How to Draw Realistic Pet Portraits: Dogs | Clarice Greening | Skillshare

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How to Draw Realistic Pet Portraits: Dogs

teacher avatar Clarice Greening, Fine Artist based in Guernsey

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (1h 34m)
    • 1. Introduction

      1:04
    • 2. Choosing our reference picture

      0:42
    • 3. What you'll need!

      2:02
    • 4. Let's Get Drawing: The Eyes

      12:21
    • 5. Fur Focus: Around the eyes

      11:34
    • 6. Using the Scratch Method: The ears

      15:53
    • 7. Tackling the Main Fur

      15:17
    • 8. Drawing the Nose

      15:29
    • 9. Nearly there: Drawing the Mouth

      19:29
    • 10. Thank you!

      0:15
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About This Class

Welcome to this drawing class, focusing on how to draw detailed pet portraits - more specifically, dogs!

In this class you will learn some key skills and techniques that you can apply to your own pet portraits to make them look realistic and eye-catching.

I would recommend that you use a range of 6H-6B pencils, as well as blending stumps, a kneaded putty rubber, an electric eraser, a white pen and some drawing paper.

We will go through each stage of the drawing journey, starting by choosing the best reference picture for us to draw from. I will then take you through each stage of drawing, starting with the eyes and choosing the order of what you draw with based on which hand you draw with.

Some key techniques that you will learn are:

- Scratch technique

- Layering of harder pencils onto softer pencils

- Creating highlights to give depth

- Creating textures using blending and shading

 So....lets get started!

