How to Draw Faces | Jasmina Susak | Skillshare
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13 Lessons (5h 31m)
    • 1. Intro

      0:44
    • 2. Tools

      5:19
    • 3. New Blender by Caran D'ache: Testing, Review and Comparison

      5:53
    • 4. Sketching

      19:36
    • 5. How to Draw the Eyes

      59:39
    • 6. How to Draw the Nose

      40:53
    • 7. How to Draw Lips

      30:53
    • 8. Shading the Skin - Part 1

      56:01
    • 9. Shading the Skin - Part 2

      56:01
    • 10. Drawing the Hair - Part 1

      25:30
    • 11. Drawing the Hair - Part 2

      25:12
    • 12. How I record and edit my drawing videos

      1:56
    • 13. How to scan and edit your drawings

      3:28
20 students are watching this class

About This Class

How to Draw Faces - Learn to draw Proportional, Lifelike Portraits from Scratch

In this class, you will learn to draw a portrait from scratch. I will guide you from sketching to finishing touches in this highly detailed tutorial. I will share a lot of tips and tricks with you that will become part of your drawing practice so that you can apply them to your future portraits. You will need a few graphite pencils, something for blending (a blending stump or Q-tips), an eraser and a high-quality paper.

In addition to this tutorial, I will provide additional, bonus videos for you, such as testing, reviewing and comparing the blenders. Furthermore, I will provide you behind the scenes access, showing you how I record and edit my drawing videos. I will also explain how you can scan and edit your drawings to show them on the internet.

In this tutorial, you will learn:

How to sketch from complete scratch without using any reference photos

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How to draw lifelike eyes and beautiful eyebrows

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How to shade the nose to make it pop

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How to draw plump lips and teeth

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How to patiently shade the skin to make it smooth and achieve the best results

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And how to draw realistic hair

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I am excited to have you in my class.

