Drawing Portraits: The Full Portrait | Emily Armstrong | Skillshare

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Drawing Portraits: The Full Portrait

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

14 Lessons (2h 14m)
    • 1. Introduction

      1:22
    • 2. Your Project

      1:32
    • 3. Tips For Choosing a Photograph

      2:35
    • 4. Analysis of the Face

      5:13
    • 5. Layout of the Face

      5:51
    • 6. Shape of the Face

      5:46
    • 7. Eyes, Nose, Mouth Layout

      13:19
    • 8. Eyes, Nose, Mouth Shading

      38:00
    • 9. Shading Skin Tones Part 1

      8:51
    • 10. Two Little Tricks

      4:06
    • 11. Shading Skin Tones Part 2

      18:01
    • 12. Drawing Hair

      15:07
    • 13. Balancing The Overall Tones

      12:36
    • 14. Final Thoughts

      1:53
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About This Class

This intermediate to advanced level drawing class will take you through drawing a portrait from start to finish.

This class is Part 3 of a series and if you are just starting out drawing portraits I recommend you take the first two classes before taking this one to understand the basic concepts and techniques used in this lesson. However if you are new to drawing and to gain an insight into the drawing process and what there is to look forward to then of course you’re welcome to take a look!

Throughout the portrait drawing process I will talk you through important stages including sketching the layout out the face, working on the details of the eyes, nose and mouth, shading the skin tones, creating hair detail, and balancing the tones in your drawing.

This is a LONG class as I think its important for you to see the whole process, mistakes and all! Because of the length there are two ways you might use this course: 

1. Work through the entire course using the photograph file provided and drawing along with me so you can practice applying the different steps and checking significant parts of your own drawing as it is covered in the video. I suggest booking out some time across a week or two to do this, perhaps a half hour or so in the evenings.

2. If you are working on your own portraits and are having trouble with a particular area eg. the hair, or shading skin, then you might jump straight to that particular video to observe and listen to the tips given and then apply these to your own work.

Its important that you set aside some dedicated time to watch the videos and absorb the information with this type of longer processed based class, rather than rushing through. You can always set the playback speed a little faster if you need to skim - this ensures you still hear where there is relevant information given!

Check out my other classes if you are after something short and sweet!

Feel free to post in the discussion if you have any questions :)

