Drawing: Sketching the Portrait in 3 Quarter View | Emily So | Skillshare

Drawing: Sketching the Portrait in 3 Quarter View

Emily So, 2D Artist

Drawing: Sketching the Portrait in 3 Quarter View

Emily So, 2D Artist

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6 Lessons (30m)
    • 1. Introduction

      0:32
    • 2. Tools and Settings

      3:12
    • 3. Setup for Proportions

      3:59
    • 4. Placement of Facial Features

      6:40
    • 5. Details

      7:13
    • 6. Tips

      8:25
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About This Class

Learn the basics of drawing the portrait in 3 quarter view. This tutorial is suitable for drawing digitally and with pencil on paper. 

In this tutorial I present a relatively quick and simple way of drawing the 3 quarter view of the face. Being able to draw the 3 quarter view is one way to exercise your ability to portray depth with your illustrations. 

Meet Your Teacher

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Emily So

2D Artist

Teacher

I've been teaching since 2014, and specialize in digital illustration, drawing and 2D animation. I primarily work with Krita, but sometimes work in Adobe Photoshop and Animate. As a professional artist, I've mostly provided graphics for video games and illustrations for purposes such as promotional art and storyboards.

I hope you enjoy my work. Thank you for visiting! 


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Transcripts

1. Introduction: Hi, everyone. My name is Emily. And today I'm gonna be showing you the basics of how to draw portrait in 3/4 view. 2. Tools and Settings: all right. First, I'm gonna go over some of the tools, mainly what I use. I'm using credit. You can use whatever digital illustrations software that you're comfortable with. Um, I use a welcome sen teak 13 HD from forever ago You could use if you're using whatever tablet works with your software, that that should be fine. You can also use a pencil and paper. Even. I just recommend drawing lately in your earlier stages on, then gradually pressing down harder much later when you're more sure things like proportions. Now, I'm gonna go over, um, the settings for my brushes, mainly the one brush setting that I'm going to use. I've never been that crazy for making fancy, uh, settings or anything like that. Most of the time, I just stick with a hard edge, round brush that has, um, pressure that effects opacity and size so I can demonstrate how to get that incredible here . And all I did was go to the digital section in your brush presets and click on this brush over here and then So I think I could just reset this to the default. So the default looks like this. Um, you think? Uh, Okay, Well, I think usually, but if all the opacity isn't enabled, but if it isn't and you can click on, enable pen settings on and make sure that capacity is influenced. But I usually like Teoh. Click on this curve over here and make sure that it's really like this. Curve goes. Tips really level down here so that it can be really soft. Um, and then what size? The curb also looks pretty similares. You have a wider range of thickness and then you don't know how to say in your brush presets. Then I would say Save me brush preset. Then I I usually loathe scratch pad thumbnail. And then I had saved and you can look for it under all and then find it somewhere in here. It's right here, read, Click. It assigned a tag, and wherever you want, save it my favorites or my made up tags faves. So So That's usually the settings that I go with 3. Setup for Proportions: No. I'm gonna go over the set up for basic proportions. Thistles. Pretty approximate, but I just got to try to make it as simple as possible. What I'd like to do is just make a line of a certain length. I mean, we want, uh, to make a box. That's definitely a lot more rectangular. And also, your image should be, uh should be pretty vertical and, like portrait orientation. My image size I went with is 2200 pixels by 3000 pixels. And so I made a rectum like this. I'm gonna try to just break it into lake. Um, roughly like three equal three equal parts. Uh, like this. Um, I'm gonna break it in half height wives hopefully have, um, something like that. And then to figure out roughly where the hairline is, I'm going to go down by, like, 16 or 1/7 from the top of the head over here. So we're trying to do a 3/4 view of portrait, and, um, and what we're trying to make sure off to make this 3/4 view distinct from the front few is to bring the center of the face off center. So then I'm going to say that this is roughly the new center over here. And, um, now I'm going to put in the basic shape of the entire head and up here, I find that, um, it'll it would be more realistic to put in, like, more to the back of the skull over here. And then if the eyes over here in the middle, uh, down this middle horizontal line that the brow bone should be up here and then the rest of the hedge of yew here, the chicken should be right over here. Um, and then I'm gonna roughly but the job over here. And, um And then I'm saying that beside the distinct facet for the side of the head is gonna be on this side over here. And I say this would be a good basic set up. And then also, one thing to observe is that you're not going to keep the neck center like this like you would in front of you. Instead, you're going to put it somewhere either beneath the chin or a little bit past it like this . But for this view, I'm gonna put it like right beneath the gym like that and then put the back side of the neck, like right after, Like the back of the head is done when curving like this. So I would say this is this should be like a decent like basic set up for a 3/4 view, proportion wise. 4. Placement of Facial Features: all right, I'm gonna go over the placement of all the main features for simplicity sake. I'm going to say that you can break down the face into roughly three evil ish parts from top of the hairline down to the bottom of the chin. So I would say, you know, if I were doing a proper hairline, it could be something like this. So roughly this could be the top point. And