Jasmina

Transcripts

1. Intro: 2. Tools: Hi, there is Jasmine. Thank you so much for joining me. And let's start with materials for destroying. I'll be using for Brianna Bristol, a four paper for mint, eight by 11 inches or 12 by 30 centimeters. So it's a very thick and durable paper. I always recommend this one to everyone. As you can see, it weights 250 grams per square meter or £145 which means that this is a very thick and highly durable paper, as I guess you can use it even for watercolors. I use graphite pencils. Castell 9000 by Faber Castell, he would concede agreed to the bench is that you have available, but you won't need them all. Actually, I have, like five pencils. Here you can see I have 18 B, which is very, very dark, and I'm using it for very black areas such as pupil and similar. Then I have one B. Benson. It's still pretty dark, but not that Dark said. Not as dark er's four B or darker. You can see it's next to the B, so there's no big difference between them and also that there's no big difference between the four being a B. So it's enough if you just get one of these suffer me. The most important is an HB, and this one is by Stettler. But there are of similar quality, So if you change the pressure, you can replace from five age to be so. It's a very useful mental and, as its name say's, it's an age and be in one. So I use her for sketching and for a lot of things you will see and I have one to age, which is very good for the skin but a pale skin, and I have 16 age. This is also very bright, but when I say that I'm using a six age, you don't have to use that one. You can use seven age I made or when I say to beat, you can use a B or three B. You don't have to use the shades that I used. You don't have to buy these, but the one next to it emphasised these pencils. I have mechanical pencil with an H B and to be leads, and I'm using this for two here, and actually for nothing else, I don't really recommend this for the skin because for the skin, we should use around a deep of the pencil, particularly when we used to age or lighter, because the well sharpened point can scratch the paper. Okay, you will need something for blending the graph fire. I have these blending stumps. You can see I have more sizes. So I recommend is still for blending small areas and for larger areas you will need a tissue or you can even use toilet paper kitchen paper tall so it has to be t shoot anything goes Alabi, also using Q tips, were blending for a bit larger areas that are too large for the tip off the pointing stumps . It just leaps or iris, but you will see which one all abusing. And I will be always explaining why. And I will be using the shoes also. But you can use a caughtem pad instead. So anything so this will do the same thing about erasers. I use this simple plastic eraser by tumble and also I have this one eraser and pencil by former Castell. And here we have white gum and red gum and I have this mechanical erasure by Tom Bow, which is very good for creating tiny highlights or two drawn areas, so it costs about $5. And after that you just have to buy reveals. So I recommend purchasing this jelly roll by you nibble signal or even better, this white marker by UNIP Oska 0.7 millimeter. So there's a very good for playing highlights or the drawn area, for example, or die, which was suggest the witness of the eye. You can also use it or your color pencil drawings. So this one costs about $2 this one above $34 they last for such a long time and you will need a roller. I have this one with inches and centimeters. I can show you both measures no matter what you were really can follow along, so you will need one ruler 3. New Blender by Caran D'ache: Testing, Review and Comparison: okay, Before we continue, let me show you the new product that Karen Dash launched recently. It's a full blender, bright for color pencils and graphite pencils. It costs above $5.40 for two blenders. Implicate so it doesn't have any wood. It contains Onley off the blender. This material was against C, and now let's sharpen it. It reminds me off clay. Such material. Interesting. Like clay. Yeah, so it's actually a colorless blender. It won't change the colors, but let's see how it works over the drawing area. I'm just going over to here in the same direction that I did when I was drawing to here. Well, actually, what I can say here is that the drawn area becomes much, much darker, so you should use it really carefully. It's say, it's like it's It doesn't really make it much smoother. I want to say that I don't say it makes it much, much darker. So which is something that I wouldn't want with my drawing if I have already drawn it, or when I decide that it's dark enough, I don't want to make it much darker. I would, of course, sometimes it can be useful and what I didn't know. I'm not really impressed. It doesn't help, actually, but look, if you can afford, you should definitely by this and try for yourself. But I'm not going to use it anyway. I will have to try to dust it with color pencils, and I have this colorless blender wax colorless blender by Prisma Kohler that I often use with color pencils when I draw animals. And then I want to make two for beer, fluffy and soft, and it's really helpful. But I actually haven't tried this or to gratify before, so let's make some comparison what it also make. It makes the area darker, but us against see its motor now, so it's kind of better. This is my favorite blunder. I don't really like to use this order graphite pencils, because you could see it makes it too dark, but its most obsolete this most. And in this, in the case of this hair, I don't really want to make it smaller because I want to hear to be visible. This is just for sake of comparison, so it actually have has eliminated all those wide thoughts off the paper, so I don't know. You should definitely try these for yourself. I really don't want to say that you shouldn't use this new blender by car dash, but I'm not impressed. I can't hear you can see on the left side my drawing part of the drawing without blunders. In the middle, you can see the same fort plenty with the full blender, bright by car dash and you can see is bre darker, but the white thoughts of the paper still visible. It's a 400 DP i skin. I scanned it for you to see the details, and on the right side you can see the part of the hair blended with the wax colorless blender by Prisma color. That's where Smalls eso this blunder actually has eliminated all those annoying why thoughts of the paper. I mean this by Prisma car, and it's really useful sometimes, and I have tried it over the skin on my own drawing. Here, you can see in the left side before I apply this blender by car dish and on the right side you can see after I have applied it. So it made it too dark and it's smudged it and It's not really I smoke anymore, So it's a big no no for the skin for me. So actually, in this tutorial online going to use any blender, we're going to blend with the blending stomp and T shoes and Q tip. So, as I mentioned, if you can't afford you, just buy it for yourself and try yourself anyways. So I really love their color pencils. Luminant. So I can't say anything bad about this brand, but this blender didn't pass my test. 4. Sketching: so the first thing is to decide how big you want the face, but you dropped to be in to decide where you want to place it on your sheet of paper. I wanted top of my head about two centimeters, so almost one inch from the top. And now I want to draw horse in tow line and let's call it a line. And now let's draw one more horse on the line here to determine the position off the bottom of the gene. Someone like here and we'll leave the place for for the neck. And let's call it a bee line. Okay, The next thing is to draw the horse in tow line exactly in the middle between the eight and be lines. And to do that, take a measure between the A and B lines. It's Ah, 19 centimeters and 1/2 my case. So 7.5 inches, which means that I have to mark nine centimeters and seven millimeters from the top, like 3.5 inches, okay, here and now lives in the same on the left side. Okay. And now we can connect this to mark points like this and Let's call it the C line I saw the pupils will be placed exactly over to see line and now we already know where to draw the eyes. And now we have to determine the width of the face and take this measure between the A and C lines. So in my case, it's about nine centimeters and seven millimeters, almost four inches. And just add 1/3 of this measure. This sea line did this measure, so it will be about 12 centimeters like this. So somewhere in the middle of this sea life and just draw to vertical lines like this so we can have frame for all off lines. I saw those lives that have to be strictly parallel to the edge of the paper into each other just like this. And let's name them the lines. Okay? And now we can draw the outline of the head and let's start here at the top in the middle, going over the horse until e a line A bit like this. Just a few centimeters one inch and then we have to start curving the line downwards like this because we have to connect this to the point between the DNC lines here, and I just want to make this part of the head of its own of frame like this. Oh, it would be colored by hair. So it's not that important. So let's draw that line to see whether it will connect. Okay, The core neck. And now we can draw the full line. Okay, No list of the same on the right side. So this is actually the outline of the skull and not the Alvin of the haircut. Said this alpinists, actually, not too important. So you don't have to worry about this too much because we're going to draw the hair over this outline, but we still need it for the sketch. It too. Serve us a wide line. Okay, first dash line and then weaken. Go over with full line. And now we can move to the lower half off the frame. Endless. Start here on the ends off our offline or the C line and just go downwards, creating slyly curb online like this. And now let's do the same with the right side and other draw downwards. Just make it for order and charter from the frame. I mean deeper here like this are going to hear. The bottom of the gene also followed the beeline obits horizontally like this, and then start curving it upwards. And here also created dashed line first. So to see where it will end, what are the ends will connect. Okay, now we can go over it with the full line. And I lived through the same on the left side. Okay, So it can be any shape. I want to draw female face toe. They're gonna have, like, a bit nearer chin. But you can draw a wider