Meet Your Teacher

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Emily Armstrong

The Pencil Room Online

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Transcripts

1. Introduction: Hi, I'm Emily. Welcome back in this intermediate people during class, I'll take you through drawing a portrait from stat to finish. I've divided the process into six different stages, and these include sketching the layout of the face, looking at the shape of the huge, the details of the eyes, nose and mouth, shading the face, looking at the detail of the here and finally balancing the overall tones of your during. No, this cast is part three of a series of classism portrait during. And if you haven't done any portrait during before, then I strongly recommend that you go back and watch Part one impact to, because I won't be covering any beginner during techniques in this particular class. If, however, your new to drawing and you just want to get an idea of what it's like to go from start to finish during a portrait, what the processes in, maybe see what there is to look for. Two. You're welcome to join me, and if you do have some experience withdrawing, maybe if you're drawing port traits on a regular basis, you might still find this class useful is a reminder of some of those tips and techniques that you could add your own during practice. 2. Your Project: the project for this classes to complete a portrait drawing using a photograph is a reference in because in the Siri's, we're focusing on drawing. Realistically. The aim of your project is to capture a likeness of your subjects, and that's going to be through carefully looking at proportion and shading and tone. I'd love to see your portray. It's drawing uploaded in the project section at the end, and if you wanted to include your photograph in the same image being, I'm really happy to give you feedback on that at the end. Just make sure you've got permission to use the photograph of species of your posting It on the Internet have included portrait photograph. Resource is for you, and you might want to pause the video and download those or print them out. You could draw from paper you could draw from screen on bears a black and white copy in a color copy, and I'll be using the black and white copy. It just makes it really easy to see the different shades of gray, but leaving a cancer shading the skin. You can, of course, apply what she learned in this class to a photograph of your own choice and used it. Issue. Subject matter may be over. Friend or family member. We might find a photograph from one of the free photo resource sites, like pixels dot com or more file dot com, which is where this photograph is from, and make so give you some tips on how to choose a suitable photograph. 3. Tips For Choosing a Photograph: the photograph that you choose to draw can have a really big impact on how easy or how difficult your task is to draw accurately. We need all the information up front so that we're not relying on our knowledge or our imagination to make anything up. And this means choosing a photograph where you can see the whole kid and making sure that all the features you want to include are actually in the photograph. So if it's a photograph where the years of covered in and you decide later on that you want to draw in the years, you're gonna have some problems if you don't have any reference there to draw from. Even if you get years from another place, it's just not gonna look riot. You might also find that in some photographs, the eyes Aaron Shadow, with its very high contrast, shadows on the face. You can't see the details of the eyes, and that's going to make it difficult if you decide to put in the pupil in or the little light reflections around the people. Unless you've got something to refer to the and it could end up looking a little bit strange and flett, and it's not realistic. So chick that the detail that you want to draw it is actually being in the photograph. If you're using a photograph of your off your phone or maybe an image from a free resource photograph site and here two issues you might come across the 1st 1 is that they might be really poorly lit and you can't see the details or that your skin tones we're all kind of washed out, and it's gonna make it really hard to get a good sense of form. You're gonna be making up shadows and again, you're going to get something that just looks a little bit off. The other thing you might come across is professional photographs where the person is probably done up and makeup, and maybe they proficiently lit Teoh, take away all the floors and just flatten out skin tones. And it's also going to make it hard toe to find something to replicate and you're drawing makeup is also quite unnatural. Winning come to draw it again, make everything look really flett and maybe a little bit cartoonish to make it easier on yourself. It also suggests avoiding portrait photographs that show teeth. So unless you've had some experience during taste, they can be a bit tricky and might come off. Is kind of Katarina? Sure, a little bit garish and scary. 4. Analysis of the Face: Before we start working on our drawing, I'm going to take you through a quick analysis of this face so we can get a good idea of the layout. Now the first thing we're gonna look for is the vertical excess of the face, and that's going to run through this point between the eyes and the middle of the chin here so I can draw in that line. And I could even make a point at the top of the heat in the bottom of the chin and match when we're drawing, warded him and help Big help portrayed. It's going to bay now. I know from the general guidelines of drawing the layout of the face that was covered in part one of the Siri's, that the line of the eyes is perpendicular to the vertical access, and it's usually halfway between the top of the huge in the bottom of the chin, and I can see here that you spits. Indeed, the case. The eyes are halfway between the bottom of the chin. In the top of the he'd the next points to find on the vertical access are the nose and the lips in bed, ending to the chin. Let's look at the nose. I find the bottom off the nose. I know from the general guidelines that usually this point at the bottom of the nose force halfway between the line of the eyebrows and the bottom of the chin, and again I can see that that's accurate in that's portrayed. This point here is halfway between the eyebrows in the bottom of the chin when we come to find the middle of the lips and the Indians of the chin. Usually that's divided up into three feely, even thirds. Let's make a little Mac here and see what the case is with this portrait. It's ending to the chin. This one is the mind of the middle of the lips, and I can see that they're not quite even. These top to foods might be even, but this bottom third here is a little bit bigger, and it's to do with effect that here he does slightly tilted backwards so her chin is a little bit closer to us in it's going to change the perspective. Likewise, if you hid was tilted down, you'd have a much bigger forehead, then you would lower half off the face, moving on to the horizontal axis, we're gonna find where the eyes lie across the face and also the width of the face. So these one I links, here's another one. And I know from the general guidelines bet usually a face. We have five I links across the width of the face. We've got one I two eyes anywhere but the space between the eyes, which is also the same links. But when we come to the sides of the face, you can see that from this I to the each of the face is perhaps a little bit bigger than one I length in Over here on the other side. The space here is differently, only about half an eye length. So that's something we need to look for when we're laying out our drawing. Those are the main things to find on the other things that we might look it are the shape of the face in a good way to help us find the shape of the face is to look at the negative spaces so I can look at this shape here outside of the face and looking at that can help me define the each of the face, the shape of the year. I could do the same of you, hear a swell, and I'm drawing with straight lines, as I've done in all the other videos. It just helps us to get more accuracy. We can always soften them off into cubes. Later on might look it those two negative spaces. I could also look at the shape of the here, maybe dividing it up into two sections, and it's going to give me the shape of the here line in the shape of the forehead as well. So we're going to go into drawing on paper soon. But I'm going to work exactly the same way as I hit here. I'm going to create the vertical access, find those points in to create a horizontal excess, and then I'm going to look at the negative spaces to get an idea of the shape off the face , the shape of the heat 5. Layout of the Face: using the information we've just discovered about the space, we will start to lay it out with pencil on paper. It's important to keep the stage really light at the moment because you might go away, take a break, come back and see that something is not quite right. And that got often happens. And if we get out pencil marks nice and light, it's a lot easier to just go over top in the right place, or we need to recon using a razor. So think of the stage is mething out the different points of the face and getting them all in the right place relating to each other in the right way before we continue on. It's not the most exciting stage of a drawing, but it's important. And if you take the time to do it now, it just makes it so much easier in the long run. And it also gives us a chance or our I to become familiar with the subject matter. I've got three pencils here, a to H A to B in six b. I've also got a couple of blending stumps. These are made from paper and they're gonna be useful for when I want to get some nice delicate skin tones and then I have a party arises just in case there's any areas of what that I need to bring back. So I've gone over the layout on the screen recording and I'm not going. Teoh. Discuss it too much here, just generally, otherwise, just doubling up on information for you. Some drawing in the vehicle excess Fist interview were to print out this piece of paper here. You could draw on top of off the photocopy, get a really good feel for the angle of that. You can also take your pizza and just compare it and check that you've got the same angle. So it's a vertical excess, and I'm going to put in horrors on to excess. It's goes through the eyes in that is perpendicular to the vertical access. So I've got kind of got across on an angle, and I'll be but hard to see what enduring right now because I'm keeping it really like to start with so I can get rid of my lines later on. Then I'm going to make a market with that. I want the top of the head to be in the bottom of the heat today and states of being equal distance from the airline to the top of the head and to the bottom of the chin. Because I know that the eyes are halfway between the top of the scale on the bottom of the scale. And I could even cheek that if I