it's darker than the white of the eye. Of course, you can play around with contrast, and you might want to make the light areas lighter in the dock areas. DACA. But we're thinking about accuracy in this particular video. And again, all of this area above the I needs to be darker. Been this highlight on island. It's just slightly darker in this part of the island, but then it gets lighter here, even though it's lighter here, it's still darker than the white of the eye, said it. Shade all of that in just for the very, very light layer off to HB pencil. And if you remember from my shading video. If you've watched that one, it's all about building up from light to dark. So we start with a light layer covering that whole area, and then we can build up these dark areas over top. And that's how we get a nice blend from one tone toe. Another. It does take patients, but the shading is how you get the three D sense of full so it's gonna be done if you want a realistic drawing, I said. It's the first layer of shading on this. I moved to this. I I'm going to do the same thing. I'm gonna shade all of this area here above the I a light layer, very light gray so that it's dark of in these highlights it ever identified. I'm not really working in any particular direction with my shading kind of going one way and then the other way. And if you keep it light enough and you're keeping your pressure consistent and especially if you've got a bit of texture on your paper bean, that shouldn't really make a difference if you're changing direction. So I got my light layer and going to go in and put another slightly darker layer over top store with my two h building up a little bit like putting on, I said, Oh, to a light layer and in a dark place for those woman who were watching can do under the IAS well again. The skin here is DACA when we compare it to the white of the eye, which is like Ray. Anyway, this is a Dhaka gray, and you'll notice that I haven't started on the eyelashes, all the peoples or any of those things, because I want to get all my shading right first. And I want those to be the finishing touches for two reasons. One, because they are the the detail, the finest parts of veto and also because they're the darkest and we want to build up our tone from light to dark. I'm still a little bit more out here, creating a base layer of shading so I can build on it with my to be pencil without it looking to stack against the white of the paper does carry down very lightly down towards the nose. This area here is quite important to you. Between the eyes. That's that little Racists where the four hit comes in a little bit. I'm just figuring, figuring that out towards the top and then figuring it out towards the bottom as well because we're not really focusing on that area now. Okay, back tomorrow to beeping, so building up a little bit more. Ditto, actually, for I do that, I'm just going to use my two h just to put in the eyebrows here. This is really might use my paints or in a particular direction to give an idea of the direction of the here off the eyebrows. But I'm not worrying about doing really individual. He is. I'm thinking more about the shape in the tone and where it lines up with the eye. So it comes up to about here and this one, too. You could actually even draw that in his straight lines. This one. I'm going to do that because it's quite a defined shape. I can see the whole thing. Then we're going to follow the direction of the here focusing too much on the eyebrows. We want to focus more on the eyes, but I'm just gonna put them in there and, you know, might do them later. once we finish the eyes. Now, I haven't got my blending stump with me. But we did look at blending in the video on shading, and this would be a really good place to use it, leading stump to get that really nice, smooth transition from the highlight here into the darker recesses off the top of the island above the island that splits the to be pencil time to start putting in the finishing touches. Gonna get back to my dark. Here is putting in the licious like the eyebrows. I'm not thinking of them as individual. He is at the moment. I'm thinking off them is a shape of shitter, kind of like a line. It's fat at one end, and then it starts to get a little bit center and just approach at the other. INGE, the bottom lid is a lot like that. That there is like a dark gray line here comes along. It's a little bit lighter on this side, but I'm not drawing that as a line. I'm shading it. It's a soon as you outline you lose the for you lose the three Dean ISS, which is what we want. This one is looking a little bit outlined at the moment, but that's because the area under the eye hasn't been built up enough. So I'm gonna very lightly use my to be pencil to integrate a bit more shading into my shading that I've done with my two h pencil. And then it's just a matter of going over everything again and building up those dark areas here, here, inside the crease, the iris building them up, even darker Now that we're pretty sure we've got them where we want them to in integrating the stack a layer with the layer underneath. So this here is a very soft line, this line of the lid crease. It's well, why I am shading it, and I'm trying to integrate it and just blend it out softly into the shading that I've already done in this layer. As we start to see the form really start toe Tushar because by ending on dock areas we're increasing the contrast between our highlight highlights in L shadows. Same on this I I'm going over the shading that I've already done on making it DACA building up the layer but integrating this layer into the layer underneath because I started off. Really. Light also means if I find any inconsistencies, no, any