How Beginners can draw Awesome Ink Portraits (easy + fast) | Max Borgmann | Skillshare

How Beginners can draw Awesome Ink Portraits (easy + fast)

Max Borgmann, German Artist/Author

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3 Lessons (30m)
    • 1. What is Tracing / the "Lighttable-Technique"?

      5:23
    • 2. What do I need to trace and why?

      18:44
    • 3. From Sketch to great Ink-Portrait

      6:15

About This Class

In this class I will teach you how to draw amazing Ink-Portraits from photos without needing to be great at proportions or anatomy. This is by the use of "Tracing". Many artists blame those who trace, but in the first part of the class I will explain why tracing is actually a great way to speed up your artworks and still have many learning effects. If you have 5 Minutes spare time and don't believe in the use of tracing, watch the first part of the class and let me try to convince you otherwise :)

Creating these Ink-Portraits is a great fun and they are a nice gift for Christmas or as a Birthday-Present. And everyone is unique and has a different style to it! With the use of different pens, such as brushpens, or even watercolour, many interesting effects can be created. In this short and detailed class I will provide you with everything you need to start with this technique. If you have any questions feel free to ask me and I will answer them as good and fast as I can!

Some example portraits:

(I will teach you how to draw these kind of portraits in this class!)

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Transcripts

1. What is Tracing / the "Lighttable-Technique"?: you want to learn how to draw stunningly realistic portrait As you're tired of practicing, you try and try, but you don't see results. You're able to draw realistic faces, but somehow the person you have portrayed isn't recognizable. Hello and welcome Foe and this class. We're going to solve all of these problems. My name's Max Parkman, and I'm going to teach you the light table method. I mean, that's what I call it, but you don't need a lighted for this. All you need probably already is in your household, and I promise you, after watching this course, you'll be able to grow great and recognizable poor traits and ink, pencil or ballpoint pen. So why don't you grab yourself a hot cup of tea with a back and invest a little time to give you a portrait painting a super boost? So before we stop, there's something that needs to be clarified about art. There is no cheating and art. I mean, they're stealing our copying other people's artworks and claiming them to be original. Don't do that. That's mean, and lex and honor. But when it comes to drawing their several difficulties, you can choose from the hardest would be to grow without reference at all, like the master Kim Jong gi himself. Thus he draws stunningly detailed masterpiece without looking at reference pictures at all . But there is something only very few achieve, and it takes a lot of practice. Then there is what most artists drew, looking at reference pictures on growing what they see, maybe altering the posts or drawing in their own style. You probably know this from yourself. If you do that, there are certain factors involves anatomy proportions, perspective, tone, saturation, value and texture and drawing. A portrait that way trains all of them, but it's often frustrating at the same time, with a light table technique, you still have to master all of the's skirts except from anatomy and proportions. Use a light source behind a transparent surface to shine. Razor flight reference photo. You trace the most important forms, and that way the proportions and anatomy are in the right place. But that's just the phenomenon. We used this technique to make it work. You need to know a lot more, but don't worry. We'll cover all that's needed in this course, who would probably think right now, that's cheating. You're not an artist, you fake a loser. Foolish fool. But look at what you practice on this technique again. Out of seven Skillz, you trained five. That's over 70% off the learning. But with 10 times the fun. So much more likes to paint this way. I mean, you still should practice anatomy and proportions, such in practice sessions directly addressed to only them. That way it's more fun and more effective. And it would be not true to say that you don't learn anatomy and proportions and all this technique. Even with the Contras off the I, you still can mess it up. You need to focus on how it's built, and through observation you get a feel and knowledge off anatomy, and with many faces grown, you get a feel of how the proportions should book chaps, you drawing in the Kim Jong gi style free handed without reference at all. Let us conclude what I just told you with a light A with technique, you skip the suffering off, getting the proportions right, and you skip the learning sessions off for anatomy and structure of the human body. You can have fun painting or drawing and focus on the other very important skills, such as lighting a color texture. It's not an easy baby mold from dummy artist wannabes. It's a relaxed way to paint portraits to show you how fun art can be and to give you amazing results. And still, the training effect is there, and you'll eventually get better growing free and to. So that's finally what you need for the light table technique. The materials you need are a TV that supports screen mirroring or easy projection as it can be called. Or if you don't have a TV or you don't want Iran to be, you can use your window, too. Then you need a window and some light source behind it or very sunny day and a printer to print out your reference photos, and you need some tape, pencil and some sheets of paper. The thin out of the paper is the better you look and then you just need a reference photo 2. What do I need to trace and why?: So in this example picture of a woman I'm going to show you how you place your sketch lines . Let's get started. I usually start with the eyes. I mean, I don't