wanted to on here. Just make sure that the same going right up to the top of where the heat would be for you. It might actually be slightly bigger on this one. So that was good that I checked. And in the middle of the nose it's putting in an idea of where the eyebrow top of the eyebrows would be. And then I can find the middle. Sorry, the bottom of the nose. Halfway between that point in the bottom of the chin between here and here and when I have a quick check on my piece of paper, my photograph, I can see that it's correct. I mean, I'm putting in these thirds for the chin in the middle of the lips, and when I did the screen recording, we noticed that the chin area was a little bit bigger, and I think probably from the bottom of the nose to the lips is also a bit bigger. So from the middle of the lips to that Indian to the chin is gonna be the smaller food. Make sure I've got it right in. This could change as I goes a find different ways off analyzing the photograph. I see it in different ways. I'm gonna put the eyes and the place where each corner of the eye stats usually lines up with the each of the nose you do. You have to take here to have a look because because her face is on an angle, who knows? It's going to be slightly to one side the way that reviewing it. And we noticed in the layout analysis that this side off the face between the I in the each of the face was only about half an eye links, and you can see that each side of the face is a different width. We could compare those without paint, so if we want to, this one here is about 3/4. That one there. It's probably about right. The sides of the face can change later on because we'll start from the middle of the face and we'll work out with. So we'll start with the eyes, nose the mouth and then we can adjust if we need to. We can bring the top of the head in the bottom of the chin inwards as well. So there. I've got my very basic layout. I've got vertical access, the horizontal access. I've got the eyebrow line. When we put in the bottom of the nose, we put in the foods that make up the space between the nose in the middle of the lips and ending to the chin. And then we've got the air links across the horizontal excess. There, you can see that I've got 1234 even I links 1234 And then I've got this little half I links on that side of the face 6. Shape of the Face: so even though the shape of the face or the width and the length of face might change as we go along, we can still take a look at the general shape of the face now and get a feel for it. So I'm going to draw it and straight lines. I'm starting with the bottom of the chin, and I'm looking at that as a straight line that is almost perpendicular to the line of the eyes, a slightly different angle. And then I'm looking at the bottom of the jaw line there, and it's almost straight across. And that's where we could be deceived, because we know that the joy usually slants upwards. But because of the angle of her face, it's it's it's pretty close to horizontal is a slight angle there during another straight line up to the side of the face, maybe breaking it up into two lines and going to the other sides. So I'm looking at the angle here. I'm thinking in my hedge, maybe 45 degrees, a little bit, a little bit less than 45 degrees from the vertical. The slime here, almost vertical so I can see them might have gone slightly wrong here cause this isn't gonna met Chuck with my huge of the face. And it might be, I think, that the chin is a little bit short, a little bit Naret. So keep this video is organic as possible. I think it's quite important for you to see the whole process rather than may just editing actual, that it's really make little mistakes. The bits for me. That's what Port Direct during is you're constantly reevaluating. And then what I'm gonna do now is look at the shape off the here, the shape here in the shape here like we did on the screen recording earlier. So I'm looking from the line of the eyes. It's a vertical line. Going up starts come in and it changes about middle of the way through that, I said the whole time I'm comparing from lining things up, and those were techniques that were covered in other videos. You can check those out if you want to. This is the inside line of the here I could look at where the top of the eye lines up with the eyes that comes in a little bit below the eyes and then I can draw the outside each of the here. I'm giving it really loose. It's probably going to change. I'm expecting that. But I'm still drawing in straight lines, looking for the angles rather than having to try and get accurate kids. I can look at these negative shapes here like we did on screen recording again. I'm still looking at them in terms of angles, but I'm focusing on this negative space here, and that could include the bottom off. The year when I do that, I'm doing a quick chick saying, If my middle of the lips or the bottom corner of the left, where that would be bottom corner of the mouth saying that that does indeed line up with the bottom of the ear I think it will and still focusing on this negative shape, and it's showing me that I've got the neckline in slightly the wrong place that brought it over a little bit too much so that negative space trick is really useful. And then I could do the same on the opposite side. Looking at the space here. Okay, we have ah, side of the Knick lines up with the I looking at were one side of the shoulders line up with the other side, and this isn't so important this theory, anyway, because I'm not going to do that in detail for this one. But it does give a little bit of context, for the face remains. A face isn't just floating, so that's looking at the shape of the head in the negative space. And we know look at this objectively. Now I can already see a few little areas that aren't quite right. I'm wondering if the chin is a little bit too short and I've also got this kind of corner of the jaw here, and that's going to need to be rounded off as we go along, but it's giving me a place to start. 7. Eyes, Nose, Mouth Layout: So now we get into the more exciting part of the drawing where things are going to start taking form. We're work on the features and start looking more like a real person, 19 to start with the eyes being moved onto the nose and in the mouth, you might find it somewhere else in the face feels like a more natural starting point. But I think if you start with the eyes, then it gives you an idea of where the drawing is heated. And also starting with those central features means that if you need to later on, it's a lot easier to adjust the face the size of the face by bringing the width and or the length bringing the top on the bottom of the head and towards those central features. So now we're getting into the details of the face, and I'm still using my two h pencil because I want to make sure I get everything right before I go to Doc, particularly with the eyes and nose in the mouth, because that's were the likeness of the faces, so we'll see how we go. I might speed up some of this part of the video, Mr Pignon, How long it takes? I don't explain what I'm doing first, so I'm looking at the angles of the ice. We did this in portrait drawing number two when we looked at the features of the face on breaking the top of the eye up into angles. So maybe three lines that have joined together rather than occurred. And I'm really looking for anything that I can see. That's a horizontal line because I know horizontal. It's it's really easy for me to it to figure out. I just follow the age of my page. I'm just measuring the spices between the corner of the eye to the middle of the face. Middle of the face, uh, to be the notice starts to slide down into the eye rhesus into the eye socket. I'm just doing that by running my pinto across as I look at it and flicking my eye back and forth. I'm kind of feeling out the distances is I go just to see if there's anything that I noticed that is an accurate I'm going to start on this. I hear if I hold a pizza up, I can see that on the horizontal line. This I starts well below the corner of this I so I could make sure that that's the case of my drawings. Well, it will be actually be with the increases straight in line with that corner, the island crease. I can also see that this first line of the upper I as almost horizontal the bottom lid of that I we want to keep especially like because if you have a good look at the photograph is actually very little outlining their we don't want to You rubbing away dock lines and making this. I was feeling out a few things again, looking at this shade under the eye so all of these things can help us put together the face like a jigsaw so I can look at that shadow. Then I can look at the space between that shadow to rear the Allah the side of the nose starts. Okay. Angles of the nurse, you know, go down to the bottom of the nose here and using straight lines during in the shape of the nostrils. Looking for verticals is a critical there. Looking at were the ally of the nose lines up with the I or the people was the I. And then I'm I'm going to draw in a bit of a shape here to represent the point of the nose or the top of the nose. I don't often work in this way looking at the planes, but it's quite an important part of this. Knows, I think, to get really useful look and within the nose looking at were parts lineup. So we're does the nostril on the lift. The bottom of that way. Does it line up with the nostril on the right into a double check on the side, its shadows under the eye just very lightly during them in a shapes again, It's just a way of mapping out the different parts and saying how I encourage my layout might have bean or might not have been during the eyebrows. Now, looking at the angles can see this eyebrow come to right up to the side of the face and minus, which is good. That's a good sign. We can look at this shape of the socket of the I in where lines up with different parts of the face, seven oars, and I can use that to find the placement for the eyebrow. So I'm gonna put in the line of the lips, the middle line, and I would always do that first before putting in the top lip in the bottom lip. Really important to the likeness. I can look at how the middle line may or may not line up with the line of the eyes and the bottom of the nose, and I can see this but does divert slightly from that angle when they're single, I can look at where the corners of the mouth line up with the I or the people. This one's slightly outside the people and I'm looking at were the changes in the lip line line up with the nostrils. Now, if I got something wrong with the nose being obviously everything else I do computer that is going to be inaccurate as well. But it's really the only way to go, and you'll discover those things Later on. She start to piece it all together, putting in the top lip, looking at the angles, particularly that keep its body area because we know that to be like a V shape. But here, one side of the veil is on the horizontal line. The lower lip, the bottom line of the lower lip is very, very light. It's hard to distinguish from the