then I'm gonna say the eyebrows is another key point for breaking it down into roughly C three D parts. And then another part, it's gonna be around the bottom over the point of the nose or the ball, the nose. So you just take this height and you put it down here and let's say that's like, roughly where the nose is gonna be or is gonna end. And then now you roughly have, uh, three people parts. So that's how I would say you place the eyes and also the years. So the highest point of the ears, I would say, is anywhere add or between the eyebrows for the eyes. So I'm just gonna put it, put it back here. I think here's are usually much closer to the back of the head, especially in 3/4 view. So I'm just gonna put that there. And then, um, eyebrows usually rest on the problem, and usually they're arched, Uh, a lot more. Uh, when they're right up against the end of this brow bone over here and that I'm gonna put the other one in over here and now it's a little bit misleading to think that this line in the middle is the actual middle of the face because it doesn't follow the topology or the three d contour off the face. It doesn't. It's not made with respect to the topology or the three d contour of the face. So, um, to make it more simple, I'm not gonna quite do the thing where I just come town like the form of the nose and the mouth. So just pretend it's just a more smooth, round shape going down face, Um, for now. But, um, you just have to know that, like the nose, the bottom of the nose is over here. So you can roughly put the nose in like this for now, just for simplicity's sake. Um and then we can try to detail a better leader. I'm gonna put the I like, actually right on top of this line that splits the height of the head down a little. So one thing to know about the I that is placed on the side of the direction of the keys in this case on our left because our figure is facing left, it's a lot more like just as a simpler shape. It's gonna look a lot more like this, as opposed to the front view where it's much more almond shaped. So usually 3/4 view I, in the direction of keys is gonna look a lot more like this. And then I'm gonna put the other I back over here. Now, One thing to know is, um because the eyebrows or the brow bones are further ahead, depth wise from the eyes you're gonna put the you're gonna place the eyes like further opposite in the direction of gaze to portray depth. And I would say is, it does for this. I kind of like look more like this. But its summer between looking more like a triangular ish or Kotal kind of shape in an almond shaped But you'll you'll see this to your doctor coming up over here and still this I would closer to being almond shaped, and then I'm gonna draw the mouth. Uh, one thing to know is that everything that's on the side of the direction of gaze in this case left side our left side is gonna be much more squished. With wise, it's gonna have less wits. So then, if I draw the mouth over here, then on our website, it's gonna have a loveless with on our right side is have more with and Waitrose. The height is I would say it's roughly between the bottom of the nose and the bottom of the chin, except just a little bit higher than that. Um, I'm gonna put in the bottom, bled and roughly putting the over live like that. You're gonna outlined the lid, do very softly, Um, and the way it shows the width is generally the mouth is wire than the nose. But at least on our right side, it's probably gonna go past and line up with what should be the middle of this by roughly so probably end over here and kind of same idea over here. Probably end right there. So these air, um, just the placements of the main features of the face. 5. Details: All right, now, I'm gonna go over, Do you telling this a little bit more and putting a little bit more emphasis on certain features to better portray the depth that you get to see in 3/4 view. So a few things to pay special attention to it is thieves broke a bone, the cheekbone and then, like the mouth, muscle or muscles around them out, uh, come out a little bit sometimes. Um, differs from person to person. Some procure more for some people, protrudes more than others and then chin So for all of these, So if you're trying to draw a portrait of somebody getting this cheap line right will help a lot recognizability. But it can be challenging because all these curves are really subtle. Um, so I just made this up. I'm not drawing anybody in particular. I just made it like that. Um, and then I'm gonna drop a nose. But also add in Oldham or detail. So make sure for one from I wrote to the root of the nose, which is at the top of the bridge, it comes in like this, Then it can swoop out like this and then I would say the point of the nose or the ball. Then it was gonna be a bit above the very bottom. And then, um Then I would say that the middle should and like, right, Right about at the center over here. So assuming that this is roughly the center and now just to clear so that we consume this a little bit more easily Anyway, I'm gonna draw in the the nostril. And when you drawn the nostril, as with pretty much every view when you're drawing the portrait and its level like the eyes are level like the head is not tipped in any direction. Then generally you want to draw the nostril much more linearly, like as a more like a line instead of instead of like this. So you want to draw it more like this. And, um and I believe that knows, Theo. End of the nose over here is not usually go past theme I over here or the tear duct. Um, so perhaps to make it easier, you could think of it more as you know these more angular three dimensional surfaces. Um, so you can put put more like angular lines like this to just really put put more emphasis on more distinct facets. So this line over here, for example, are these legs should help to portray that depths between the bridge of the nose to the tear duct because we're trying to get here is the depth of the eye socket. So that, for example, is a commonplace for shading in the face, Um, and a swell asses down here below the ball knows or underneath the bulb knows, um And then I've