do this digitally. I mean, that's all. I think I've never drawn apartment on my tablet or my computer, but I mean, you could do that also. So I almost almost every time I start with the pupil and I mean anything I believe called the virus. So the part of the Eye Joe's sketch it and the important powered heaters to not forget about these little highlights of the I. These parts are these parts. Make your I look alive. It's these little these little wide points here, make your eye on your part would really puppets actually extremely important. So you go on with the shape of the eye and so let's You don't have to be extremely precise here. It's just a rough sketch so that you know where the proportions are. Where the i allies you take this So thing here. Now you have stepped in that in me, but what you haven't goddess like the lighting. So you just so you don't just schedule an enemy and the proportions of the I also make marks for where you're lighting Rule I This line, for example. It's just world lighting and whether the shadow meat and it's a very hard shadow. And so you can so you can when you when you draw it light on, you can see where the light meets the shadow on where you place your lines. Okay, so I usually do that. And, um, you probably, uh, the more times you do that, the better you get it. See the shadows almost directly. So here's a It's a very soft line. So I made it very soft because of the shadow blends out on the cheekbone on the cheek, and and later, when you make your lines on the import, you blended dollars a little bit, so I'm going to show you later on. So that's a very hard shadow here. The nose is usually the trickiest power, I believe, actually, for me, it is so because these shadows are not very common in the test. Strange kind off form when you really think about it. C m. This part of the nose off lost, rolled, facing down. But has a little light on it right here. That can be very confusing of time, since it's hard to make it look realistic and get this form. And the direction of the surface is facing when you making thanks troops. So it just roads these shadows on where the nostrils meet, cheek and like where the nose has contact with face, I make them much dark of and actually our because it conveys a little form. And what makes gives to the picture of my death portraitist. If that gives the prophet a lot more death, it's actually what else. So just lighting point on the tricky part when you making sketches are in profit is usually do that on white paper. I do all the time because a like of a black and white look. But you could do that on tan toned paper or some other toned paper. You could benefit from having mid tones us for your background, giving us some highlights where they are. Um, maybe even go to make a car simple. That's later on. I don't do that that Austin, because have some problems with highlights looking shiny and like wet the face that looks quite confusing. This they re sweaty on stuff. Look, I'm going for, but you didn't try that out. Have some problems with my TV method when it comes to tone paid her because of it's, um, doesn't let the light shined through the way. Why pay but us? So you have some problems with capacity. But what I found out is when you do that in the dark, so few rooms completely computer dark and the night and you turn on your TV and used the light and table method on TV. It works way better than 40 in the rooms. But the room. Miss Bryant, I believe if you work with toned paper and the knights and your rooms completely dark, it's may work. I haven't tried the dog yet. So many of these lines may look confusing thes ones, but actually I call this tonal variation and the real picture. This part here in this part may not look very different, but actually, when you make a difference on this power, for example, in Dr of this broad, enduring portrait would look way more interesting. If you paint your portrait in color like I usually do what a cholera Grosh and you give something a little total variation. So make this part a little more purple than that. This part a little more at just a slight touch. Even though the Partridge, the product, the reference photos has these color touch is not in it, it looks more interesting. And so they look more alive. Okay, so we have lips here. Scripts, worthies, shadows. Many people will forget about these shadows in the sketches that actually very important. Okay, I'll what makes soul thing look alive? So if you go back to the I, we find out that we have missed votes, it's up to you. How details you make your sketch. I like to have these lines from the darkness visible. It was about my portrait invisible my sketch. But you need to be careful with them because I like to think of to visible your profits. Could look a little older and actually is. So I only got until the hair this side what they had You don't have to be that detailed. I'm just going for a little darker areas. So this area's much darker than the rest on the most important part and growing hairs like the direction they have flows. So just think about the hair as would be water. We're a flow so water. Roosa River filling. I think it looks I just like like a stream off water. If you think that way, leave. It would be much easier to try it, but don't think of it like thousands off little Harris combined. Think of it as Mycroft shapes like chunks. That way, it's much easier. Okay, not with the jawline. The jawline is usually the most intuitive form you can scratch. No needs to have straight lines. Very excellent lines could be a curative constant full portrait. Okay, so this scar from that we could leave all for this example. Awesome. Going to pains of this portrait is just to showcase how you place your sketch lines with sketching and looking at things. Pictures most of the times alone, something so great way to draw eyes. It's like with only half off pupil in off the iris visible. So it's usually that's nice under the eyelids, bit bottom proud and most of the upper house office covered islands. So if you