skin tone, so I need to be careful that I don't go to duck this corner off the mass lines at with corner of the idea. And I can see now that I was right with my assumption before that. The chin is a little bit too narrow because I've come right up to my mark. That was the Indian to the chin, and I should have a bit of space between the bottom lip and that mark. So this is where you just adjust, and if you keep it nice and lunch, then it shouldn't be a problem. And I do use a patty razor because it's a little bit more gentle it on the paper. Now, instead of going back to my measuring, I'm just gonna look at the shape of the chin, get a feel for it and bring the bottom of the chin down a little bit. It's not by much I mean, I'm starting to see a slight era that I hit here in the angle of the jaw misusing cartridge paper here if you were using some really nice paper being, you just have to be really careful that, you know, making a mess of it by pushing too hard with your two h pencil because they're very sharp and they can't can leave Max on the paper and also win your race that you're using something really soft. Catch Ridge is a good paper to use. It does show up a little bit of texture, and sometimes it's good because it can hide a few years as well. Last thing to put in for the details off the eyes and nose in the mouth. Iss the iris of the eye, and I'm looking at the triangles on either side, seeing how they compare to each other. It's one bigger than the other. Looking at those is negative spaces and try not to be tempted into just drawing a big round circle. Because if you look closely, you'll see that the each of the iris might meet the top island, um, with the official line so it might not actually killed. And much at a where it reaches the top mileage because part of its hidden by that island. What's it gonna be big on that white triangle? Then I got distracted talking really looking at that triangle shape this one here rather than looking at the iris. Not gonna do too much on the year because I might find that side of the face. Need to be adjusted outwards a little bit as I go. And I'm pretty happy with the placement of the eyes, the nose and the lips. If I have a little bit of an objective view just looking at my photograph, looking at my during looking my photograph back to my drawing, looking my eye between all the features. How can I see something not quite right with this lip? Just come out a little bit more, just a few more little corrections here in there and then move onto shading in as they do the shading. I'll make more adjustments because that's writing to see a lot of the pieces that don't fit 8. Eyes, Nose, Mouth Shading: you spend a lot of time on the eyes and nose in the mouth. We're going to start building them out, doing some shading, and they're really important. That's what we look, too. That's where the likenesses. It's not just in the shape, but it's in the shading as well, because the shading is going to give you the dip. That's going to show how much the nose is pretty protruding. In this particular photograph, the lips are quite important. They're quite full, full and youthful looking lips. Eso we need to get a bit throughout shading. I'm going to start with my two h pencil, and I'm just shading in some of the darker shadows that I can see. But I'm shading them and really lightly. I'm not gonna worry about doing any blending right now. I'll do that once. I've got the details a little bit more and drenched, shading in the shadows around the eyes, trying to see them its shape so areas of turn, where I can looking for negative spaces as well. The space is outside the shadows, so the white spaces highlights looking my eye between those and the shadows. You do want to make sure that you're pretty happy with these before you start shaking. Because, of course, if you need to rub anything out, you've got mortar about in. You really have to rub out most of the shading and start again if you want really nice, smooth fits. It's very hard to rub out part of the shading and then start shading again and exactly the same manner and exactly the same pressure of your pencil shading in the lips. A light gray. We look at the overall, the face and the tones in the face. The lips of DACA been the skin turn. I'm staying away from some of those areas of the lower line off the bottom lip because I want it to be really nice and light. I always start with the eyes I think most people do when the drawing portrait you want to get those right and just kind of feels like a natural place to start. So I'm gonna move to my to be pencil shortly. It's putting in a little bit of tone on the sides of the face here. So as I do this, I'm starting to figure out where the highlights are. right switch to be pencil, and it's put some more detail in these eyes. Even though I've drawn in some angles there, I'm looking again. So it's like I'm double checking, making sure I've got the right angles. But this time I'm going around them off a little bit. Mitt line of the eyelashes If you have a look at the right eye, you can see that it's not the same tonal, the way it's not black or the way it gets lighter as it comes in said that during that pressure of your pencil and changing the line, quality is important not doing too much at all on the lower lid because I wanted to not be outlined. If I have a really good look at that lower lids, there's not really any line there. It's more just that the white of the eye is lighter and it's what defines it, putting in the pupil fists and placing it. I'm drawing around the little highlights said. I can see second see kind of 234 little tiny Squyres, and it's really important that those air in the right place, it doesn't matter if they're slightly different shape, but Ah A to help direct the direction, the eyes looking in and all of the iris is going to be gray. Some of it's lighter grade in other parts, since a bit darker up underneath the lid underneath the highlights is a bit darker. And then, once that colored in the iris, I can start putting that line around the iris. That DACA line. I don't want to do that. First. I want Tiu set the tone off the whole iris Fist is for being mid grey and then build up my tone. I've been talking you the dark areas. Do the people first letters darker. But I put that in there first because the placement of it's really important. There's lots of really subtle things within the I that you can look at. You can look at how the people, the each of the people, just spear e softly fades into the iris. It's not like a really hard edge around it. The top of the less line is quite soft as well. I think this triangle here might be a little bit too big. This triangle white some subtle things happening on the inner eye as well, where the Y ship. The I has a slut amount of shading, and then is a bit of it Dr Point soccer pitch. And then there's a lighter pitch on the very in a corner of the eye with a nice soft line around it, but a shading underneath the idea in a bit of shading on the island. Usually you'll find that the middle of each island there'll be a highlight there. And remember a seat that the lower eyelid is defined by the fact that the white of the eye is lighter than it. So I can shade in the lower island just very lightly, so that it becomes darker than the white of the eye. Minutes starts to take shape, so if you can see that something's not quite right, if you look at it and you're like, that's it's not that I It's just a matter of chicken. Every single little piece I could have a look at the whites of the eyes. Make sure they're correct. I could have a look at it, the shading in the iris in the people when I can see that Mr Bit of shading right at the top underneath the island, and I can also see that the less line needs to be a little bit darker now above the iris. Sometimes it's just the tiniest little thing that can make a really big difference. Before I start on the next I I'm going to do a quick check and make sure that it is in the right place. And I'm going to do that by running my eye and my pencil across between eyes. Can you feel for that distance and then also chicken that eyes line up in the right way again? So this is a horizontal line that in, and I on the lived lines up with the I let crease on the right, so that's in line. It's going back over these shadows again. If I wanted to get more technical again, I could take then I measurements and I can compute it to the space between the eyes. I might say it's date on equal mind might be slightly out. I'm wondering, though, if I bought this corner of the eye in a little bit too much because it shouldn't line up with the nose. I'm just gonna just that just looking at it. It looks like the eyes a little bit too long. It's made a difference. My guy says that waking on this, I hear probably speed it up. I'm going through the same process. I'm looking at the upper island, you know, very lightly looking at the lower island, you know, looking at the triangles again. Triangles of what? And then I'm gonna put the people in so checking whether it's in the center of the eye, the iris usually is leaving the white areas of highlight within the eye. You could draw around them if you want to. If you want to make sure you got the right shape in coloring the iris and building it up from you. So you plays right, moving on to the nose. Look of the eyes in detail. Uh, reasonably happy with them might be slightly too close together. It's my fear and now onto the knows. This is kind of a scary part because you're hoping that everything is in the right place in that you haven't missed anything, and there's not really much you can do until you notice that there's something wrong in for me Anyway. A lot of it comes with the shading, so I just have to do it. So I start working on the nose. I'm just having a little look from this I to the middle between the eyes, the point between ice and from that point down to the bottom of the nose and seeing if those are equal in there are so from here to here should be equal to the bottom of the nose . And it's right sometimes that it might look like it's wrong, and it's just because you haven't got the shading. And yet in the shading takes us from being something quite flesh, and it might look a bit too, too long to something that's protruding. Okay, back to my two hp until because I want the shadows on here to be really delicate. There's very little difference between the highlights in the lightest tone, and I might actually just rub out some of my initial Skitch max my layout Max now so they don't have a line showing up through the middle of the nose, even if it's really like just doing a quick kind of all over shade. Apart from were I know the highlights to bay and by doing this. I'm getting my I used to the nose again, looking at the shapes of shadow, identifying where it's light where it's dark, and I'm using just in up and down kind of shading technique for this one. Sometimes I go in slightly different directions following they come to us off the face, but generally it's up and down, so I decide. And if you're using a to H pencil of, it, shouldn't really make