already detailed the mouth. But I would put more emphasis on the corners and not connect theme ends of ones of lips. And, um so just from my previous stuff, I just stuck out the channel that and then I tend to round it out a little bit on the bottom, but keep it kind of flat. And then I'm gonna have draw over here and fade out into the ear and then for the eyes, for the irises in particular, uh, you're to draw them a little bit elliptical or oval like on have them squished with wise a bit. Um, because that is also how you help Teoh make a distinct from front view So, given that this person is gazing off to our left, I don't like this. Um, And then when you draw the pupils, don't draw the babbling this because, uh, the pupil is the hole in your eye that is underneath this shield. So if I were to draw like a 3/4 view like breakdown off the eyeball, then pretty much like, let's say, like, here's your Here's your pupil. Here is your iris here. Then there's a shield out here. So and then here's your entire eyeball. So therefore, if I turn it more, more correctly, if you like this so therefore the correct way of doing the pupils inside of your iris is more like this and also a little bit more, uh, elliptical. So it's squished with wise, I would just shaded appear because I lived over. My lashes tend to cast a shadow, Um, and also just like, you know, symmetrically. Assuming the light source isn't coming from our left, I'm gonna shade over here as well. Basically, those are most of details that I would put in to get the get a relatively developed 3/4 view 6. Tips: All right. So this last video, I'm gonna go over some do's and domes or just some quick tips based off of watching other students who start out in drawing 3/4 view. Um so to avoid, um, making all your facial features local flood on the face, pay attention to the ankles when I often see Is the nose being something like this or just not sticking out the facial features enough or putting the I like at the exact same, like just lined up with the eyebrows, for example, like putting the ice exactly beneath the eyebrows or something like that. Um and so the best remedy for that is basically, just pay attention to these angles. And what can also help is if you really try to break down the face into, like, more three dimensional like facets like distinct, uh, faces and really get to feel them out, like how from brow, bone or eyebrow. I the surface is like facing downwards, and this surface is facing upwards. This one is facing up. This one is facing down, and so so I could just quickly go over some surfaces that are that I would say, should be need How more distinct. Um, definitely. That should be front facing this side facing and so on. So if you if you're able to draw a face a little bit more blocking like this, that should help. Um, another tip is don't center your features. I think it's cause if you're more used to drawing front view, you're gonna be a lot more tempted to try to, like, try to do 3/4 view and then just literally try to put everything back in the center, like putting the mouth over here and the nose over here. But somehow you know the shape of face doesn't isn't quite coherent, cohesive or coherent with the arrangement over here. Um, so I see that happening. Um and so what would definitely help with that is just making sure that for one, you keep the features in the direction of gaze more squished with wives and seeing how they behave differently, like, let's say, in front of you, the eyebrows were like this then. I mean, this eyebrow might not be too much different. It might still curve with respect to going from forehead to the side of the face, but this would definitely, like, appeared to curve a lot more. I think that, um and usually you can't see the national on the other side, but it depends on how turned the head is in the 3/4 of you. Like towards the side or towards front few. Um, and another a mistake I often see is keeping, uh, this I on the side of the direction of gaze still looking like the front view. I so remember to make sure it's more triangular or cold. L shaped like this. And often it is also squished with wise, like there is less with to this, I compared to the eye opposite in direction of gaze. So this one would be whiter. This one would usually be narrow. Where with wise Um so I mean definitely, like trying to do exercises like this, just creating three D contours to really exercise your sense of the three D space and like the topology. So you should be able to show your understanding of what would be like if you drew lines going all the way down from all over, like the surfaces eyeball. Maybe I would from and then down the, uh, don't cheek and down the mouth. Um, I know whichever one, whichever way you want this to go something like that. But the most helpful Contour really is just the one that goes down the middle. Because again, if you drew this line down the middle, it's not exactly the middle. But I would say it'll intersects at some point with three actual, uh, line that goes down the middle, um, of the face. Another thing is, as I said before, um, put the eyebrows ahead in the direction of gaze because that's how you, um, portray the depth of the eye sockets because the eyeballs are in further depth lies and the problems are out further on there. That's part of trying to portray the depth that you can distinctly see in 3/4 view. If you're trumped again trying to get the recognizability or the likeness of someone, uh, celebrity or some real person, then actually, it's not just, you know, the brow bone and cheek in the in the mouth on chin line. Um, it's basically everything, uh, and you want to observe, you know, the curvature of the eyelids. Eyebrows on where where the ball, noses and everything, but, um I just say that I just mentioned the cheek wine because it's so subtle. Um, and but sometimes it is just one of those things That's like, you get the cheek wine and then you get that much more likeness of the person you're trying to drop. But, um, yeah, so that's most of my quick tips for the 3/4 of you. I hope this was helpful to you. And thank you so much for watching.