slight years in terms of the shape I can correct them. Sounding off light is also important because once you get to this stage, we're getting a bit darker. You want to have sorted everything out already. If I took in a razor in one of these areas now and started rubbing parts out, I'll be ruining all the subtle shading or these subtle changes between, um, like Syria to attack area. You don't have to start building them up again. It's very hard to do that smoothly when you Ranieri that you've just rubbed out, I might find some years are a little bit dac um, or some years a little bit light. So this area here, I think I think it's a little bit light. It's still the white of the page, and I can see the other white of the page should really be lift just for the white of the eye. So I'm going to just take this back a little bit. This highlight back a little bit. I've gone a little bit hard. My point. So just the A got a little bit carried away, just dabbing with my razor. Luckily, I didn't really have any other shading there, so I'm not ruining any of my Hardwick. It's the second layer. Well, maybe the sued layer. My to be pinto will go quite dark so I could use this to bring in these really dark areas now suffering my detail. I'm going to start putting in the I licious. Hopefully, you've resisted putting in the eyelashes until now. It's another one of those things that when you're drawing as a kid, us put these line eyelashes on your eyes so it's kind of hard toe, not do theirs and head out. Can I can use the lit up here looking at the lead in also looking at the shape of the iris to define the shake their shape of that line that angle with that line so you can always be flicking awry between positive and negative areas. The things outside what you during it's looking for those subtle changes and iris, I'm really happy with it. I want to look at the eyelashes. Is shapes well clumps rather than individual lines. If I'm looking at them, is shapes I can see where they line up with other parts of the I is a docket area here. I can also see clearly what angle they go on. There might be a few individual ones in the that I can put in, but it's those clumps of delicious since funny saying that. But it's those that really define, um, this particular I My prince was getting a little bit like Aleshire line is very sick room during right now, just to you. So a lot of delicious will just be represented by a dark shape or ADAC line. Even though we know that I lectures are made up of single, here's we don't want to draw, Ah, whole line of single years. And this it's what we actually see in right here. That's not what I c e. I see a clump small clump in a bigger clump, and then I see kind of a fit wide line lash line with a few tiny little here is coming at the top off their lash line. I might go to my six B. Now I can really come and dark with the irises from the darkest areas. The black areas of those irises and maybe parts of the less Linus. Well, Net six b is gonna make everything pop because it it increases. The range of tones that you're using makes the highlight seem a lot brighter. Last thing to do is take a final little look and mostly looking at tone, I should be pretty happy with the shape of five. Um, we're don it carefully to begin with. Okay? The whites of the eyes looking at the highlights, looking at the shadows, making sure I've got those correct. I think this side of the eye here. For one thing, I may have drawn it. That what triangle? It's the watch of the I a little bit, a little bit big, but I think it's also a little bit light. So I'm going to use my to be pencil just a dark and that up a bit. Just that small little thing creates a little bit more dips, a little bit more form. This spot here needs to be a little bit darker, kind of forgotten about my lid crease. It needs to be much darker on both sides. It's still not a hard each line. It's quite soft, so it's dark in the middle, and then it blends either side into the shading that's already there. Stocker on the topping on the side. Even the doctor is have variations, maybe just slightly dr on one end than the other INGE. And that makes all the difference if you can get that in your drawing. Oh, and I need to put in the lower leisure's. I just see there's a few here. I've got my might go with my six BP into actually, because it's quite shop my to be. He's got a bit blunt King. I'm looking for clumps looking for kind of elongated triangle shapes. I'm looking at the difference in tone. These wonder a little bit darker than these ones here. Go to the other. I very satel ones. The Yes, I'm keeping them just like a mid grey. You can see them a bit more clearly here. Few individual ones, you know, kind of a triangle clump over here. Triangle clump. It does have a few doctors strikes inside it, right? I might leave it there. I'll probably do just a little bit more work on the eyebrows, and I have a good look. Maybe a little bit more under the eyes. Make those a little bit back up. Everyone pretty happy with it. 5. Eyes 2 (Sped Up Process): I'm going to move on to this Knicks a device. I will draw them going through exactly the same steps, starting with my two h paint. So sketching straight lines, This particular set of eyes one is very different to the other. I in near us, um, very defined straight lines in here. So again, if you're drawing along with me and you're using this resource sheet, you could print it out and then just draw across where ever you can identify straight lines with the beer straight across, whether they're on an angle, find those straight lines before you start and no, like a C go through the same stages to H two. Skitch buildup may shading with two H in A to B and then finally going