any difference to your drawing. What shading technique you use because them you're layering it up and you're keeping it really nice and light just a little bit about layout. Mac right in between the eyes there, so most of the noses shading, it's what gives it its form. There's not really any outlines. I've got a little bit back over that highlights through the middle of the knows. I'm just going to use my party a razor to bury softly. Take little bit. Event. Great. Find out if you look at the shading within the nostrils, it's it is dark, but it's very soft. The edges of it are very soft, not the top edge of the nostril. Bet within the nostril. So we have to be careful to build it up nice and slowly, starting with a light pencil when in building up with the dark pencil so you don't have any hard lines. So I'm gonna go to my to be pencil now, but I'm going to use it in a really, really light fashion slightly on its side. I'm looking for the doctor turns to layer of the top of my two hp insult, but I just use something not quite right With the size of this area between the two nostrils times have a good look at that. I think it might actually be that I've made the side of the nose too long. I can see that when I look at this nostril, it just looks really big. So bring it in a little bit and make it a little bit smaller. The side of the noses, Allah of the nose is really know each toe. It'll no hard line. You're just taking out some of my highlights. It's got a little bit May see in there to my two hp in soldiers to build those up again - this opposite side of the nose, Howie, but does have quite a dark shadow. I'm just doing that shadow with my two h first to make sure that I got it right, and it's still quite a soft line, so I want to make sure it's got something to blend into. This to be pencil. We'll blend into the two H pencil, still switching my eye vector, looking it the aegis of things in straight lines. I might not be drawing Themis straight lines so much, but it's a really useful way to it to define a kids. It's starting to take shape. I don't want to do too much more shading on the nose because I want to be out of blend it in to the skin tones in the face. So wait until I'm shading the skin tones. And then I could do a little bit more on the nose and just make sure planes. And so I'm going to move on to the lips So the lips are really important in this photograph , I think, and I haven't quite got them right. I could just tell looking at my during It doesn't have the same likeness, and I think it's a big part of it. Is the lips so I'm gonna take my time to build those out, looking at this little triangle beneath the nose, doing a bit of shading just to get the form the year above the Cupid's bow, which is this little they in the lips. I forget what this part here is called. There's a name for it. You can really clearly see the highlight. The highlight on one side just blends into the recent face, but the highlight wrong, the slip side as a dark shadow on the other side of it. Now, when I'm shading this year and I can see where I think I've gone wrong and it's that when I look at the shape here and drawers here, it doesn't quite match up with the top lip. So the top that needs to come up a little bit higher and she does ever quite a full top lip . I also made the Cupid spoke a little bit too dark, so I'm just letting that up as well, and it's going to give me some white for the highlight. That's about the lips really important. There's no outline around those lips, and that's where some people fall into a trip they outlined them. They look really flesh. They look like Lina. And I guess that comes from just the way we learned to draw. We draw without lines. So we were a kid way draw kind of heart shaped lips. Then it outlined only beside. It's hard to get rid of some of those Hibbitts. I'm trying to redefine the lip here to get the right shape that I'm also trying not to go to Doc. So just very carefully. And the other side the left. I'm still using my 28 year like the nose. The lips are so subtle, the changes in tone and I'm noticing that the angle that I've got, the section that's right section of Philip Klein is slightly wrong. And I noticed that because I was looking at the shape here and shading that kind of looking at it as an elongated triangle looking right. There's still quite flett. Um, I'm only using to experience. Also, I haven't got any dip than a nimit. Don't move. Teoh to be shortly said. The bottom look is a bit of a highlight underneath that bottom lip as well, which means that the skin tone is going to need to be darker than that highlights some shading in some skin here very, very lightly with my too much So all these little things that they're highlights about me below the lip. They give the form, dips the likeness. We don't look at this. I can see that pretty much ALS. The skin underneath the lip is darker than that little highlight. It's just on the right. And so I believe the lower lip. There's a bit of a highlight on the chin here. I have to be careful not to make that to dock, but everything else. Aiken just layer, uh, and much layer of two hp it so I can always go darker, and it's kind of scratchy at the moment. When I look closely, Econ see lines in it, and I actually quite like that in a drawing. But if I wanted to get rid of them, I can do that with my paper blending stunt, which use, uh, when we work on the skin tones a bit more looking at the shapes of the highlights on the lips in the dark shapes either side of the highlights so you could actually draw around those highlights if you want to, to help to find them as long as you don't have any outlines. Certainly, but heavier with them Now the looking a little bit closer to the photograph. But they do need, um, some deeps to now. So I'm gonna bring the to be pizza one. I'm not going to statute outlining the top of the left. I'm going to get straight to the middle of the look because that's where it's darkest. It's where I can afford to go dack. You don't have to worry about rubbing it up like this Lesh line here, the line of the middle of the lips. It's not the same value, tonal value the whole way, not the same quality of line. So it's important to vary your pressure and to take a look at where it gets lighter, where it gets darker stacker in the middle when when you come over to the right hand side here, it lightens up a little good, and then it gets darker again as it goes into the corner off the mouths, just checking that the corner of the mouth was in line. I might I think, mind might be a little bit too far over, so I might have to adjust it at some point. Please go to the inside down the middle of the lips and and I'm starting to darken up section sections that I can see on the top lip that come up from that middle looked line so that I can blend them into the line. And I can see how they all connected. How the shapes of connective says, I'm shading and I'm going from one side to the other, varying the pressure, changing the pressure off my shading as well. So start lives. If it needs to be a bit darker than push a little bit harder. As I go down into this corner of the mouth, there's not a lot of definition, so I just have to look at it is tone, does it get lighter? Doesn't get darker. Just a touch too dark it. So whenever I rubbed something out, if it's part of the shading, I usually go back with to H pencil Justo effectively color that area back in again so that there's something to build on top off. We're moving down into the lower lip, working with my to be. Now I can see the lines of the lip, but the texture of the lip in there, vertical lines that follow the contour. So I'm gonna change my shading and and match that contour. Here it is quite defined, and I've just got a little bit too dark underneath that that line it goes to the corner of the mouth with my two. It's just to repair a few things and a little bit like the nose. It's gonna be hard to get this lips for fully formed until I get the skin tones in, because there's parts of the look that blend into the rest of the face. And I'd prefer to be building the tones of the lip on top of those skin tones shading this Syria shadow. It's on a slight angle, gives a bit of definition to the bottom. Look, there's something still not quite right about those lips, So I'm flicking my eye between the portrait to the drawing to the portrait of the drawing, and I think what it is, the V of the lips here of God, quite a wide, quite a long day. This one's a little bit smaller. The point of the they sorry. The top of the V on the right hand side should line up with just the in each of the nostril on the white right hand side, and mine is a little bit out. So I'm going to correct that, not with my to be paint. So because it's way too dark, and it means I'm gonna have to go there can create that highlight again, the one that's at the top of the top lip so you can see there is an element of them trial in era. I try to avoid that, but sometimes it's just the way that you've gotta put something down so that you can, um, you've got something to look it. You got something to compare, and then you can adjust it. It's looking a bit better, remembering that that part of the Cupid suppose actually horizontal the right inside of it . I was taking out a few little ear is that I can see they may be more than I see later on tiny little thing sometimes, and they make a big difference. This part of the Mathis corner of the mouth needs to be really soft if you look at the photograph, you can see that it's dark, but it is soft. There's no hot inch to it. It blends into the skin. It's going to a little bit more, and I might speed it up. Just a few little corrections going over things again, even if I'm barely during, I'm mapping it out. Or I am feeling it out with my pencil as I look so that hand eye coordination is coming into play. As I look at something, I'm also moving my hand and drawing what I say I was yes, make you take needed window. Okay, and now, moving into shading the face. I'm not completely finished with the features of a facing it, and I can still see a few things it might need to be fixed up something not quite right with this side of the lip. It's giving her in particular expression that she has, but I'm hoping I'll be able to clear that up when I start shading in the tones of the face 9. Shading Skin Tones Part 1: shading skin tones require some intense of total study and a lot of patients. We're looking for the highlights in the shadows in in a whole range of subtle tones in between. And if we can get these down with the same smooth gradation from light to dark that we see in our subject, then we'll get that same accurate sense of three D form. And the key to this is starting off. Really light the two hp insulin in building up your layers of tone over top, and then you can use a to H pencil or a paper blending stump to just very carefully. Integrate those layers so that they're nice and smooth, and they blend into each other. Please don't use your fingertip for blending. There's a lot of oil on your fingertip, which in interfere with some of the subtle tones