drawn, I am full for iris is visible just looks very scary. And I'm naturally and many times you get into this barely there. So this lighting about I lived in this part of the bath. These are things that are nearly the same of every human face so you can run about. Here's another example of 12 variation. This power is not very different from the other parts. It's a little bit lighter, and you can conveyed its forms channels with Chen to can do that. Was these his shapes between those Carlos of the Libs? To have these four, I mean three parts of flights from those side on the top. You can snows Weymouth Farms much easier to think of knows that was curved. Here goes forehead ISF, usually a power around. Nothing really happens with sliding, um, except from cases where you have strong, strong shadows from other objects planned or something. But if you have only body body shot, if you have only body shadows, you I will not have to draw here. Sorry, either Leave it completely empty. Oh makes a total variation. It's part of a little bit summers off. I wouldn't do that in this case. Looks just too much completely depends the object of Okay, belief. Something just like that. Okay, if you can. We Hi. It four. It may look a little bit confusing. First time another layer here. Give it some just very base rides. These are usually the darkest areas. I like to paint him in this sketch. 3. From Sketch to great Ink-Portrait: in this part of the Carson go to show the detailed prose is of Ingenio traced Penciled sketch. I will use Fine Black in Kingpins by Father Castell and Secure, also known us micro Pick my penance for the most part, as well as a brush pen, bipedal and 0.3 kopek motor liner. I like to draw these on market paper, but any paper that won't bleed should work fine as long as it lets you trace the image in the first place. I usually start establishing the extremely dark parts first. This would be the pupils, some very deep shadows on the neck of a hair pass of the mouth of the I. There's something overlaps, another part or just places, but barely any light gets to also surfaces that are very dark and black. Such a school thing, the tattoo Oribe rose. Then you pick apart off the face that you want to start with for some reason. For me, it's the right side. I in nearly every case, remember to always leave white light spots in the It's really important to understand where to put an outline around the future of the face, and we're not too. For example, the mouth there you'll plays an outline almost any time around. The lips outlines create a heartbreak, which is why you don't place outlines around the nose. The nose gently blends into the forehead and the cheeks without a heartbreak. The chin is an important feature in the face that heavily creates likeness. In your portrait. You should place an outline there as it makes the chin more recognizable and more defined and shape. Also, it's a heartbreak from the throat. When it comes to the eyes, the placing of outline gets more tricky. Here. You'll have to look for the heart, lights and shadows in this example portrait. The Lower Island was very bright, so I didn't place an outline it all but with the upper island, you cannot establish any from without an outline and usually too much banding with hatching . Next, the I looked out and lifeless the fold upon the I is a very hard line to that makes the I look sharper and don't grow the eyelashes as individual lines. But as packages combined out of many eyelashes to build up form and shadows, you plays many little lines together on a face in the same direction. The weight and frequency of the blinds defies the implied tone. If you place intersecting lines that's called cross hatching and drawing faces, Inning, I like to work with parallel lines, do not dissect, forgives the drawing, a more planned look and also that the skin looks softer. It's very important to have variation on line weight and land frequency, which can be easily achieved using different pence. The large black areas are perfect for the use of brush pens. The brush pens from pencil have a very dark and pigmented Inc that can make the other areas of normal ing look a little dull. So I would use one type of thing for every larger area and one type for hatching line work . Combining two types of ink gives a drawing a deeper look on the lips. I prefer not having only straight lines, but to use carved lines that convey the round and bouncy farm off lips. This is especially good for girls with big bottom lips. For me, the top of the nose is the hottest power. Just look so weird, doesn't it? Some hard lines that structure it can be helpful but only at the shadow areas where it doesn't jump right into the eye but gives a nice little underlying touch. I do the hair at the very last because I find it a little boring. It's just a very interesting one. Hair after another. As I said in the sketching part. Think of the hairs. A stream as a river thinking here isn't that complicated. Just line off the line, placing some shadows through lighter Aereo's Not over. Think it. The general tip would be not to draw too many shadows. Stay true to your tracing more than you do to your reference photo. Too many shadows that a person look old weird. If you have any questions about the inking power process, feel free to ask the ends of them as soon and as good as I can. The best way to learn is to try it. That's why I have provided you a photo of myself to making ink portrait photos. I'm standing in the Augustine. A voice tribunes are its book place. I congratulate encourage you to visit, for they have great beer and food and beautiful old halls. Take part of this class project and poster result for I will give you feedback on it. Tell you what you should improve and how you could do it. With that, we have achieved the end of this cross. I would be very happy to hear your feet for this was my first time making such a course. I hope you enjoy your time with me. Did you have learned something? Thank you. We wish you a nice and heavy day.