with my six b. But I'll speed up the whole video process so you can see it. But it won't be quite as long as the last one 6. Eyes 3 (Sped Up Process): some very quickly going to draw these eyes when I'm not gonna draw them quickly but speeded up. So it's pretty quick. These runs a really high contrast. You can see the whites of the eyes are actually white, so they're definitely gonna be the white of the page. The Syria here is probably also going to be the white of the page. There's a lot more detail. I might bring some of that in with a sharp pencil, a shop to be towards the inch. But mostly I'll be looking at the shape of the eyes, finding the highlights and finding the shadows, some really good eyelashes on these eyes. You can see the clumps so you can see that this kind of triangle shapes elongated triangles and those of what you're looking out for when you put on the eyelashes. 7. Nose 1: The full process: next we are going to move down the face. We're going to draw some noses. So here the noses again, these sheets down below in a link that you can download. You can put this off and you can work along with me. So I've chosen a variety of different noses, and it might look like there's a little list diesel on noses. Then you're are a nice and in terms of the line work, there is definitely less detail. But the shading is really, really important with noses because you want to get that since that knows is coming out from the face. And what creates that is your placement off the highlights in the shadows. So the highlights, usually through along the bridge of the nose and in the shadows, either side underneath. Obviously, the nostrils as well and hell fire out the nose comes as determined by your shadows as well , so you can see the snows here. It's a child. It's quite a small nose. I'm in a lot flatter than this one here in the shading that you would do on either side of it is a lot lighter because the nose doesn't come out so far from the face. Let's make a start is before I'm going to start with one, you know, take you through that nice and slowly and then I will to the other two at a faster pace. Start with this one here. Quite often you see tutorials where people draw the planes of the earth, the nose in a lot of detail. So the side plane in the side plane in these different planes around the bottom of the nose . I tend to focus more on the shape off the bottom of the nose here and then build up the plains through shading. You might choose to do a combination if you're really into the planes and you can do that as well. But I think the shape is really important. And the same way is we approach the eyes with straight lines were going approach the shape of the nose with straight lines. I'm starting with my two h beans. So I did remember my paper blender this time is well, you know, talking about about that when I'm using it. So I'm looking at the bottom of the nose here. If you've printed this off, you might like to go through and draw in any straight lines. You can see there's usually one right at the bottom of the nose. There's two angles here which can be drawn a straight lines. There's another angle here. That's what the side is slightly different in your quite often see that the nostrils will be different on each side. So using these straight lines is really important to make sure we get that likeness and see those differences starting from the middle of the knows. I'm going to one side, bitch. Angwin this nostril looks like a curve, but I'm breaking it up into straight lines joined together. Put in this line here is, well, underneath. I'm gonna go the other way to the other nostril and goes a little bit list in it. You can look and see with the nostrils lineup if they're in a straight line. These ones are also putting in the line of this shadow underneath the nostril. So I'm trying to see that dark area. Here is a shape same on the side. Trying to see the dark area is a shape. It's a bit smaller. Well, it's bigger, but the very, very black part smaller. So that's the bottom of the nose. I'm also gonna bring in these side parts of the nose the Allah off the nose. I think it's called I L I. So this is where I might do a very small amount of line work for the plains of the nose using straight lines. But what I'm really outlining very, very lightly is the shape of the shadow. And that's really all I'm going to do with my sketching the wrist. YSL shading. First thing to do is think about were the highlights are what I want to leave white. So this area a little bit on each above each nostril as well. He's actually a really fine highlight. It took the bottom of the tip of the nose as well, and that's quite important. You'll see that quite often, and you see here that my line work, even though I'm using it to H. It's fairly dark. I'm gonna have to make sure that that line work blends into the shadow under the nose, and then I leave it very fine. Highlights line a lot lighter just above my skitch Max, I'm going to start off with a very light layer of shading shading in all of the areas that aren't white. It doesn't matter how dark they are. I'm starting with a very light layer. The idea is that my shading will eventually hide my skitch lines. That's what you want to keep the sketch line. So light of this stat, this bats under the nostrils here. It doesn't make a course very top of the nostrils. It doesn't matter if those are quite dark, because that's going to become my dark shadow. Now I'm just looking at this, not joined. I might have got the shape a little bit wrong. So now is the time to correct that before I go and with my doctors shading, it's just this part here. It's not really any outline around this nostril. It it sort of just disappears into the