any shape. It can create in shape. - I can always draw the line between the here and the skin off the forehead here, and also draw a bit horizontally and you can stand drawing this line two centimeters from the top. It's about almost one inch and just a bit course until and then start. Two curved a line and draw it doors. The cross point between the the the seat lines. So just anywhere you want can also be in shape. So we can also cover this This all of line. But we need it for measuring the position of the facial futures. Okay, so something like this, unless they're the same here in the left side, just approximately like this. And now we can divide this horse on the height of the face, starting from the top of the forehead, not the head and the bottom of the chain into three equal parts. As you can see, I have 17 and have Sun Readers heights, So I have to measure quite a ble above 5.8 centimeters. If you measure in inches, just divide the high that you get by three. And like this. And now let's discreet dashed course until line here over the marked points and let's call it M line. And let's great here to top off the forehead like this. Okay, let's call this one m one and this one I am, too, unless great here, one dashed line. Let's go with M three and this will be him for just say, must be line. And now we can outline the years. And so the top line of the ears is M two. And the bottom line is M three here. Eso you have to draw the years in this space between these two lines and of course, it it It's not in every case, the same. You can draw bigger or smaller ears closer or farther from the face on the top of the year can also be vanished shape. Just draw it a bit harder from the face, then the lower area. You hear something like this, I'll actually draw the hair over over the years. But I just want to show you where you have the place if you want to do over the years to and we're going to shade the ears so you can learn it too. Okay, now we can draw the eyes and to determine their position, we have to divide the seat line into five equal parts and we have to measure two years to you can see my C line and it's about 15 centimeters long, so I have to make one area three centimeters. Why wide? And of course, it doesn't have to be exactly three centimeters, but approximately. You can see that I'm marking to stay lines at the 369 and 12 and I'm getting five equal parts this way and we can draw dashed vertical lines or the mark dots order seen lines like this okay here also. So we have to draw the left eye in the second section and the right died in the fort section, and I want to start with the left eye with the pupil, and I draw it exactly over the sea line and exactly in the middle of this section. And I just want to draw one more circle, which will represent the I respond ary and the upper part will be or left with upper eyelid . And that's why I got into struggle here. And I draw almost trade line here, and the outer corners should be placed right over to see line but inner corners when the fear doctors found so it can be a bit under to see line like this. And now let's draw the eyelid fold. Just draw curry line parlor to the upper. I lied like this. It can be closer to die for order, so wherever you want. And let's also create light reflections wherever you want over the iris or the pupil. I want to mark two dot i came. So now let's rather right I and wrote a pupil here in the middle of this section or the C line and just great one more bigger circle for day. I respond ary and same here so that your doctor can go a bit under to seal line and just all lined a lower and up Riley. It's like this and same here. Draw the eyelid fold parlor to the upper. I lied. So wherever you want and draw the line reflection, just make sure to draw them the same in both eyes. And no, let's draw the ire owes, so the IRA should feet under the M to align it. But I want to draw female eyebrows that peak higher next to the temple, and I just want to market in her aunt's here, above the tear docked like this, and you can see that the are sparred is over M two line like this so you can draw more straight. I bro's are actually horizontal. So there so many kinds and shapes of the I'm rose thicker dinner just the way you want. So I recommend creating dashed lines when our client EI Breaux's and the Eye Bro's are usually speaker next to the nose and thinner next to the temple. So you just make them the Nurdin thinner us. You draw them Thursday years and same here on the left side. And of course, try to make them off. Symmetrical is possible. Okay, It's time for the nose and the bottom of the no should be placed over the MP three m three line. But the deep can reach a little bit under this, like this, and the sides of the nostrils should be placed right under the tear doctor to fit in this area off those five equal parts that we divided with vertical lush lines like this. Okay, cannot find a nostrils. So these two dash lines can help you to place the nose within this area. And I'm just all finding the bridge with the dashed lines. The nose actually contains shades on Lee are actually mostly we just have to sketch this lower Harry of the nose. And now let's determine the position of the leaps. The corners of the lip should be placed under. The pupils are under the inner iris boundary. I mean in the same article line. And you can create any shape of the lips, of course, so anything can go control fuller or smaller lips, and I want to drop it off the teeth so that you can see how to draw The and Laura lip should be placed exactly in the middle between the bottom off the nose and chin Market is something like this. I know you can either erase this frame and quite lines or you can tracer Scatchard cleans sheet of paper. And so I recommend transferring the Alice lies under new piece of paper. But you haven't touched with your fingers that you haven't raised anything because after shading with Graf I it will be visible. So I always placed my hand on a piece of tissue or separate piece of paper. The award touching the paper. Okay, so I have transferred my sketch in a new piece of paper. I just want to add some details and of the sketches. Maybe it's not exactly the same, but it's okay because I have to be the same. It's proportional like this. So this is the most important. The facial futures are proportional, and now we can start to draw and shade. I just want to erase some unnecessary lines. So these were some double lines as I was trying to find Dr positions and now I can raise thumb. Okay, 5. How to Draw the Eyes: So let's focus on a single facial feature at the time. And let's start with the eyes and I'm coloring the people with an aide to be mental. So the pupils have to be absolutely black. And if she used at least to beat or darker, so it doesn't have to be an egg V. But you can use four b six B, whichever you have. And now you can either draw the eyes one by one or both at the same time. And I'm drowned them both at the same time and just covered people carefully and use a well sharpened pencil to keep this circle purple perfectly around like this. Okay, now let's all blind the ours boundary, and I use a B pencil for this just carefully like this. A za going to see my offline is about one millimeter. Think so if you're drawn a four paper size like me, so that you can compare and tried to preserve to perfect around perfectly round circle. So it is very important, and I breast very hard with my B pencil so you can even use an age beer in your pencil. But ours boundaries, usually dark, erred and the iris. So and just keep the upper part of the IRA since we want it's covered with the upper eyelid and now lives with the same with the right eye just like this. - And now let's great the shadow over the upper areas off the irises that this cast buddy Upper I lead the shadow s. I still use a B pencil and I pressed very hard. So this cast shadow can't even reach the pupil depending on the light source and so many things, and just escaped the life reflections that you drove and just draw around them and leave them absolutely white like this. I cannot listen the same on the right side, so same here. I know. Let's color the eyes with the two age and we should draw the spoke that radiate from the words center of the people like this I saw here you have the just to decide which tone to use because this stone will represent the basic color of the eyes and just colored are is completely all around and skip the reflected lights and draw around it like this and just make this spokes radiates from the center to people and issued press harder here in the upper area because it is always less eliminated and a large area of the Paris or even better if you was a darker pencil here and you can add much more good deals. But this is pretty small drawing. There's no point in any such small details is that I haven't tutorial on a single. I would just spray Big Guy and I could go much more into details so you can check it out. Alice is saying with this I saw here also draw the spokes touch right away from the center and draw around the white dot which war represented reflected light. And you can see that by leaving out the area for for the light reflection. It makes the eye up your shine here. But if you forget or you're just accidentally draw over it, you can always create it with a white in job ban or with a wide marker or with a white gua sha. So. But if you don't have these to us, I want to show you hard to do that. So this is the way that you can do it by leaving untouched the white color in the paper, and I just want to blend the edge between the iris. Ponder in the iris, and I'm using it to H. But I press hard here. So the end between the Aris boundary in the iris shouldn't be done clear, but writer blurry and the tones should flow into each other. So if you shade if you're shady's too dark, just you can just illuminate it with on the race or by removing the graph time and you can you increase some patterns like this. Just touch the paper and it will eliminate a bit of the graph. I Okay, now let's shade this Clara and I'm using it to age here in the corner because I want my life source to come from the top right corner. So these corners on the left side have to be the darkest because they don't get much light and its so called self shadow. I just want to make the tip of my blending stump sharp, and I want to cut off excess with my scissors like this. Okay, so no weaken. Blend it and then we can draw more with a to age, and I use circular motions all the time and I pressed harder here. Next, right under the offer I'll lead and next to do