Meet Your Teacher

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Clarice Greening

Fine Artist based in Guernsey

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Transcripts

1. Introduction: Hi, I'm Clarisse and I'm a 21-year-old, self taught artist and designer based in Guernsey and the Channel Islands. Today I'm gonna be teaching you how to draw a hyper-realistic pet portrait. We are going to be drawing a golden retriever today and I'm going to share with you all of the techniques that I use to make this a quick but really effective during today, I'm going to share my simple techniques with you so that you can draw your own hyper-realistic animals. I have attached a downloadable file in the downloads below so that you can follow along and draw your own hyper-realistic pet portrayed. To complete this class, you will need to know the basic knowledge of drawing a facial structure, whether it's a human face or a dog face. And then in further class videos, I will be breaking down my structure of how I draw the outline and get the facial structure correct before I start. 2. Choosing our reference picture: So this is our reference picture. A top tip for getting a good reference pitches is that you always need your subject to be looking directly at the camera preferably or as an angle that looks normal. The last thing we need is a funny angle, which means that it's going to be even harder for us to draw. And it's not going to be very obvious to the viewer. What is. Another tip is that I always make my picture black and white before I start. This means I can see where the Dhaka and the lighter tones are in the picture and it's a lot easier. Your eyes weren't get confusing colors because they'll just see black and white, which is the color that you're working in. 3. What you'll need!: First of all, you're going to need the following things to draw your dog. Though. I love using a3. I normally go for a 150 GSM. I have this cartridge pad, which value for money is amazing. I use a range from six h, which is a really hot type of pencil. Also, fine detail. These are perfect because the point associate, the software end of the scale is 6B of seven V. So seven B's a literally really, really soft pencils shading and they're really grainy compared to ages. But to keep their shelf at the beginning, just sorted half to keep shopping. And as I go along, now the thing you need are blending stumps. Blending stumps are basically paper wrapped up. And I have different sizes in them. Microsoft store again, locally it gives you like a pack from thin to thick tips. These are good if you're trying to get over a wide surface area, these are bad, or if you're just doing blending and smaller most precise areas. Another thing you'll need is an electric razor is really going to help us get those bits of highlight in that we need in the picture. And it's so much easier than just using a standard rubber because you can never really get in the next and crannies that you want to. And then I also have this posse Rabaa. So Parsi rubbers is so good for picking up highlights. Again, it's really sticky. And finally, we want to use a white pen and he kind of white gel pen you can use. What we wanna do is we use this in conjunction with electric eraser to pick off the gray areas from the pitcher and really try and get the most intense highlights we can. 4. Let's Get Drawing: The Eyes: So now we're gonna go on to the drawing up the main feature of this dog because they're gonna capture of UA and they are going to make this dog look really realistic. And yeah, starting with this, I normally would Glick our efforts picture. I'm going to take this six h and we're going to get to B, which is a softer but darker kinda pencil. And use a unit take 3h pencil. I'm also going to take and knowing B because I can see that his eyes are very, very dark in the very center. And OC there will be a 100. So that's the dark apart. And we'll just take one in the middle as well, which is going to be or of a full bay a full bait for the around the pupil and getting into the dark areas who didn't suddenly just have a really high contrast from 3h straight through and IMB. Those who take this tiny blending stump. Just to keep on the side to help me cover some surface area of this. I so my darker pencils, Madaba, softer pencils are gonna go in the center and under the hood of the eye. And then I'm also gonna pat my life for B's and two B's using my shading methods into the centre to create a spherical kind of look. So I'm gonna take my nine B and I'm gonna just press in the center of the pupil quite hard, making a dark shadow. And I'm going to also just take the nine B and work under the crease of the eye and around the edge because the dark areas are going to be around the edge. And the shading into the center is going to become nicer. Just like Latin at school with your shading methods of a swear. I'm then going to pick up one of my hard pencils, which is six h. And I'm gonna use my layering technique, which means that I use the side of my pencil decided by six h, And I just use it on its side and basically press that led into the paper to create a surface to work on this pencil, it means that I can use softer pencils entrepreneur, and layer the HOD pencil again to create more of a shadow and the reflection as seen in my reference picture. Nice reflections there. So I'm going to use the tip of my pencil. No remembering that this is a 68. So when I use this on the paper, it actually basically scores the paper. So that means that by using this harder type of pencil, I'm going again, ended in the paper giving it a really nice, really nice feel on OSX. I'm remembering that my shading, I take my pencil and I press hard in the dark areas of the eye. And then as I want them to blend, I pull it off the paper. So I literally press hard and I pull it up as I go down. And this gives a really nice shadow and reflection kind of effect that you see. It goes down the I here. Again, I'm going to press hard scoring the paper. I'm going to bring it up. As I go away and I go to the outside of the eye. Like that. I'm quite happy with that shape. I can see that maybe you should come down a bit, move according to a reference picture. But that is the kind of reflection that I can see in the eye. And I can also see that it's actually a bit Dhaka up around here, so I'm going to add some, some darkness there. So that looks a lot more litres. I've used by six h here and it's actually really indented the paper quite well. I'm just going to use my smooth blending stump and just blend it a bit more so that it looks a bit less cools and it really blends into the eye. And then I'm gonna use my full bait. So not as intense as the nine Bay and I'm just going to go when the edge of the eye the pupil and just create a pit. And the I that I've seen. And I'm gonna use this as well and do a bit of darkness on top of my six h and look at