cheek. So I'm gonna take that line back a little bit, so it's not so defined, so you can see that I don't get everything right the first time. But I'm always checking and comparing. The shading can really help you do that. If you start to look at the shading as shapes, you can sort of you can sort of fit together like a jigsaw puzzle. This highlight that I mentioned that's right under the tip of the nose. That's something I could do with my party. A razor as well. I could come and make a sharp point on my party. A razor in at the inch. Just take out that highlight shading under the nose. I hope you're drawing along with me. Could be using the same photograph. What? You might just be watching. It's okay. Well, you could be drawing a different nose, maybe a project that you're working on, working on it while you watch and listen and seeing if you can apply the same things that I'm doing to the knows that you're drawing Gonna put on the Syria here. So the idea is that we create a light base of shading, and then we can build up these slightly darker layers over top, and they're gonna blend and really nicely, and they're not going to show any lines or outlines. That's my first layer shading. And I might bring in my blending stump now and just blend in those very light areas of shading into the white. Just gonna clean this off a little bit. So blending stump or a paper stump. It's basically just rolled up paper. And it's a little bit like when you use your finger to smudge that it's pita because your finger here's oil on it and it's very hard to, um, just much a tiny amount. You tend to smudge a lot more than you need to, even though it's really fun. I would recommend getting a blending stump if you wanting to have nice, smooth transitions. My style is feeling Lucinschi itchy. I like having a bit of energy in my pencil, max, so I don't often use the blending stump in my own wick. When you use this a little bit over there layers of pencil, there's a bit of pencil lift on it, and you can actually use that or is too shade with you don't wanna go overboard. You don't want to blend over all of your shading because when you lose the subtle tones that you've created, you cleaned everything into one. Gonna bring just a little bit, uh, Griff Watch. That's what the painter was made off down here and just smudged this out a little bit with my pending stump as well. Might need to put a little bit more pizza. I don't. Okay, so, um, you might be able to see this line here. It's very dark. It's outlining the nose. It's actually flattening the area down because there isn't any outline here. There are areas of dark shadow, though, and that's what I want to take their outline that I've got here into. I wanted to disappear into the shadows, so I'm going to start to work on the straws. Got my to be pencil now, and you can look at the shape off the dock area again. And just make sure that matches your line. Work shade In that shape, all this area under the nose is quite dark. If we're thinking about the scale of tone from white to black, this is a dark gray under here trying to remember to leave that little highlight at the tip of the nose. But if I accidentally go over it all, just go in with my razor at the end. I'm using my to be pencil quite lightly because I wanted to blend into the layer that I've already put down with my to H pencil. I don't want to create any hard edges so hard lines. It's like I'm putting down a bit of tone and then I'm figuring it out to blend into the tone underneath. Coming over to I might just do the tip of the nose here I'm left handed for. So team to work, from right to left. Hopefully, you can see that it's starting to take some form that's starting to come out from the page because of the highlight here and in the shadows underneath. No, I just lost a little bit here. You mean good little guide is to chick were the tip of the nose underneath the tip of the nose lines up with the nostrils on either side. So in this case, it's slightly below the bottom of the nostrils. So I might need to bring this up a little bit, always making adjustments as we see somewhere it needs a correction, we put it in. I don't believe we get them all before we go to deck working on the other nostril. This top edge of the nostril here can be very dark, because that's were my doctors. Shadow is, and I'm using that shape of shadow, too. Define the each here between light and dark and then easing off from my to be a little bit when I get into that shading that slightly lighter still a dark gray working, honest little detail here in this little detail, I haven't quite got the shape right at the bottom line. Just looks a little bit rounded. And I think it's for two reasons. I think I need a little bit more to eight shading and here because the highlight us a little bit more on this side and my highlights just kind of general, like around white area on the top of the nose and also this area here. I maybe just have to fix up by looking at my shapes of shadow, and it's going to define the shape of the nose. I'm going to come back in with my two h put it just a very, very light layer shading on the side of the noise. Maybe a little bit more around here. The more you look, the more you see. So now I can see that this actually that's sludge gray area here and that the highlighters a little bit above their into the side. It's really subtle stuff. If you doing this sort of work and you get frustrated, it's a really good idea to go away for a little bit and come back. You can get a little bit too attached to what you're drawing and you start to focus just on one thing and you miss other things. I'm still using my to H one. I'm just making the shadow areas that I did with my to be a little bit