that you create. It's really hard to control what you're actually doing when you're using your fingertip, and it also destroys some of the furnace and the energy that you might have created with your own unique style of shading. So I'm looking for the highlights. Foresees. A highlight on the nose is a highlight here. Most of this side of the face has some areas of highlight. Now, if I wanted to be really accurate, I could shade all of this alike, right? I might actually do that because I want the whites of the eye to stand out. So And this is in areas perhaps here, perhaps here that are the same value. Tonal value is the white of the eye. I'm going to shade them in with my two h pencil. And as I do that, I'm hoping that that's gonna help me to find the shape of the forage. It's gonna help me define the shape of the face that I know is not quite correct. And I didn't set the start that that might change. I'll just write about some of base layout Max here. Okay, here we go. To which I'm working pretty loosely and going back and forth over the max it on making. So I do want to try and get a nice, dense layer, even though it's light. I wanted to be dense just looking at the shape of the joy here shadow that comes down here in highlights on each side of it. So I'm looking at that shape. And I can also say that I need to take back some of my layout lines of the side of the face because you're about to dock. They need to be highlights. So speed this up because then it is quite a bit of quite a bit of time. And if you are doing this drawing as you're watching the videos, this might be we take a break for a day or two in come back to finish them. It's also good to take a break because, um, when you come back, you'll get a really fresh look at your drawing, and you might immediately be able to pick out where this some eras and you can change them before doing all this really fine shading. So what I'm doing is I'm creating a light layer. I'm changing the pressure of my paint. So when I get to these more highlighted areas and after I've done that, I'm going to use a pipe of lending stump, and I'm looking for shapes off the face as I shade using those highlights and shadows to help me define the shape of the face. Pretty sure I've gone too high with the forehead Now, miss more more Here, There then I thought so. I'm just gonna bring before you down a little bit. And I saw that because over shading in shading this section here and just as I was looking in my eye was moving up on my pencil was moving up. I got a feel for the distance that it should be compared to the rest of the face. You go, this let's bring you back in here because I'm working on this age of the face here. And this is where you might switch to looking at your photograph the way you would when you're contour during, so your pencil in your eye moving at the same time. And I do have a previous class on this. I think it's the line quality class that has a little bit of contour drawing in it. But basically, I'm moving my eye up the agent, as I do that moving my pencil and tried to make my pants were changes. My eye changes. This is a really subtle curves in there. Do you have to be careful? Because there is a slight highlight on the side of the face. It's really settle. I keep saying there's really settle things, but it's just the nature of portrait. A lot of these very, very small tonal differences very important. So if you analyze this photograph, you see that I think this part of it here or part of a year on that side of the faces, it's dark. And then there's a very thin line off highlights. And then there's the shading, so I don't want a dark, heavy line here unless it's gonna blend into the here or what's in the background. So once I've done that contour drawing, I'm just pulling that back a little bit with my party, a razor, and I'm also going to start working on the nick at the same time as I work on the face. Now that I've got the July and I'm pretty happy with with it, I've adjusted it quite a bit. I can look at where the Nick joins up with it. It lines up with That's a little bit past the corner of the mouth. It's on a slight angle. Actually, that's made a really big difference. Just having that nick line on a slight angle. It's giving her that expression in shading underneath the jaw line here, looking at were its dock where it's almost exactly the same. So these parts of the nick, that same that same as the face. They might just be a super subtle change between those two parts. We can always build these up later, but it's good, Teoh, notice them now and put an indication off then and now with your two HP in so. 10. Two Little Tricks: it's not just taking a break and come back and is a few little things on unsure about, Um, and I'm just going to show you a few tricks that you can use to help figure out what might need to be changed. So the first thing is to take a photograph. Um, so if I take a photograph just of my drawing and then have a look at that photograph, it just gives me a really objective viewpoint. And you do this yourself with your enduring right Now would be great, um, and have a look at your photograph compared to the original photograph, and it can. It can just help you to see the range of tones and also anything that might not be quite right. There's something about photographing it that puts it in a frame and allows you to view it more objectively. And I can see there's something not quite right with this I, which is troubling me a bit because I've done all that work on that I. But it's it's just that it's a little bit too straight, and it needs to be slightly more on a slant, so I think I can fix that with that without too much trouble, I don't think I'm gonna have to change the whole I. It'll just be a matter of slightly adjusting the slant off three island. I think the other little trick you can do is you can tune the original photograph and you can tune a photograph of your drawing upside down, and that can help you to see things were objectively to because instead of looking at it as a face with the eyes are at the top, nose in the mouth and we know of those different features. We're looking at Atmore in terms of shape so I can look at the negative spaces. I can look at the angle off the face a little bit more clearly. I can look at this, this outside to negative shape around the head. And you can do that with your own drawing us well so I can tune my during upside down. Just only works when you're drawing from a photograph, obviously rather than a real person. But I can turn this upside down and I can relook at everything, maybe starting from the chin and just run my eye over and see where things might not be quite right, and I can see also, there's something a little bit off with the angle of the lips. I think this line here needs to come down well up when we've got it this way around about winners around the right way. The quarter of the mouth needs to come down just a little bit. Minds and ah, a little bit shallow. And then again, I can see that there's something not quite right. With that, I be a good place to look at the shape of the forehead. So I suggest you try that with your enduring. You don't want to do too much here. I wouldn't do a whole lot of shading or anything here. But it's just a way off, changing the way that you look that you were drawing in the way you look at the photograph so that you're not putting anything that you think you know in place of what is actually there. And by that I mean covered this in other classes, you no, what an eye looks like. You know how to draw a symbol for an eye, and sometimes that idea of an eye gets in the way of this particular I that you're drawing in nets where people might end up outlining eyes, Same with the lips. They might make them more curved. Then they are both the eyes in the lips, so that's why we can do those two little tricks. 11. Shading Skin Tones Part 2: So I made a few little adjustments to the I end the side of the lip as well, and now we're going to get into shading the rest of the face and tidying something's up. Now let's put the ear. And we have really talked about the ear much and the main things to look for A were the bottom of the airlines up in where the top of the ear lines up. So the bottom of the year lines up in a horizontal line with the recess of the chin. And it's reminders already, which was great. And then the top, most part of the ear lines up with this nostril here. So I've made mine quite a bit bigger than it actually is in my during. It's a just there should line up with the top of their nostril, and I'm looking for the shapes. So it's another case of we know what an ear looks like, but we don't want to put a fake here on our portrait. So I'm looking for this shape here of the upper part of the year, looking at the angles of it, coming down the side and again, looking at the angles rather than drawing curves and then looking at where the spot in part of the middle of the year lives in relation to the whole year. And it's maybe 2/3 of the way down from the top of the year, maybe just a little bit, a little bit. Listen it. You could also see where it lines up with something on the rest of the face, so you might be a part of the lip that you can find that it lines up with and again looking for their shapes. There's been a hero over there so that that kind of consists a little bit of freedom. We don't have to get it quite so accurate. And you could look at what the year in terms of shading so shading those shapes instead of drawing THEMIS lines. So it's about how to tell in this photograph what is here in what is part of the background . I think there might be a little bit of a ponytail here, so I'm just gonna go with it, and there's something back here that could be this part of the window sesh or it could be some here or it kind of looks a bit like a curtain, but I'm just going to ignore that in do these wispy bits of here that go over the year and it come down towards the nick. I'm just putting in some lines right now to give an indication of the direction off the here, all the different sections. But we'll cover that in a whole video of its own because it's it's quite a big thing. There's a hint of a near on the side as well, so I can look at where that lines up, lines up with the top lip and the top pad. I can see lines up with the bottom of the I. I could also look at where it lines up with the other, So let's get back to shaving the face. I've got my two h in my to be pencil, and now I'm also going to start using a blending stump, and you want to make sure that it's nice and clean because you can see this one's already got some. Great. If I don't it from some of the use, we don't really want to be adding graphite. We just want to be moving the graphite around that's there. So let's go ahead with that. I'm gonna do just a little bit more shading in the blending stumps. They won't really fill in spaces, so they're more for getting a nice, smooth appearance in smooth gradation between tones. But if you have big gets of white and your shading, uh, they're not necessarily. The blending stuff is not necessarily going to cover