the way that sits on the sex age because of the hard thing is created. This really nice, nice reflection. Making the eye look a bit more realistic, just like all pupils 4x. So I've done those lines there. And I am going to bring it down a bit, folks, associated with delta x. And we're just going to skip around the island wartime. Okay, so these fits in the corona around teh of ready light. So what I'm gonna do is I'm going to use my posse Rabat and I'm going to break it up into a very small bit. And this is where the magic happens. So you can literally just get this on our finger. Just dab the paper and the bits where we really want to see. And most highlight. Just debit and look what happens. It really brings out the highlight in the, i really, well, I can see that there's a bit around the edge of the eye around here. So I'm just going to use on its side, like the lab. And now again, let's, I've done my, I'm just gonna take my darker colors again. So I'm gonna use my nine bay here. And I'm just going to actually hurting some darker detail. And so this is all just a layering process, I bet basically do dark then lie in dark and light again until I really like the shape of mine. I say, now for the final areas, I'm gonna use my underwear and pick up the fact that there's a really, really light area here. Here's a movement really Life area around here. And I would assume that with the form of the AI is going to be maybe a highlighted up here. Just because we normally know where the highlights hit. The highlights would hit if the light was coming from this angle. And we have a highlighted here, and we'd have a highlight here. So and I'm really gonna press hard now and just get the really dark or bits of the eye. Because they really are coin talk, which is all about layering, like I said. And I'm pretty happy with that line. And we're gonna go with my three h. And then just going to try and make sure that silicon has too many intensifies and dogs. Now I'm gonna get my white pen and I'm really going to put the white spin that are the most intense part. So here I'm going to just put that in, which literally makes it pop so much. And I'm gonna put that y around there as well. Really, really makes it pope. I can also see that as a smooth highlight coming through the eye here from a piece of half. Now that's really made the, I look really realistic to me. And then I like to do if I can see it's a bit lining, I let you just dab it with my finger just to make it a bit more subtle. And we can now see that I don't actually think that that highlights should be there. So I'm gonna take my nine h Again. I'm going to just come up like say, I'm happy with that. So I'm gonna move on to the next I doing exactly what I did with this one and just looking at the areas where there's the most light, dimmers dark. And I will come back to that. Who said on this part of the, I have just spotted that there is a guy who's ego highlight around the edge, just the lip of the Isaac and ease my razor. You get this white pen and just put in the middle of their Justin for white clip. You can see, again, that is I can easily see that it does that. So this is the Clarissa up the eyes. And then when we zoom out, we can see. 5. Fur Focus: Around the eyes: So now that we've completed our rise, we're now going to move on to just around the eyes and really try and put some detail in there just to make the eyes come out of the sockets. So I'm gonna use my seven H pencil. And i'm going to use the tip of the pencil. And i'm going to call my picture and see where the the dark areas of the IO which I hear. And I can see that there's a lot of wispy areas. According to my reference picture. What I'm gonna do is I'm gonna take the pencil and i'm going to press quite hard. And just going to some has in like say, for now that I've scored the paper to start with, I am going to get softer pencil is probably something like this, 2A, 2B. And I'm going to use this side of the pencil. And I'm now going to go over the top. And the darker areas, the new stock areas. And you can see very nicely that picks up where I've put some markings in. It's very subtle, but let me get on to the next Asian we'll visit. So you then want to take your pencil and you just want to stop in their most top places to start working on top view. 78 again, and you can see now that this is seven H is picking up really nicely. When the paper, which is really, really cool, can just see around him. Can see the Permian and I down and then starts getting less. Talk like them. And now I can see that this is still a bit oxy. What I'm gonna do is I'm gonna use my arrays that I'm going to take my posse Roberta start with, I'm just going to take that piece that I had before. And then she just gonna tab, just pick off bits of the color that I look entirely convinced by. That looks about right. Now with a bit darker 4B. I'm just going to work in the shadows again. Because I know that those dogs, Koreans are always going to be there. So I'm just going to use that. So again, this is all about layering. Most things are about layering, to be honest. I'm just gonna go with the seven H and I've done already. So already you can see that that's really sending out. But what I am going to do is like I really need some more detail in this area here. So I'm just going to take this and I'm just gonna pick. That's it. I often make a bit more fluffy, really highlight PNIAI as well because they can see that leads to some events. Like you never really felt like this is done because there's so much that you can do. Because I think we need to put something here to weigh up this area. To take my 3h, which remember is a really hot hard pencil, but it's not as hard as a seven h. And I'm going to use on its side and I'm just going to press on the areas to make the very it's not, this really got much, much closer to it. As you can see this the FEI is very soft and try and keep us as soft as possible. You can see this and you can with this pencil, I can really work and shop and it's very hard to be a bit sooner shadows that and I'm just clean. Maybe usability OH, there as well. Sorry to be. Just make that use a blending stump as well, just to reinforce the fact that is fit is really quite nice. Fluffy. Just go live in a very light pigmented, lending some Switzerland to light-colored. Now, zooming out, we can see that that's given a lot more, a lot more depth to the eye. And we've got something now around the eye, which I'm quite happy with. And remember that there's quite a lot of highlight in this part of the eye. So we'll zoom in again and we'll just put some little fingers on MOOC participants and we can find which is going to be there. Again, I just have this big C is always nice to overlap there has over the I sometimes because you, you can really understand that the IS SET back. That's why we've done the IFRS because it's set back and that we can work our way