tear duct like this and them As we shade towards the RS. We had to release the pressure and to make it lighter and lighter because the eyeball is around. And here we have to think about shading this fear. So how it will look the same and we have to create a smooth granny in here. That's very important. Something. This portrait, everything should be colored. Accepts fertilized reflections, said the whites of the eye. So they ation stay white. You could see that I'm blending. I Shadab it and then I blend and then I shade again, okay, and they look into the same on the right side. Just start here in the corner, pressing harder, particularly not right under the upper. I lied like this because here the eyelashes air very dense and they cast stronger shadow. So even if the light source is coming from the right side, then also OK, I'm still using to age here in the corner and let's blend it. So here also, we have to make it darker and then lighter and lighter shade towards the iris and no less than the same on the left eye. And I'm still using to age here. Just want to press harder around the deer docked and to make a darker and then I just lies in the pressure also shade towards the iris. You can even use Ah, three age or four age for the lighter areas. Okay, and as always, let's just blend it with blending stump. That's very important to make it look soft to blend the harsh lines and thoughts. My this. Now let's do the same here in the left corner. So this one has to be the darkest. That's why we're going to blend it more, and the shaded more so we still don't know how dark or how like this, uh, Clara is because when the surrounding area is shaded and everything is done than it might appear too bright or too dark, so over, we can always go back to this and change. So I can. I was always add more shade, and I'm using a six age here next to the IRS and gently touched the paper, and now we can blend it with a clean tip for blending stump. I'm in a tip that we haven't used for shading dark areas before. - I want to use on HB here in left corner of the left eye because this should be the darkest part and still seems to be too bright. And I pressed lightly. And now again, I want to use six age to color the thickness of the lower I ladling this So this also shouldn't stay white. And it should be much lighter dunned, um, Clara here in the last site, unless just plan it a bit. And I would just want to dark and more with an age be, which doesn't mean that you also have to too dark in it or you can So I measure you can come back to this area later. And so here also that Grady in transition is important between the values. So that's why we have to press harder in the corner and then to release the pressure us. We shade tours ours, and that's blended. And if you order shading, you just you can lighten it up with an eraser. Okay? And now let's shade this Clara on the right side also with it. Six age and, of course, to blend it here . Just call learned a whole visible thickness off the skin of the lower. I live with a to age and also to blend with the blending stump when you're done. Okay. Now, before we start growing eyelashes, let's shade the skin around the eyes because the eyelashes should be applied after that and first used an HB two dark in the eyelids fall like this and here, also above the left side. My this Okay, and now we can shave the skin and let's shade the left areas first between the I and I live awful with an age be, and if so, if our light source is coming from the upper right corner, the left side should be a big darker and the left. I should be a bit darker. The skin around the left eye and the left sides of of the both eyes should be darker because they get less lights and I'm still using an age be and you should create that great in transition and so also shade towards the center. Those the right said you should release the pressure on your mental and here about the dear doctor. It should be darkest. And then you just lesson to pressure as a shade away from it. OK, no, let's blend it a bit with the blending stump and you can see how it becomes smooth. And I press harder here over the eyelid, fold like this. So it should be always darker. And I just want to dark and it and here also the edge with one day skin and this Claire. So I'm still using an HP. But I'm changing to pressure, and I pressed hard when I want to make a darker. But it can change the pencils for B or to be and when we have drawn a bit can blend it. And that way we can see what we need. More shade or not. Okay, in lawless of the same above the left eye on the left side. And so here you can start a new were left side about the outer corner and breasts hard with an H B, and then release the pressure off the shade or center. So the same. Same here does Smooth Scranton should be achieved by lessening the pressure. I can like this and Now let's blend it. I'm using a four b here too dark and the eyelid fold because it should be very dark here, so much darker, done on the right eye. And I'm just continue with an age. Be okay. I cannot let the same but starting from your right sides. And here I used to age for the right eye and and I also it really is the pressure, as I shaded May made area. So the highlights he right above this center above the iris should be the brightest, but just covered the whole area. So patients stay wide and connect to this age. Be area without physical edge and here it breast hard on the right side. As of this way, this skin will appear around Okay, So the stones should flow into each other without any clean edge between them visible like this, and same here above the left eye. But here it compress a bit harder. Then you pressed above the ride, right? I like this so it can always shade more later if necessary. And here, also above the tear docked press harder. So this part of the skin gets less light. So it should be darker than the skin in the middle when it Bentz interests, use most light now is always blend with a blending stump. And now let's shade the part of the skin between the thigh bro and the I League falls. And here I also want to use an age be there. But before that, I just want to strengthen the outline of the eye Bro's so I can see it better where it ISS . And now let's shade this area between the eyelid fold and eyebrows. Using a to age, we have to shade this area to before the eyelashes because we can draw maybe longer, I a licious and we can see better dio the skin on your, I believe fold now the eyelashes okay, like this. And use a circle or motion here because with this circle is, um, we can create very small skin like this. So this so called circle is on technique when we have to apply Chinese overlapping circles in order to create smooth texture, and this is very good for the skin saw. Just don't use cross hatches or something going death, it will be visible, So this area above the tear duct should be a big darker, then the area on the right side. If our life light source is coming from the upper right corner, and now we can lessen the pressure as we shade towards the right side or we can change the mental. So we're going to use a lot of this circle ism technique for the skin, for the whole area of the skin, so it takes a lot of time. But he had You should practice this and do it patiently, and we can now blend it with the Q tip. So this is a bit larger area. We can use a Q tip for this, and I would concede whether we need to shade more. - I can. Now let's blend it with a Q tip to make it look smooth. So blending stomachs too small for this and it's going to leave some visible thick lines. So cute paper T shirt. How much better? And you can see how it looks much, much smarter now and now. Let's use six age for the right side here, press hard, exited to age area and then lessen. The pressure was a shade. There was the temple on the right side. Eso in here to highlight would be found under the arched part of the eye, bro. And just circle emotions and you're just you slow down and take her time so you don't have to draw this fast, and then you can blend. It began with a Q tip and shade. Moreover, this area, if necessary, and we should press hard right above the eyelids, fall to make the Grady in transition between the eyelid fold and the skin about it. Now let's blend it with a Q tip, and we can even shake the rest of this section with a Q tip because there's no point in shade with a lighter pencil and then just blended with a Q tip. Just go over with the Q tip and will be shaded, and now we have to shade more were necessary to create a flawless gradation here by applying to age again. Age be terror is necessary and don't we can blend and always off the blending. We can see what we need to shame or no, so this area above the left eye should be much darker, and I'm using an HP, and I pressed very hard and of course, circle or emotions. Cyprus hard right above the I only fall in the left side and I just lessen the pressure. Now I saw draw upwards and here also So this part would get less light if the light source it's coming from the top right corner because the nose would cast a shadow here. Okay, - OK , no, let's blend it with a Q tip like this. Press hard, depressed the graphite into paper and you can see how it becomes smooth. So how this Q tip helps with blending. And I just want to strengthen this I only full with an age be because after blending, you will always lighting up the dark areas and then you have to apply that again. Okay, so here also, I'm using an age at breast hard. So this section on the left side should be the darkest Okay, Now we can shade towards the highlight now, which would be found under the arcs of the eyebrow here this area that I left untouched and I'm still using an HP and I breast less and less. But you commune use an age mental are enough mental here so this highlight should be much darker than the highlight above the right eye over this protruding bone. Just circle or emotions like this. And let's planet with a Q tip like this. And now let's start drawing the eyelashes. So here I'm using an HB pencil and I start in the middle because here we have to draw vertical, my luscious. So this is simplest simply to start, and I create a thick line between the I and the skin. So for the thickness of the upper Islay or maybe a bit of makeup like this, So here we have simple word ical eyelashes. Ls that the same about the left eye like this? OK, and now let's draw them towards the tear duct. And now we have to make them last tense, shorter and brighter and more Kirby. So here, just go big downwards and then make it curry and then like this, a port. So they