denser by going over top of them and then figuring them out. I can't think of a better way to explain it or softening off the inches might be another way of thinking of it. This nostril here, my drawing. It's not quite the right shape. I'm just going to use my shading to put in it, feel the straight line there on that angle. It's maybe a bit too, Doc. Two things I can do. I can make everything else DACA just up the contrast so that this becomes more of a mid tone or I could take my razor. It's really important user, a party, a razor for this type of thing in just Deb gently over top of the area that I shaded a bit too dark. I don't want to rub because I don't want to change anything else. I just want to pick up a little bit of that great fight. It's taken it up a little bit and little Max like Max there. So I'm going in with my two h again, trying to tidy it up a bit. It's what you don't wanna have to raise anything if you can avoid it. I'm really happy with it. Next step for the last it is to go to my six b, Look at my darkest points and make sure I've got those and my jury. So obviously the nostrils. I'm gonna be the doctors point. That's nostril Here is well, every time I showed in these nostrils, I'm using the shape off the shadow. Teoh, make sure I've got the shape of the underneath the nose, right, peeping through the shading. Listen, you remember we talked about your range of tones, from the lightest to the darkest. So that's what I'm doing at the end here and ceasing this photograph. What's the lightest? What's the darkest, comparing different tones and then looking at my drawing and chicken. I have the same relative comparisons, and I feel like this might be just a little bit too light at the moment. The Syria I compare it to something. It's probably the same. Is the Syria here in here? The Sierra? He needs to be a little bit DACA. You're not sure? Then think about the idea of comparing. Compare it to another part of the photograph. Is it the same? Is it different? The doctor is at Lyta. No, I'm just taking my blending stick. And I'm just blending these two areas of shading Just in this year is very soft. I got a little bit of a line. I'm not going to do much at all because it's quite a bit of great fight on the paper, and I don't want to move around too much, so much. Stop there. Probably have a little bit of a re look at it in a tidy up, and I'll show you the photograph at the end. But I do want you to notice that highlight just under the nose that I've managed to leave in there. If I'd accidentally shaded over let's get my party, Rosa make it into a point. And then I could just very carefully Deb away some of the great front. So I have that highlight. So I hope it's been useful. I will speed up the others so you can see how we go through the same process off, starting with straight lines to define the bottom edge of the nose in the nostrils. Maybe a little bit of the plains of the nose. And then I build a greased up with shading, starting with the two h really nice light layers. Bring in you to be and building on top of that slowly, slowly softening off the edges of your shading so you don't have any hard lines. 8. Nose 2 (Sped up video): is the next knows this is the child's nose. It's a lot shallower angles and a lot lies a shading because we don't want it to come too far out of the face. It's quite a snub. It's a snub nose, starting with the bottom of the nostril. See, we go. Even though this looks like a shell, a curve, I'm drawing it in straight lines. Who gets sick on me, saying that you can draw your pencil over the line of the nostril and see with it are actually straight lines. There's no lines up around here. It's all very subtle shading. So I want to make sure I keep my Skitch Max very light. And I don't think I'm even going to draw any of the planes off the nose. Skitch demon Because I wanted to be a subtle, subtle shading day has done. We melt into hotel lives, bounce back against this guy outside, Uh, for God. I came here. That's a ways. There's a stupid line that spins inside my head, takes control tapes. What I know. Tell me what you never said. Uh, I came here for. That's on my way to do just one just 9. Nose 3 (Sped up video): I'm going to draw this final knows here. It's higher contrast than the other ones, and it's quite defined underneath the nose. But the planes of the nose aren't really defined because it's such a large highlight here. So I really gotta look at that. Is a shape of what? Try to find the places where it starts to become Dhaka. I was make you window. - I got this. - I need it just the same. I had gone a little bit overboard here, so just seeing me going in with my razor and taking out a few of these here is we have gone a bit too dark in the highlight area, the slightest wrong move, and it will change the whole thing. 10. Mouth 1: The Full Process: and finally, today we're going to be drawing some mouths. So this is a sheet with three sets of lips on it, and you can download this in a link below in drawer along with me. Like the other classes, I will draw the 1st 1 in detail with you and explain my process. And you could follow along with me so that you can have a goat doing Exactly what I'm doing is I do it and, you know, do the other two at a faster speed so that you can still see the process. But it doesn't take too much time. Now, in some ways melts simpler to draw, then eyes and noses, the headless Tito, then the eyes and perhaps not as much intensive shading than the noses. However, there's one thing that is really important to getting a likeness, and it's the shape of this line, this mid lip line that's going to give your portrait its expression. So we're gonna look really closely at that. We're going to draw