over all of that, and you might still wind up with something quite uneven, so spend a good amount of time shading in a base layer. But being careful to keep those highlights light, this whole side of the face is pretty dark computer. The other side. It's not really any white highlights apart from the I, so I can afford toe just shade over the whole thing, that whole side of the face. So I'm going to start with the eyes and get some really dark, delicate shading in there, and they will move out to the rest of the face. I'm looking the space above the I. It's a little bit of shading on this corner of the eye here, too, and there's some shading underneath the eye. The lower lid hit some shading on it, but the Assam small areas of highlights in the in the eye. It's a little bit of a line underneath the either a white line for a long tingle. There's a small circular shape within the an I. And then there's this area here, which is quite a bright highlight. So I'm not gonna shake that, and I'm just gonna shade around it. We'll do the eyebrows last when we do that here. So the moment we're kind of applying eye shadow looking at Weird's lighter and darker the whole time I'm doing this, my eyes flicking backwards and forwards between the during in the photograph. So I'm never at one point just looking at the drawing and drawing from imagination. I'm gonna take my blending stump and just use that to blend from the the darkest part so closest to the lid, because it's quite light underneath the iroh in blend upwards in. Also from this Doc Patton and I him blamed across and down a little bit and then underneath the eye picks up a great fight very easily. So if it starts to be too dark, then you just have to give it a bit of a wipe off, and from this I hear we continue down a little bit and looking for the highlights on the side of the nose. It's one main shape there, so I'm just, um, blending around that I don't actually have any pencil down here right now. I'm just using great fight. That's on the blending stump because it's very subtle in here and also in here. It's very social to there's a few years I can see that. I'm going to need to go on with my razor and just bring out a few little highlights and then working into the nose on the side. It's a bit of lice area in here, so we're just gonna bring that out now. Just making a shape kind of a circular shape with the tip of my party arrays A and the just diving. So rather than rubbing but stepping some areas out and smoothed over to the other, I it's much darker, this one putting in some more to H pencil. I've kind of lost the eyebrow on the side because I realized that that space there is a little bit bigger, but I can put it in late because its stock and underneath the eye, the same thing with my blending stump starting in the doctor spots and moving outwards, I think I'm gonna need to be on this side to VPN, so because it's just a little bit too. Lights that Aiken work into the nose. Now, while I'm working with two h. I've got graphite down here to h pencil down here from we know, shading the side of the face football. So what I'm doing now really is just blending in. And and then I'll come over top with some other layers, either using the lending sample, maybe a little bit more pizza. You can see it's still very light around here and part of it. Darkness will come when I bring my six billion right at the end. We were balancing the tones, but I am going to go over with my to be paints on it a bit more shading. Now look at that crease of the island. I can see that the line varies. It's court dock, and then it's just a little bit lighter in a little bit shopper. And yet Senna and then it disappears. So I've just created a little bit more of a highlight here in its space at the top of the I because it was a little bit too dark. But I can't afford to go. But DACA on the side of the eye on the other thing Teoh think about is the whites of the eyes. So if you have a look at the west of the ice in the photograph, they're not completely white. There might be some areas on, but when I might be whiter than the other, so you could do a little bit of comparing and just make sure you've got some shadows in there and those they're gonna give the Aibel some four miss if it's receiving backwards in a circular shape. Next thing I'm going to do is I am going to go around the face or probably start from the top and work my way down layer Epsom to H pencil layups. Um, to be if I feel like it needs it probably won't do any to be on this right hand side of the face because I want to keep it nice and light. Ah, maybe a little bit to be on the left side of the face. And then I'm going to use my blending stump to blend the tones together, moving from the darkest area to the latticed area. And then I'm going to use my party razor if I need to, to take out any highlights where I might have gone a little bit too far. Or just wear this and any marks or anything like that. So that's a process to H pencil to be pin. So if I think it needs it and then blending stump in in a razor and off, speed this part up because it's quite long text for a long time. It's quite a week. It was the heart of the night when they came to close your eyes. Your head was is they turned you inside. I think in nothing can hurt you again. This is what you This is what you body smooth guards goes one to do waas the way from you. Nothing kid thinking you again. This is what this is What? What? You Yeah . - Okay , so you can go as far as you want with the blending I have mentioned before that I quite like to have a few little lines showing some pencil max. I don't mind if they're there as long as the overall fit is that correct to the tones in the photograph? But, I mean, you could spend hours and hours just on getting the right layers of pencil on the right density of pencil and then blending them so that it's super, super smooth for me. I find it a little bit boring, so I think we will move on to the here detail. 12. Drawing Hair: So when it comes to drawing here, the key is to forget what you know about here. Forget that it's made up of all these tiny little individual strands that are exactly the same with this each other. That's what we know about here. We want to draw what we can see in our subject, and we cant see every individual strand of here in our subject. What we can see is light in dark areas so we can see where maybe these clumps of here joined together. We might get to see a shape we might see. The highlight shape and in a shadow shape were different clumps of here over Lep, the shadow areas in particular, often very long, elongated triangle shapes. And if we can put those together like a puzzle, it will eventually result in realistic looking here. But here I'm not terribly accurate with it. In terms of every single strand. I just like to get there right shapes of tone, and that's a personal choice again. If you want to spend hours on the here and getting everything perfect, then you can and it's basically the same process is drawing the face. But what you do need to look out for it is getting caught up in drawing individual. Here's we're not looking for that. We're looking for shapes of tone, so there's a shape here. There's this clump of strands here that comes down and just go toe over the year. And then there's a darker triangle that comes up to me about here so I can shade all of that. And it's also helping me get the correct shape of the heat in this. Well, it's a little bit like looking at negative spaces. I'm looking it just shapes of here. There's a highlight area here on that side of the parting. It's kind of where the here is curving up in over. So underneath it there's some dark areas, and on the other side there's some dark areas, and I'm following the direction of the here again. Might just have to create this shape on the side of the face here, some shadow on the forehead and that should are coming down inside in the face from strand of here. So really, what I'm doing is indicating to myself where I need dark areas where the highlights are in the direction of the here. So now I can go in with my to be pencil and I can start to get more detailed. I might start with the top of the ear. It's wondering if there is a little bit low down. That's right, so it's quite dark in here. So that's where I'm gonna start looking. My I beckon Ford Lightning the pressure off again. So as I see the tone getting Liza, I'm using this kind of flicking motion. If I dio is a really solid line like this, it loses that natural feeling. And if you look closely and analyze the photograph, you'd see that the different sections of here, well, the different lines of here that you can see they change in value as well, so they'll be dark and then I'll soften off and get light. I'm looking for shapes and hear this kind of a triangle shape, so I'm never drawing individual strands of here. That's one of those things that we know. We know that here is made up of really, really fine individual strands, but we don't need to draw those. We just need to create the illusion off those even in the stock here. I can see that this some little small, dark shapes. It may be some here going the opposite direction. So is picking and choosing what's gonna be dark, What's going to be like and sometimes I do get a little bit lost. But like I said, I'm not that consumed with the here being super super accurate. I think it's what I'm saying is it's personal preference. How much work you want to put into the here to make sure you're following the direction off the strands of here. Even if we're not during them individually, we want them to feel like they're curving out from top of the scale, especially with a parting, like in this case, do you see you start to get the illusion of here. Some of this here in here might be a little bit too high contrast. So I've got my two hp in so I can go back. I have a top band. Just tone some of the highlight areas down. I could even add some shopping max with that as well, because to be is a bit blunter. Let's prove a good idea to do these highlights areas with your to eat chicken Still using those flicking Max. And that means that the start of the Mac you make will be he be and dark, and then it will just taper off and become lighter in skinnier at the end of that mark, which is like a lot of the very skinny shapes that you can see in here. So I'm going to continue with the here and, oh, speaking it up for you as well. But the basic tips for bit to look for the areas of tone look for shapes rather than strands of here and follow the direction of the here day has done. We melt into hotel lives. Bounce back against this guy outside. Uh oh, God, I came here. That's at my 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 between Don't let just That's, uh, there's a lot more that I could do with the here. I've done it quite quickly and quite rough, and it still takes a really long time. There's a few keep wins so here in here. If you don't have those dark pats and then it's not gonna look like the here is sitting on , um, top of the face or top of the forehead. So some of those shadow is a really important. The