should be drawn arm almost course until you see and also shade this thickness of the upper I lied just created the big line between the square and the skin, a ball and same here on the left eye, and you can also cover thickness of the upper. I leave here right above the tear duct like this, you know, Let's blend it with a blending stump a little bit like this. And now also draw the eyelashes, stores the temples make them longer and more dense and all also thicker. And of course, they have to be curvy. Just go a little bit downwards and then course until the entangle upwards towards the highlight and make them and drowned themselves. Some of them should be short, shorter. Some of them should be longer. And they can be stuck together just a random. They shouldn't be the same size. So is he one of them. Kingo can grow that Words be shorter like this and just quick, confident strokes. Okay. And just blend it with a blending stump The edge between the eyelashes under Sklar and same here. Just great longer eyelashes throws the temple like this bit downwards making curry. And there was the highlight. There is the part of the eye, bro, that beaks higher. Okay, s. So now, after having drawn the eyelashes, you can see if this Clary's too bright or too dark, so you can remove some shade or shade more so it will be even more apparent of the end of the drawing when we had will have drawn the surrounding area completely. So we will see. For now, it's okay like this. - And now let's shade the lower. I lied before we draw the eyelashes and I'm losing an age. Be here and also circular motion. So we want to shade this areas before we draw eyelashes because it's better when we draw eyelashes or too shaded area. So I'm shaking, actually under the thickness of the skin over Death Circle or Moscow, which is going all around the eye. So it has to be quite darker than the thickness of the skin, which receives more light. And let's do the same on left side. But here we can use a bit darker pencil like be or to re pencil and also circle or emotions . And as we shade towards the dear Doctor, we have to use a lighter pencil and let's blend it with a blending stump. And though weakened, draw the Laura eyelashes, eso, and the same applies here. They should be dancer next to the temple and so next to the outer corner and should be thinner and shorter next to tear docked. Yes, I'm using HB for days eyelashes because the lower eyelashes are always quiet broader than the upper eyelashes. So and make some off there and meet like this. Okay, - And here do I have to be longer And here under the left eye, I'm using a B pencil produce delicious. - And here I want to use an aide B pencil for days eyelashes because they should be very dark because they get no light. Okay, like this. And now we can create some highlights with an eraser here, innumerable. And as I mentioned as the highlighted area, as I'm just stippling with my people, my eraser to make the skin look more natural. Okay, - And now let's apply tiny dots at the bottom of the iris with a white opaque marker. I'm using this one by Unipol Ska their 0.7 millimeters. So it is important to suggest the wetness of the I And here also over the tear ducts. So one or two dots like this and you can see how the eyes now appear more shiny. And now let's drop the eyebrows. And in this image you can see the airlines that I have digitally placed so you can see the direction and position of the hairs that you should draw. And let's follow these directions and draw the Cairo's. So I'm using an age we panto, but you can use in your potential. So as we draw them towards the temple, they become more and more horse until just like this, I want my eyebrows to be speaker because I want to make them more visible and more eye catching. But you can make. Then I rose if you want, and I want to use an age be for the left eye bro. But I pressed much harder. It can also use it to be or B if you want, because this I bro would be a bit darker if our light source it's coming from the top right corner. But I also pressed less here or the protruding area. Okay, now let's blend it with a Q tip, - and now we can create some highlighted. Here's with a mechanical eraser. So I have cut on top of this come and I get a sharp edge, and that's why I can create Donny highlights or the drawn area like this, - and now I can create the darkest parts in the larder horse in the half off the eyebrows, because these areas get get less lights and I'm using an aid. Be for this. You can use four b three b five b Any one of the of the dark that entails like this so some of the hair skin go over to upper area just a random. So if you want to drop email, you can add additional tiny hairs out of this offline of the eyebrows, so particular next to the temple, an all woman also who don't shave their I. Breaux's say they also had the hairs all around, so you can draw those fares you want. And now let's blend with a blending stump. - Yeah , and let's dark into shadowed areas here over the left eye. So here I'm still using an A B, and I want to make this part quite darker, particularly the lower area 6. How to Draw the Nose: And now we can move to the nose. Suffers. Think is the to mark the Nostra's with the four B or darker pencil like this. And also to strengthen the line under the nose just like this. And I'm using an age. Be for this. Okay. Eso here also. And if our light source is coming from the top right corner, it will cast the shadow or the left side of the nose. And that's why I'm shading here next to this nostril. And I'm using the h b. Okay, just to see if, uh, cash shadow looks good like this. So on my maybe want to make a darker Okay? No, I can darken it with a four bean. Okay, Now we can shave the whole shadowed area on the left side and under the nose, and I use an age be here and oppressed very hard, and I use circular motion all the time. So once again, this is the circles on technique, which means that you have to apply tiny, overlapping circles like this. See? So, in order to create smooth Dexter, Of course, it's not smooths yet, but we're going to blend it with the tissue and you will see it with this, most just away with it around the eyes. So this is a very time consuming work and just take your time. And I just don't have nothing new to say here. I don't want to repeat myself. Just apply the same pressure with this pencil, and then we're going to use different pencil for the next step. - Okay , so this is the shadow that this cast by the tip of the nose. And here but home knows. And here we have to create the that so called self shadow under the tip of the nose. You see? But I have left as you can see, one millimeter thick edge for the reflected light. So we're going to shade it. Us? Well, but he has to be much brighter. Answer. The tip of the nose should be shaded this way. And here all some between the tip of the nose and the wind. No, in this step depends on the size of the nose and the source. The light sores. That fellow's over the phase. But I think the darkest shadows air good like this. And here also a bit okay. - And this is the one to create a gradual transition from shadow To highlight, we have to use a ladder pencil next to this one, and I'm continue with a to age. And I want to shade next to the previously shaded area and using to age and also circle or emotions all the time. And I press hard over the edge off the age be area. And then I released the pressure. Also, I work away from it because this way I will create smooth, radiant. The great callers values just like this all around the area that we just shaded with an age be just go all around it with a to age And here this shadow cast by the left the wing are the tip of the nose should be a bit bigger. And that's why I'm shading here a larger area. But you can see so here. Also, we have to make that Wallace gradation, pressing hard next to the HB area and pressing last unless as we shade away for mint. - Okay , it's time for the brighter shade, and I'm continue with the four age and I also go next it to age area. Impressive it harder and then I lessen the pressure associate away from it. And we have just to go all around the previously shaded area. So also circular motions. And you can even use a three age or still using to agent compressed less. - And here I want to leave untouched the top off the nose like this, and I just want to shade around it like this. Okay? And now we can shade the right side of the nose here, also using four age. Just don't press too hard and always applied the same pressure. Because this way we can create a smooth texture. - And here I press pre harder to separate the wing from the tip of the nose here, see? But you can use here darker pencil. Or you can press harder with a four age like this, and here at the bottom and under right side of this wing to give it a round shape. - And now we can shade the reflected light that we have left untouched because it shouldn't stay white and other can see. It's still much brighter than surrounding area, but it shouldn't stay white. Somehow it looks better. Okay, so don't worry. If you see some dots or imperfections or the lines that you when you as you shade. So we're going to blend this and it will be good. Okay, I know we can shade the right side of the nose here and start here right under the eye, bro. Still using a four age I saw here, you have to decide how thing you want your nose to be. Actually, the bridge people the darker shades closer to each other. The nose will appear 19 so, and if the highlight in the middle is water, the nose will appear wider. So this is how makeup artists made the nose look thinner. So it's all about shading. This is how we can give shape to anything. You can see that we also a shade. The knows we don't actually have any drawn lives. It's all about shading. The nose contains more mostly shading, so it against see the sketch is important, but not also important. US shading and highlighting because you can change the shape of the nose and anything in the order. Facial features by applying shadows and highlights. So even if you don't have perfectly before proportional sketch, you can always change anything and improve during the shading and highlighting. Okay, like this. So here you can press harder if you think that the shade is too bright. OK, and now let's blend it all with a Q tip and let's start here, or the brighter areas using the clean piece of Q tip and also circle or emotions and blend it carefully and see how it becomes smooth. Now, okay and carefully around the tip are on this highlight, and now we can go over the darker areas, but just