that line in straight lines, joined up straight lines, the same technique that we've used through the last two videos. The reason we're doing that is really to get that likeness in that expression. Let's start with this. Fist won this thing. I'm going to do a seat for Woods. This might changes I go along. That's just going to give me a guideline, helping. I want to draw it and get my brain thinking about that. But then I'm going to start from the middle somewhere. We did the not stores that I'm going to start from the middle. I'm going to find those straight lines now. It's a really good one to go over the photograph with because you can definitely see the angles that it changes it. So I got maybe 1 to 3 straight lines there in 12 maybe a tiny little one on the end on the side. So what you're drawing won't be symmetrical. It's what's really important to look at both sides, thinking about the length of them. So this first line here is shorter than these other two lines, and I'm going to go the other way, using lights kitschy Max to try and find the right angle. And it's light enough during that. If I need Teoh Aiken, destroy the top, I don't need to rub it out, something like that. It might change as I go now. This line in the middle was dark, so it doesn't matter if I go quite back with my two h pencil. But if you have a look at the top of the look in the bottom of the lip, the top pitch in the bottom edge, you can see where it changes to skin. But there's no dark outline, and that's probably a place here. Some people make a mistake. This to draw an outline heavy outlined, like lip liner. I'm gonna draw really lightly. I'm still thinking about straight lines. I'm starting from the middle. I need to go see that. You can still see what I'm doing. But you could do this as light as possible. Basically what I'm drawing here, the lines and I'm during should only be as dark as the color of the liver. Definitely shouldn't be any darker, because then I'm gonna have that lip liner effect. Enough lessons, everything out. And as I do that top lip shape from noticing that maybe the lines that I've put in for this middle line and not quite right, I'm just going to adjust those, and I'm going to look at the bottom in the bottom lip. In this case, it's such a subtle each it's really gonna be done mostly with shading rather than sketching . But I'm going to make so like Max there just as a guide, and I want those to disappear when I come and put my shading over top. Keane. I'm saying, If you little year is here, I'm drawing a bit on an angle, which always makes it slightly distorted for me. Any eras at the stage, you could use your party. A razor can just dabbing rather than rubbing. Hopefully you can see that basically, all I've done is drawn on some straight lines for the middle lip line. Very light straight lines for the top, but ich in very light straight lines for the bottom lip age. Then I'm gonna move into my shading. I'm going to start with the lightest area I'm thinking about what's the highlight? This part here? And I'm going to leave that the white of the page. Everything else needs to be darker than it. And so I'm just gonna go ahead and shade in everything with this really light layer of of two h pencil. I can always go DACA. I have a talk and I want to work that way. Anyway. I want to be building up layers rather than having itches and divisions between my layers of tone, my areas of tone also going to go ahead and put in some of the shading here that forms part of the cheek. There's no lines there. I could have sketched in some light lines just as a guideline if I wanted to. But I mean, she just going to look at it as a shape off, shading off turn and have a go at shading that shape. What kind of a triangle shape here at the corner of the mouth is this shaded area just below the lips. I know this is very large, and it might be hard to see, but I will dark and everything up shortly. Machining right now is pretty scribbling, but I know that I'm going to be layering it up, going over top. I can always come back in with my two hp into if I need to just make the shading a bit denser and get rid of some of the white marks. In between my scribbles between the nose and the lips. There's some shadow area. There's a highlight just above the top lip. It's pretty important because it gives the shape the three D shape of the lip. If you've got a paper stump bleeding stump, this would be a good place to do that, just to make sure it's really subtle. I don't want to give her a moustache. I just wanted to look like gradations of skin. Turn and shed our okay. I'm gonna come in with my to be pencil now. Inch really define that seem to lip line. So like I mentioned, this is what gives the expression. It's a big part of what could see expression. It's probably the darkest part of the lips, but that line that I'm drawing now have to be careful that I'm really studying the line in making sure not just that it goes in the right place, but that it is Dhaka, where it's dark. It's lighter where it's lighter, some parts, it's thicker. In some parts, it's thinner. So, for instance, the corner of the mouth here it's a bit softer and a little bit sicker, and a bit darker. And as you come in towards the center of the mouth, it's a bit lighter. I might have actually gone a little bit too dark here, right in the center. Well, these tiny little things that you normally wouldn't even notice a really important Teoh give you the correct form. And then that form gets you the likeness. And usually that's what you're aiming for with the poor traitors. You're drawing someone, you want it to look like them. Get this end here. It's quite a soft line, and it's maybe a little bit wider. Yes, I'm pretty happy