other thing I was thinking about, we're ashamed. Here is what to do about the background just now. If you wanted to, you could do the whole background. I don't really want to distract from the face, but I do like this dark area down here. I think it helps to find the face and it helps the skin tones stand out against something. So I'm gonna put it in and maybe just treat it as if it was here with these lighter parts of here coming over top. So again, I'm looking for shapes. Is a triangle shape here quite often. In here you will see long triangles, even these ones up here, elongated, curved triangles. And if you've got the patients to look for all of those enjoying them all up together like I'm doing now, I'm not drawing anywhere where there's a highlight or a light a bit of here on during well , the shadows in between them. We've got the patients to do that then will be really fictive in the end. But it's very time consuming, so I'm just gonna give a quick indication of it and are dark and it up a little bit more. Just go over it with my two h so that the highlights aren't quite so strong. Put the hearing in. Sometimes it's hard to get things like this, like hearing or glasses or anything like that to look natural, like they've got three dimensional form. But it's like everything else we've been talking about. It's drawing in the docks where you can see the docks and leaving highlights where you can see highlights, not thinking about it so much as an object, but is a Siris of lunch and duck shapes of shadows. I've got a little bit dark with it because you can see it's lighter than the ear. But I do need to put some shading and to the year anyway, make it Mitch skin tones in the other here that we need it is eyebrows. Ah, and I'm going to treat those that same. Where did the Here I'm going to start with my to be, actually, because it's a bit hard to see the two h go to H down there already. I'm looking for the shape. I'm looking for the dock areas in the light areas and I'm looking for those little triangles, some really little ones in here. If you got the photograph and you can see them Well, dat lines and light lines, rather than individual strains, were there in saying that I am following the direction off the here. The top of the irony here actually comes downwards, and I think I'm gonna edit, have to add in a little bit more shading here is well, just to make those look like they fit right with the tone, this thing with this one, I can see that dark apart there. And Aiken, see the direction that the here is going in. But I'm looking for rate changes and steps going lighter. As long as I get the shape right in the here or the lines that I'm drawing going in the right direction, it should be okay on. So again, I'm not drawing every single individual strand for every single individual here that I can see looking for shapes the tone. I'm looking for the direction that the here moves in, and I'm looking for the overall shape off the eyebrow. You noticed that I didn't do any blending on the here, and it's because I wanted to have a different texture to the face. I don't want it to be able smoothed out. 13. Balancing The Overall Tones: The final step is to take a look at the tones, and I can see you're really that A lot of my skin tones are too light on these. A lot more darkness on the side of the face. I need some under the chin is about to make the chin stand out, maybe some darker tones and here, even even darker than they are and also in the irises, that's well, they're quite like, particularly its one on the lift. So now is when I'm going to go in with my to be in my six beeping so and just correct some of those. So what I would like to have is a full range of tones from white through to black, no bits dependent on what kind of mood you want or what kind of affect you want. If you want to do everything really dark in really like so high contrast, then you could do that and it would have a different feeling. If you want to keep everything really soft and lights and not have any black tones in it, then you could. But if we're talking about accuracy, then if we can see docks or blacks and whites in the photograph. We want to have the bet reflected in our drawing as well, and I can see where there's blacks, the people on the nostrils, the I licious. Probably not between the lips. They had more like a dark gray so I could go through, put those and being very careful not to outline and making sure that my six beers blending into the tone said I had underneath must be until very soft the six p p INTs or so I may not even need to use my blending stump. I just be careful with the pressure of my hand. I'm not pushing too hard. It's also time to put in really find details so I can see that there is a darker line, quite a soft that line on the inside of this lower lid. When it comes down, you can see some I licious there on the lower lid and just giving an indication of them. I don't wanna get overboard. I don't want to have a big Kivi eyelashes that look back, just tidying up some of these tones in the eye. It's up to you how much time you want to spend. I really like to get the eyes quite striking. And high contrast might actually be a bit too much of a highlight. I've got here underneath the eye because its side of the faces and shadow. So to be or even a to H can take those down if you feel like it's just a bit too much. But in saying that, I have just lost a highlight that I did want to keep it very, very fine. It's right under lo I licious. So I've just taken that out and I got to go in and just rip Pearson some of the excess. So you got an idea of how to enhance the I on its side, how we could do the eye crisis, will. So when you're doing this, you're looking for, um, black areas. That's what you're thinking and you're here. Is that is it actually black? Is it dark grey? I know the people is black. How does everything else compared to that? I'll move down and do a little bit on the nostrils here and, you know, do a little bit on the lips as well, and they know, probably speed everything up to finish the rest of these details. You might need toe have a shop in their own hand to shop in your six babying, so they get blunt very quickly. You can see as soon as I put these dark parts into the nostrils. It immediately enhances the form of the nose. And that's why the black points in the white points of the highlights are really important in their tones in between. But taking the time to do this at the end can really make a big difference. Just check your tones, balance them all out, compare them. What's what should be darker and what should be lighter? No, but we're on the lips now. I don't want them to be completely black because it's such a soft black. It's like a dark gray, so I'm not pushing too hard. But lazy was sharpening. My pencils are quite often using mechanical pencils, actually t so that you don't have to shop in them. But just scribbling on a piece of paper can help you get a bit more of a point. So I'm looking for the variation in the tone of that middle line is a darker is it lighter as I go along in its subtle difference, losing a little bit off definition. There I was gonna switch such to my to be so that I can create a few more of these lines that give the contract to the lepers, those vertical lines. And they also give the lips and texture so you can see how it's starting to take form quite nicely now that I'm putting in those really dark areas. I'm going to speed up the video now, and I'm going to do the other I I will do some more areas in the here, just in terms of the contrast in balancing the tones differently under the chin here because at the moment there's no enough and shed our underneath here to push the chin out. And it's part of the expression way in a enough trains at stopped. Hey, drag, drop! There was no else no someone. No, I'm not saying every friends scene, just just to see them fax. It's a low. I heard something. No, some. I'm not saying I was born so in a way and then came back, and I noticed there was a big highlight on the chin it shouldn't have been there on the side. So I'm gonna fix up a few things that here still needs to be darker at the side of the face needs some mawr, dark tones and more shadows. The nick. I'm not sure what I'm doing with there need to tidy it up so it might erase some of it and just hit this bottom area. I do think it's quite important to the angle of the face, and the huge in is jetting out bit, the knickers dark so that it can push, push that area Beck and that the chin comes forward. But I might have just gone a little bit overboard there. I need to take some of it out. We also see that the lips need to be a little bit darker compared to the skin tone with some areas around the lips here. But it's this sort of thing that I do when I go away for a little bit, and then and then come back again and to see things that need changing. So I won't bore you with those processes. But hopefully that's giving you a good idea. Uh, how Teoh start a portrait wit through it from start to finish. Following those steps layout, shape of the heat and negative space. Look at the features of the face shading the face and the skin tones, putting in the here detail in in balancing the tones overall. And it's probably also showing you just how long it takes. It's not quick. This is probably maybe four hours of work, and I would probably do at least another hour on top of this as well. So it's not a light task to take on, but good luck if you do, and then I look for to seeing some of your projects. 14. Final Thoughts: So we finished. Thanks for sticking with May eso portrayed. Drawing is not an easy thing to do. We've got some really strong ideas, preconceived ideas of what faces should look like. And we've also got really strong psychological connections to faces and people. So it's hard to be in turn around and have a look at a face and see it as a Siris of lines and shape and tone. And the best way to get there is simply through practice. Unfortunately, there are a few tips and tricks that we can use to override some of those ideas we have about faces like we did previously. We returned the photograph upside down into now, drawing upside down, but ultimately it does come down to practice and also analysis of your own drawing. So looking at your finished drawing, looking at the photograph and flicking around between one and another and trying to really pick out those points that don't connect up now, if you'd like feedback on your during, I'm really happy to give it. I enjoy doing it if you post your drawing and your photographs. Side by side is one image in the project section and Oh, have a look in and I might be out of season ways. I see some things that I can point out to you where you might be able to improve or seat and things that you might not have noticed when you were doing it. And please just make sure you have permission to use it. Photograph if you're gonna be posting it up with your during. So if this is your first portrayed drawing, it didn't turn out the way you wanted it to. Please don't be discouraged. Keep practicing and happy during