very carefully. Teoh Award applying graph I over the highlighted parts. Some like this. Okay, - and now let's shade the rest of the nose, except for the highlighted area and the white dot, or the deep of the nose does we have left untouched. So I'm using a six age here, and I want to go next to the four age and this is very Deli Cate here, and we have to press very lightly and also circle emotions all the time. Impressive. It harder, nice to the four age and then less lesson to pressures a shade away from assault. In each step, we have the same technique, and here also between the eyebrows. We have like a bit bent area between the forehead and the nose. We have, like, sunken area. We have to shade out to sort of the bridge of the nose can be brighter, I said. There are always some tiny wrinkles and malls and the phone and everyone's skin said they'll morning if you see some thoughts or something at okay. But just don't use cross hatches and parlor strokes for the skin. So the circle is, um, technique is the best. We're smooth texture here. We're creating so called self shadow on the bottom of the forehand under this bone and just very carefully because this areas also pre bride. While some people have really deep here this area, it goes word deep, so we can't even Shane. It, uh, make darker shades. So try experimenting with the values. - And now let's blend it with a clean piece of Q tip like this. And now we can darken the areas that we shaded in the first step and eso because we have removed the bit of the graph after blending, and now we have to apply it again, and then we have to blend it with a Q tip, and then we can see what are we need to shade more 7. How to Draw Lips: and now we can draw the lips. And then we're done with official features, and I just want to strengthen this line with an age. Be so as I mentioned, I want to draw the teeth, too. But you don't have you don't want. I just want to show you how to draw them in the case that you want them visible in your future portraits. Okay, so I just want to draw the's not a smile, but like this just slyly open mouth. And I just want to add their lines between the feet two separate down with, well, sharpened A B like this. So there's a toned behind that gets no light. That's what it should be. Absolutely dark and just carefully. Okay, okay, like this m motivation. Stay absolutely white. And that's why we have to shade them. And, uh, I want to use to age here and, of course, circle emotions. Because here also, we have to create a smooth texture. Okay, like this Same here, and let's draw the leaps one by one. And let's start with the upper lip and I'm using a beep mental and I tried toe covered this lower horse and 1/2 of the upper lip eso because this should be much darker. So we're going to use lighter pencil for the upper area, and I'm leaving out here to edge the tiny and juicy it's above, like one millimeter thick for the reflected light I saw what I'm shading now is so called self shadow. I thought, I want to draw lips with a bit of lipstick on them. So big, darker and it's quite easier to draw darker leaps, done pale lips. So I suggest practicing with this first and just shade very carefully next to the teeth like this and here. Also on the right side, we have leaked to leave the edge for the reflected light like this. And now, as you shade upwards, breast less and less, or start using an age, be eso here. Also, we have to cheat the smooths great in between the gray values in order to indicate that the roundness of the leap. But you don't have to make its most here because we're going to blend it. It's just important to to apply Tuvalu's and disorder okay, and I just want to make just to separate is to lips with an A B. And so now the most looks slightly opened. Okay, So for the upper area, I want to use an age. Be eso He would have to create some shape your keep it small so it can be and shape doesn't have to be like mine. And so we have to press harder next to the B area like this and a bit less and a opera area . - Okay , let's blend it with a Q tip carefully. So you see how it becomes Smalls. No, I can see that the lower area is not even that dark anymore because, as I mentioned already a lot of times. So we're always eliminating a bit of graph I when we're blend. And I just want to use the blending stump for the edges to preserve the clean edge to clean between the ellipse and a skin. - And now we can also covered reflected light because it shouldn't stay white, but it will be much brighter then the color of the leap about it. I just want to dark in this tooth with an age be to create kind of cast shadow, or it it still seems to be too bright okay, and same here and OK, see, it's much broader than the basic color of the lips are actually the self shadow, but it's still not white, so I shouldn't stay white. Okay? And now we can create some highlights with an eraser. I just want to brighten up here. This reflected light above the teat to create it just above the edge between leap and teeth like this. - And also, let's great some highlights Here in the upper area, I said. The upper part of the lips off the lip is always more illuminated, then the lower park. So it should be highlighted here just carefully. And here, if you erase too much, you just go over with a blending stump. Now we can finish the upper late by adding some shadows, and I'm using eight. Be here to strengthen this self shadow that I have actually lighting up with blending. I just wanted dark and and a bit more, which doesn't mean that you have. But if we can always make it darker and of course, to blend everything that we have drawn, we have to blend. - Okay , Now we can draw the lower lip, which would be quite brighter than the upper lip because it always gets more light. And I'm using a B pencil here, and I start here next to the teat so very carefully here. Exited date. - So if our light source is coming from the top right corner, this whole left area will be in shadows. So, uh, we don't have to creating highlights here. Just cover this whole area with a B pencil like this inter school around the highlight in the middle. So let's leave this untouched for now. You can see how that I press lightly here and with a single Bensel we can create a lot of wall lose Onley by changing the pressure. Okay, let's covered this lower edge. The lower lip can be I think like this. Okay. - And now we can shade this area in the middle using on HB pencil such as covered area that you have left untouched like this said this section in the middle should be much broader than the surrounding area. And this two different shades will make the leap look around. And of course, they shouldn't be visible clean edge between these $2. So that's why we have to press harder next to to be area, - and now we can blend it with a Q tip and for the edges. I want to use a blending stump, and I just want to strengthen this dark areas again with it in eight b. Okay, I know we can darkened shadows as we created with the B pencil, because they become brighter after blending. So as you can see, I had removed a bit of graph I. So I just want to blind out again, and I pressed harder or some areas. And of course, we should create some wrinkles, which should be brighter or the highlighted areas. And they should be darker in the shadows like this, and then all that we can create some highlights with an eraser. So here in the middle, the hell I should be the brightest, and they should also gradually disappear into the basic tone of the lips. So and you can achieve that by slyly lifting off the tip of your eraser and pressing last unless also shade away from the center of the highlights. I'm here. It can add even more details. If you want, I can leave it like this 8. Shading the Skin - Part 1: okay. And now we can start shading the skin of the face. And let's focus on Lee on a small area at the time. And let's start here with the darkest area on the left side, using an age be council. And since we have already shaded of facial features, us, our light source is coming from the upper right corner. We have to make the left side of the face much darker. So maybe one turd of the width between the nose and the ear under left side, it should be covered in this step. That's so here we have to apply. The circle is, um, technique all the time, and again it means applying tiny overlapping circles one over another. And so I just don't want to repeat that. This isn't what I'm doing all the time. And you can see the pencils this played as you can see. For now, the texture looks pretty harsh, but we're going to blend it. It will look smoother, so just don't worry. And now take a one step time and just cover this whole area and also here when you shade next to the edge on the left side, press a bit harder and then just to relieve the pressure as you shade towards the nose. So it is important to create a grainy in transition from shadow to highlight, and it will give the face a round shape. - You know, let's continue with the lighter value, and I'm using it to age. And I pressed harder next to the HB area. And then I pressed lasting letters. I as I shaved tours and knows like this and also this area under the eye. Now let's continue with the four age here next to the two age and same here, breast harder next to the two age and then just last in last us a shade away from it. And now let's connect the shadow cast by the nose with the one on the left side like this, because this area under the cheek get gets less light than the cheek itself, and we have to shade IDs. - And also let's shave here, next to the nose, so one or two millimeters thick edge. So you know, you can see here in the very middle of the area that I have left untouched. So this is the highlight. This area receives the most light. So it should be debt brightest on this side of the face. Okay, And now let's shade this area with a six age so you can use a seven age or five age if you have those. So here also oppressive it harder next to the H B, the Bruce of shaded area and just released the pressure of the shade towards the centre off . This highlight because that's smooth. Grady in isn't born to achieve this way. So this highlight should look much brighter than the surrounding area, and it has to be shaded because way can leave it white. We have the shaded to as an and now, finally, we can blend it all with a tissue and just to wrap a tissue around your finger and blend so you can see how it becomes Smalls. - And now I just want to blend here under the eye with the Q tip like this so you can see some of the shades if you have lighting them up. Because