with my scene to lip line. I'm going to come back in with I might come back in with my 28 to 10 so actually and just blamed some of those areas of it seemed to look line up into the parts of the lips of the top. Look, Stocker the side. I think it's a bit last year in the middle, and then it gets darker with side again and using the two h pencil to do this just means that I'm not in too much danger of going too dark too soon. Remember, I want that each that I've drawn off the top lick to not be an outline. I wanted to disappear the lines that I initially drew. So my shading on this top lip history be is dark or darker than those initial sketch lines that I drew to get in shape. That kind of disappeared. Now, which is good means I didn't go to deck with my initial skits. And now I'm going to wick on bottom lip, leaving all this white Yuri here. There's some really fine detail, awesome lines in the lip that I can put in at the end. But generally I'm gonna leave her white shape here, and it's gonna be the highlight. It's part of the lower lip, this end here. The shading or the tone almost just disappears into the skin. In some parts. That's Billy defined. It'll looking at the shape of this area of tone that goes right along the lip underneath the highlight, and I'm using that shape for looking at that shape to make sure I've got the general shape off the lips. Correct, making sure it matches up with my initial skitch highlights mostly on this side, some darkening at the side of the lip, and I'm changing a direction off my pencil shading because they're awesome lines on the look, the kind of wrinkled surface of the lip in the lines go up that way and same over here. If you're drawing this along with me, if you downloaded this sheet, you'll be out to see this really clearly what I'm talking about. So it's getting there. So here's my highlight. If I compare the highlights to the skin underneath, the bottom left of the highlight is brighter. I've still got my skin underneath the bottom lip is the white of the page. I'm gonna take that down. A tone net might main. It's my lower lip is now a little bit light. It's not really showing up against. The skins are coming again with my two h paintsil bringing the stock area here, so this is a little bit of an outline, but it's only on this corner, so something or bringing later with shading rather than it. This stock when I'm doing my initial skitch lines, shading in some of these shadows and cheeks to get a bit more form the butt of a dimple or something in here it's a bit darker than the rest. It's a mother, Slightly darker areas. No, I know this is very light, but the tone of the photograph is actually pretty light. I could up the contrast of everything but this person. This child also has black here. And so once I up that all the tones of the face I can't really go much darker with black. Black is just black. So I'd quite like to leave the face store Quite light, A little bit more work to be done on those cheek areas. But I'm going to just have a final kind of a look at my range of tones. I've got my highlight in there. I still need some darker shadows here. So I've got my highlights. I've got my mid graze. I need to bring in those dark grays. I've also got the blacks of the middle left line, but there's some dark grays here here. Interest in the corners of the cheek. Fold there. So I bring in my to be pencil and very gently, lightly because there's no division between tones on the left. They just great eight softly from one tone to another. I'm shading that darker layer over talk. We're not putting you to sleep with my talking. It's actually kind of difficult for me to talk and draw at the same time. So when I'm talking, everything kind of slows down. But like I say, hopefully you're drawing with me the shadows in the cheek going back to my two h of just noticed. I've got quite a highlight here in. There's no highlights on the side of the mouth beneath the mouthy, and there's no highlights. I still feel like my dad crazy and not quite dark enough, so might have gone a little bit too dark name, but we'll see how it goes. Corners of the mouth very soft. There's no abrupt ending of the line near some pretty, but of shading there as well. If you hit this photo when you look closely at it, you see that there's some dark amax just here, and the direction of them is reasonably vertical. I'm gonna put those on because that helps to give that rounded shape off the bottom lip groups. It was a bit duck. Looks like she's got a faint you can see when I raise that. I took out all the shading underneath, so I'm going with my two H, building the area again and some of those vertical lines with the two h. I'm pretty happy with it. I think looking at it now, I might have got this angle slightly incorrect. I've got it going down quite far and then back up. It's a little bit less severe than that, and I probably could fix it up just by taking my razor end, raising the lower part of that line where it's coming down a bit low. It's a bit Peter better gain. I raise all my hard work by shading, so I come back in with my to H to fix that up a bit. 11. Mouth 2 (Sped Up Process): So here's the next set of lips. Very different to the first set of lips. More of a rose bud shape. A lot more penalty. There's some texture in the surface of the look. It is quite small. I'm gonna draw a little bit bigger so you can see we're gonna start off the same way. Let's give ourselves a guideline for help it. We want it to be No, just start from the center and I'm drawing in straight lines. Those in points that I match, the just a guideline. They may not match up and it's OK, so go 31234567 lines. I can draw their one to three, four, five, six. See? Even then, I'm