when you blend with the T shirt, you can line up the areas as I mentioned before, just always go over again, and with a pencil s so we have you have to apply down again. - Okay , Now we can move to the forehead. So and this image, you can see the shades that I want to use. First, we will go all around the forehead with a age B, and then we will add to this area to age and highlight that we can actually leave a white in this case. So let's do it. And when you start with the two age, you press a bit harder next to the hair, actually to the edge and then just released the pressure and she towards the highlight and use circle is, um, all the time, Okay, just like this. And now we have to press less and less and less in two Harley Touch the paper. Also, we approach the highlights. OK, and now let's blend. It's all with the D shoe. So here, all around, just very carefully. And do not go over the highlight. - And I just want to shade more here under this frontal bone because this area gets less life so usually bent inwards. And I feel that I have to shade it to make it a little bit darker. So I want to press very lightly because I don't want to make sudden progress and to overdo shading, but rather to go over again and again until it appears darker. Because if I overdo the shading here, I won't be able to erase that. - And let's blend it with the tissue like this. And after blending, we can see what we need more shade, - and now we can blend it with a Q tip, and I just want to dark. And here is in port age. So here you can see when the surrounding areas don what you have to dark and or to lighting up. Here, you can see here you can go back and change the things. - Okay , now let's move to the right side of the face and hear. This whole side has to be quiet broader than the left side of the face if our light source is coming from the upper right corner and let's start with a to age here over the temple. And now here is the question. What do we know? Whether we want to draw the hair or not. So if we want to draw the hair, it would cast some shadow or the face so the skin has to be darker. And if the hair is behind the ear, for example than the then more light is falling over the face and it has to be lighter. - And now I just want to go downwards using it to age in circle or emotions all of the time, and I keep applying the same pressure. So here you press harder Mexico right edge and just lessened pressure off the shade towards the nose. So about 1/3 of this, with between the nose and the E a year, has we have to shade with a to age. And now we can move to the area next to the cheek and here under the right eye. And I'm using a six age here because this area is illuminated such us next to age. Okay, here you can see, um, marking around the area that I want to leave white and I just want to shade around it. So circular motions. And it was always and here just going like this shade to the right side of the north and also try to create that granny in transition between the values and now you can see the areas that I have left absolutely white. - I'm still using the six age here, but I press a bit harder here. Under geek, you can start. It was in four age, five age, - and now let's blend it carefully with a D show, - and we can blend smaller areas with a Q tip. So here, energy I and I just want to dark in some areas with the two age here. - And no way. Let's grace some highlights by stippling with a deeper, far and research in the middle here. And I just want to dark. And is I luscious with a for B? - You know, we can shade the skin around the mouth and let's start here with the two age so the same. Here, the circle emotions and press lightly and go over again, if necessary. So here one side of this Steiner section above the Cupids ball. I'm not sure how to call this area, so one side should be shaded here on the right side and the left sashes they highlighted. I mean this sunken area about the Cupid's bow between the tip of the nose and keep its fall . See now it looks bent. This part of the skin looks bent. And just give this, uh, left side and shade here above the left side of the opera. Lee. Okay, Now let's use an age Be to make this aerial over darker. You know, let's continue shading the left side of the face where we stopped before we moved to the forehead and same here, a press harder on the very left side. And then you press last unless I should also shade towards the center of the face, over towards the mouth. 9. Shading the Skin - Part 2: - didn't also shake here around the corner of the month because the skin here is spent in words. So it has to be quite darker than the area that that I have left untouched. For now, you can see left to it. So this is actually the highlighted area. Okay, Now we can shape the rest off this area here with the two age so in same here, you have to breast harder next to the HP area and release the pressure as a shade away from it. There's a centered highlights because there shouldn't be clean edge between the H B and to age areas. So they have these volumes have to flow into each other and you can achieve that by changing the pressure and then we can blend it with a T shoe and then you can add add more shade if necessary. - I just want to dark and this offer leap a bit more. - And now we can continue shading here in the right side with a six age and press very lightly said this section here would be illuminated and but we have to give it some shade search and stay wiped. And I was of shade towards the right side. Just apply haber pressure and gradually, so gradually increase the pressure on your pencil. Or you can start using five age for age. Okay, like this, and that was always weaken blended with the issue. And here also, this corner has to be a bit darker because the skin Bentz in work and I'm using it to age for this, and then it just breast less and less as a shade away from this corner. So it is important to give this dining section a round shape, and then we can blend it with a Q tip. - You know, we can continue here on the right side and where we stopped and also using to age and here the same, we have to press harder next to the edge on the right side and just a lesson to pressure also shade towards the most. - Let's blend it with tissue, and now we have only the chin left. And let's start with the cast shadow here, right under the lower lip, with an age be so. This is the shadow cast by the lower lip, and so, and the longer the shadow, the bigger Duleep will appear and same here. The circle is, um, method. And here on the left side, you have to create a longer shadow which could be connected with an age the section on the left side with it before, and just connect them like this here in this area and just continue shading next to the edge and then press last and last. How's your shade? Throws the mouth. So this area here should be a bit darker than the change in the middle. Because I've seen in the middle gets always a lot of light. But for now let's create darkest areas so we can go here over the edge, Still using an age be. - And now we can first last in the last. - And now we can start using lighter value lighter pencil, and I'm using to age. So I just want to shade next to the HB area and towards the center of the chain. Listening to pressure in this area in the middle of the chin can stay white for now. So it was very eliminated. - And now you can eater shade this with the two age or six age. I mean this area those we have left it touched or you're just gonna go over it with a tissue. So this the center of the chain has to be highlighted. - And here we can go over again within HP were necessary Too dark and here, under the lower lip already want to change something? And when you have drawn a bit, just go over with a Q tip and their shade again if necessary, - And I just want to create the reflective light over the edge or the Laura edge. But Loralee So I just want to eliminate a bit of graph I with my eraser like this. So this will make Duleep appear even more around and plump. Okay, so my highlights seems to be too bright. So I just want to go over with the blending stump and I Congar candidate the bits and now we can move to the neck and let's start here right on the edge of the chain it using on HB pencil. So here we have to create a shadow cast by the face or actually body gene over the neck. And so if our light source is coming from the top right corner, we will have the shade it here in this area on the left side of the neck. And so if you want to draw a long hair, you have to use very dark pencil because this area would receive even less light. Okay, but if you want to draw short hair or blond hair, you can use a B pento or an HB, so it doesn't have to be this dark. But since I want to draw long hair, I want to use an eight b okay, - And now, as the contamination to this area, let's use a B pencil and press harder over the eight B area and impress last unless you work away from the face and just keep applying. The circle is a method, okay? - And no, we can go back to the face and create a reflected light, but we don't have actually to erase this edge because it's still pretty bright. So let's just shade above it above the reflected light and just leave the edge like one millimeter thick or so and a shade about it. So we're here. Eso impressed harder next to date and just release the pressure off the shade towards the center of the face and you will create reflected light this way. And if you have in this areas dark in your portrait, you can just erase two reflected light the edge with an eraser. - We can no weaken blended with the shoe. So everything that you draw, you have to blend. Okay, so I'm not going to draw much of the neck because I want to focus in the face and this tutorial is about a face. But I just want to finish this area a bit of the neck. - So and I want to use an age be and I want to shake also here on the right side of the chin, because this areas also more eliminated than the left side. But it also has to be quiet, darker than the face sort of the face and the chain can appear closer to the viewer's eye. Okay, just like this, - OK ? And now let's go under the B pencil. Some using an age, feel the time and which is go under the previously drawn area and, as always, pressed harder next to eat and then press last unless of the shade away from it. Here also, we have to achieve that smooth Grady ins I know. Let's shade here on the right side of the neck with a to age and press hard over the edge here and just release the pressure on you shade towards the center of the neck and also shade here under the age be area. - Okay , now we can cover the rest of the neck using the six age so the highlighted area would be here, this part that I have left untouched and after doll weaken, blend it. - And as always, after blending, we will remove some of the graph. I. So let's just applied that again, and I'm using an age be here. I can't let me shoot how to You can shave the year and solicitous mark the darkest areas that get less light and the cash our cash shadows with an age be so you should use a darker pencil here because thes ear would be pre illuminated so you could draw the one on the left side. I will be a different story. Okay, just like this? No, we can cover the rest of the year with a six age, and let's just plan it all with a Q tip so the issue esprit big. It's too big for this small area. You can even use a blending stump. It goes something like this. 10. Drawing the Hair - Part 1: next we can draw the hair. And in this image you can see the lines that I have placed digitally to show you the direction in which we have to draw the strokes in order to create a highlight summer here in the middle, suffering the top to meet away and from the bottom to midway if our light source is coming from the top right corner so we would have the highlight here. And I'm using an HP lead in my mechanical pencil, and I pressed hard here in the top so I can start here next to the forehead, because here the hairs are more straight and just it make them career as you work away from the core head. So this is just the olive line for the for the skull, so you have to draw the hair much beyond that or above that. So in this case, because usually because the haircut is a bit farther from the skull from the skin, what drawing the here's is very time consuming, and it often takes more time in drawing, then drawing the entire face. So just take your time and focus on small area, but once so this side that I'm drawing right now is very handy for right handed people. But for the left handed people, the rights our way quite easier. So you can go over the forehead as much as you want. You can see that I'm covering a bit of the skin that I have shaded. And just make sure to place a separate piece of paper under your hand tow. Avoid smudging, interwar touching the rest of the drawing, which your skin So this upper area should be much darker. That's why I'm going over again. And now I'm using to be lead in my mechanical pencil for this upper area and here next to the roots. So the here can be a bit darker. So here we can draw the strokes of the upwards and then towards the highlight and same here, just lift off the lead of your pencil. When you approach the highlights, pick us. Ah, the ends off the each stroke should be like gradually disappear into the paper. They should be much brighter. Well, I'm still using it to be lead here. Yes, of course. Some of the strokes can go over to highlight. I know I have changed my lead to an age be and I just want to continue over this brighter area. So I start over the brighter area and just press harder and I draw towards the high life like this and just release the pressure. So if you don't have mechanical pencil, you just use a well sharpened pencil. And of course you can choose any other tone. So I actually want to draw light brown hair and that so the highlights shouldn't be white. It has also be be shaded. So that's why haven't left anything white. - And I just want to go over this highlighted area within two age and OK, now we can blend it always a tissue. So when you blended here, this way, you it will make the hair appear soft and more shiny, and you will impress the graph I into paper this way. So it is very important to blend. It's and then we can continue. Let's great some highlights with an eraser. So here in the middle just placed the tip off your eraser in the middle and a race lines towards the darker hair. So outwards the highlights. I'm like this as you can see I'm going all over and unpredictable ways that drowned them. So just make quick motions and use this eraser because this is the gum is very hard. So you can I I don't think that you can do death with a kneaded eraser. So here you just caught the top of this gum and you get a sharp edge of the come again, and then you can create tiny highlighted flyways all over the place like this. Now we can add more shadows next to the roots of the hair using an A B for any order Dark Bensel. But just avoid going, going over the highlighted hairs that you just created and make some areas darker with with a very dark pencil. And, of course, always blend with a blending stump. Let's now start drawing here dealer area and exited face. So here I want to use a b pencil because this section would get less lights if our light source is coming from the top right corner. So here we would have, like, heavily shadowed area. So that's why we should use dark pencil here and just shaved. Very careful in here next to the face because, as you can see, we are contouring the face this way We're all lining face and we can change Dicken Contour in the shape of the face. So I don't want to drug a whole area and it just don't like about inch wide. - And , um, forget to draw some flyways over the face because that will make the face and the whole portrait look more natural. - Okay , let's blend it with a tissue. And now I want to use an age the lead for the other area. And now let's blend it with a tissue. You know, we can add some highlights flyways within a razor just like this, a trend, um, wherever you want. And of course, which it also creates some dark flyway. So it is always important to create highlighted flyways and dark flyways. 11. Drawing the Hair - Part 2: and here I want to show you where the edge of the here will be like this. So it should be quite further from the face and now the same here. We're going from the top to meet away, and then we will start over the year and draw towards the highlights upwards that I just want to erase the here because I want to draw here over this. I just wanted to show you how to say the year and here I'm using the age be to draw this hair nice to the face because this hair here is a bit shadow and has to be a bit darker. And then let's draw here, fall in two directions. If those are rose that I showed you and let's also draw some flyways or the forehead, I can see that the ear that I erased is still kind of visible, so I have now to cover it with an age be and to press harder or the ear, because that seems to be brighter, because the once I applied to age when I go over with an age beat won't be all stark possible. When we apply that over to on touch paper. - I know we can create some highlights with an eraser I just wanted Don't want to repeat myself . I do the same all the time. - And now I can finish the hair by finishing this part here and here You can see after blending. Actually, my fingerprints are can be visible here because I accidentally touched the paper. So probably the very beginning of the drawing. And now I have just shaped quite more around. It's to make it invisible. - Okay , just apply some flyways or all around try and, um, and with an eraser in with a dark pencil, Okay. And so this is my portrait from scratch. So any similarity to anyone is a coincidence. And I hope that you enjoy this and that you have greatest some nice portrait, and I'd like to see it. So feel free to show me and see you in the next tutorial. 12. How I record and edit my drawing videos: I have been asked what I used to record my drawings. Well, I used my Samsung Galaxy ISS six edge plus I mean, I've been using it for like four years, So this phone is not even supported anymore, which is something that I'm really happy about because I don't receive any updates. So I plays this on a piece of cardboard and I have cots all the whole for the camera, as you can see. So it's very difficult for me to drawn like this because this car bore is on my way. But I want to record that in a perpendicular angle so as you can see it properly so it isn't flickering. I can zoom in. It has a lot of settings, but you can see you can adjust shadows. Highlights hue, saturation, brightness, contrast. And what I like about the settings is that it has a white balance, which is very good for me because I'm working under artificial light and I can set up the white balance as you can see. Not only that I have HD option. I have ultra HD and it records and before files that I put in my Windows movie maker. And here I can speed up the weed EOS or slow them down. And I can add some music I can narrate and I can add some text and so on. Eso it's quite enough for me. So this is what I used to create my ideas for you. 13. How to scan and edit your drawings: I guess I know we have finished our drawing and we want to show it on Internet. So let's scan it. I have this scanner and printer by Canon. It costs about $40 and now let's skin it. You can, too scholar or a grayscale and says This is black and white drawing. I want to use a gray scale. You can choose among a lot off dp I so I want 200 spring off. But as you can see, the scan looks very pale and is lacking contrast. So we have to edit it and I'm using a Windows photo gallery. And so I just want to increase the dark does here in the history Graham. So my software is in Hungarian language, but it is same in English, so it's history room. So just like this and here you can see how black color is visible like this, and I just want to some end to see the background because it should be white as a conceit is now not white on all. So we have to increase the bright tones here on the right side of history room like this, and you see, it's now absolutely white, and now it looks like my drawing. And here we can remove the colors such a saturation to zero. And now it looks quite better. And we can actually crop it like this. If you don't have Windows Photo Gallery, you can get a great draw. Image editor for artists that I have d love for placing degreed over the reference photos. So here in the last side, we have image editor, and on the right side, we have everything that is necessary for placing degreed or the reference photo eso. So here we don't have history, Graham. So we have to increase the contrast. And we can also make a black on white and to reduce the brightness and then again to increase the core interest. And so the black and white areas can be black and white. Actually, like this, you can do that. Actually, in any other image editor that has contrast and brightness scales. And okay, now let's save its. And now here you can see we can compare before and after you can see it looks quite better . After editing