very likely going to draw in the top left. I'm just going to start from the middle because then I can see where it lines up with the scene to line that have drawn lines up about here. 12. Mouth 3 (Sped Up Process): Okay, so we're into the final period flips here. That's on the resource photo sheet. It's in the link. You can download this and drawer along with me, and sometimes we might be drawing from a real person. But quite often we will be drawing portrait from photographs, and this is a good example of a photograph that has quite high contrast. There's a lot of white, even though that we know skin tone is not white. Obviously, it's some variation of gray. This is quite over exposed. It's very white parts of the lips of very dark and black. There's not a lot of mid grace. So for this one, even though I'll go through the same process, starting with straight lines, species for the middle of the lips, Andi, then lightly sketching out the shapes off the lips themselves with straight lines. Although I will start off like that, I'll then focus more on the shapes of shadow, and you might even see me draw in some of those shapes of shadow because they are very defined here. The dark in the light areas. I could even sketch a little bit around bet area of highlights just to know we're not to shade. Same proceeds study off light, making a mark, deciding how big I want this mouth to bay. How long I want it to be going to make it about the same size of these other ones. So So about here to hear the other thing to notice on this pair of lips is that this corner here, it's very hard to see the definition. And when that occurs, we just have to look at the shading. That's all we can do. And the shading will create the form rather than our line week starting from the middle. It's quite a straight line from here to here. Very straight. Straight across horizontal is a shorter line here that comes down slightly, maybe another very swollen right on the corner across my hers, onto line again. Then start coming down the other side. Okay, - Okay . So if you watch the last video, this last mouth all the way through, you would have seen that I mixed up a few times and had to go make some corrections halfway through. I found out that this part of the mouth wasn't quite long enough. I hadn't extended it enough and eso. I made that correction, and then I had to erase a few other things. And when you erase things with these party razors or within your razor, you end up raising some of the stuff around it. So I had to rework a few times, and I was just lucky that this one was a high contrast one, so I could afford to go quite dark over top. Now, I also put in quite a few details around the mouth around the side of the mouth, because in this particular person, that's part of the expression as thes corners of the mouth, shadows and pips indication of dim pose these little dimples here a swell. Those things are really important to the likeness of a particular mouth. That's why there's a little bit of extra work there. 13. Summary: So this is what you should end up with. Maybe not as many. You might just have to piers of eyes. You might try one or two noses and you might destroy one set of lips one mouth and it's fine, but page kind of like this for your project. And if you've been drawing along with me, then you would have at least half of it done. And you might just do a couple more just in your own time to practice. And I really hope that you'll share those with me, even if you haven't used my resource sheet. If you've just said ago drawing some other eyes, it's really important that use a photograph for this particularly exercise, because we are trying to get likeness and accuracy, so leave you with a few things to remember, firstly, sketching with straight lines. They're straight lines on angles, but they're still straight line, so one curve is broken up into maybe 234 straight lines joined together, and it helps us to see the angles of that curve rather than letting L mind to get ahead of us in drawing and exaggerated curve like a big smiley mouth or AM and eyes. The other thing is to build up your shading really carefully and slowly, and you would have seen how much time there's take. They do take a lot of time, so give yourself time as well. Don't try and do this when you've got about 20 minutes and you having to rush through it and you've got that pressure. It's fine if you want to go away and come back that allow yourself that time, too. Really, look in to build up your drawing slowly, and it is almost a meditation. So I mean, it's very good for you and that since you're taking time out from your busy life in doing some drawing and focusing just on one thing, you mind might wonder as well. But you always coming back to that one particular image. The last thing I want to leave you with is just a reminder to keep the faith. You would have heard me say this before, but I think it's really important have faced that if you are looking at what you're drawing and breaking it down into straight lines and shadows and you starting off slowly and carefully and building up layers and layers of tone and taking the time to do that. Her face that you're drawing will look like what it's supposed to look like and resist that itch to rush on him or to change something without actually looking at what you're during and I get the urge is Well, I think this should look like this. But then I take a look at the photograph and I think actually on I'm not drawing what I'm seeing. I need to go back and have a look really carefully. What is that shape? What is that line? What is that angle and drool that into my jury. So thank you for joining me. I hope you've enjoyed it. And happy drawing. See you next time.