forwards as we, as we go on. And now I'm going to take 78. I'm going to use this to create these areas around him. Now. This cool hair around the eye is rather cause compared to the software area around the nose obviously. So hence why I've used quite daw, quite doc pencil with ready like pencils just to show the core city. But this bet, I'm going to use a lot lighter pencil and light strikes to make that more obvious. So I'm just going to, again, it's pencil and I'm going to put into like psi. I can see up here that these bits just stopping a bit more fluffy. I'm just gonna take a blending stump and realizing the actual color of the further. You see that I'm now going to start using this blending. Some suggest, make it obvious where my shadows are just to make it a bit easier for me to understand the dimensions of the dog. So I can see here for my reference picture that there's a bit of Dhaka shading. These bending stones are literally a godsend because they don't even need to have anything on the end. You just need to use the access from anything you've done before and you can intellectually use it to your launch. And so here, I see that as bitten doctoring the stocks from there. I'm going to literally copy what I did here on today's I just so I can really make it obvious. 6. Using the Scratch Method: The ears: The next section we're going to complete are the is IZ based because I'm personally right-handed. Therefore, I work from the left side of the paper over to the right side of the paper is, I'm gonna go back to my reference picture and I'm going to have a look. My reference picture, I really got loads and loads of light areas here, which is basically the same colors by paper. Just at the top of the AES and especially over the Hudud bits of the eyes. So what I'm gonna do is I'm gonna take my lightest pencil, which is going to be a seven h Again, remember seven H's and three H's are really hard. And we're going to use them on their side. We're not going to school a paper too much here because these bits of hair are quite fluffy. Fluffy bits of hair I can see I'm primarily in the ears. Fits around the neck. Maybe that's just a couple toughs up there. The more cause has which I can see, which from my understanding, the stokes hat here is actually not as thick as the header here. So I'm gonna make this hair, hair, but really nice, really fluffy. But I'm gonna give this, this part of the eye and just under the eyes that a lot where we grainy effect, almost bringing this into the mix, but just a bit Lisa and not so contrasting. So what I'm gonna do, I'm going to start off on the top of the ear. So I'm gonna go to this air here. I'm just going to start by using my seven H. I'm just going to rule out the tufts the eye can see according to pitches. So I can see that those mice like toughs up that and it goes squiggly around there as well. But again, think about it compared to my pitch. These are really, really light colored pieces of hass. If I'm not gonna put much pressure on my pencil, ASL, I'm just going to put them there so I know that. And then as we go on to the air around here, I can see that that is going to be shuttering that because not truly this pot is closer to the camera and this is causing a chateaux, making me more three-dimensional. Now that's also a nice shadow underneath here. I can see I'm just gonna sketch in like that from very briefly. Again, don't put pressure, much pressure. New pencil U2 here. Because we got to remember that these hard pencils really like to score the paper easily. So that's the last thing we wanna do, because if we put us off, depends on top. Remember, it's going to bring out the lines and we just don't need them that because we don't need that effect. And because I'm using the seven h again, it is scoring the paper, but it's doing it very lightly. So that when Marx will stay on the page, but they're not going to be very intensive tool as well. I would say that's about the right kind of thing. And these bits, remember, I'm going to use the side of my pencil NOPAT multicolor bit more surface area, just gonna shave a bit. So I knew. Then debits above them. This is going to require a lot more detail that foo, I'm gonna do the effect that I've done. Hey, I'm gonna do the scoring of the page, but I'm gonna use the pressure from the pencil and i'm going to take it from this Paul, my hand. And I'm just going to press it on here. But I'm going to start off intensity and bring it down so that it gets ups made up. Remember we can wrap these out, but they may have scored the paper, so make sure that you are just key. You just keep looking at your reference picture. And having a look up what you can see that just gonna take this medium-sized bending some and I'm going to use the side of it. I'm just gonna blend all of this and I have a base of ten. And I can build on top of that and use the takes them off with rubber for highlights and answer them with a pencil for the shadows. All the way down there. Now, I'm going to take a 2B, which is one of the hardest of pencils. And I'm now going to look up my, my shutters. So here again, I really want to keep these bits lie if possible. I can see that they have really, really light in my picture. And the last thing I want is for them to be too dark because it would make the shutters are intense. Shuttering mode here. All I'm doing is I'm, I'm leaving a gap to make it look like a hair. Or else you can do is you can use the method I showed you before while taking a hot seven H, for example, pressing down on it, and then taking it off with you, posse Rabaa. So I'll do that as well, just to show you that works for shading as well. The best part is that if you start layering a seven H, so hard depends on top of the self-dependent. So what you find that you get is you get this really nice. Kind of easy gradient, which is really good. We're gonna get some of my posse lever that I used before. I'm just going to make it look a bit mystic. Who's still going to use my seven H? And I'm gonna pin this time my seven H is a bit different than it was before. So it's really not scratching the papers much for this. If I press down at my maximum pressure that I can press down, it's not too dark. And if I did this with them, even a 2B tyrannous, you'd get a lot doc dot corresponds one got LA. So now I'm going to pass down a bit hard to just so I can get my my has in here. I can see that it is in front, has in essence hasn't underneath that. And again, I'm lit, I'm following the shape of EA here because I want it to be realistic. So I'm goning curves rather than just straight lines. Now, you can always draw as realistic or as abstract as you like. Because it is your patriot end unless you're drawing, I always like to make it as realistic as possible. However, if you are trying to make it realistic, you can still make it realistic without doing too much work. See here, I've I've let she'd been doing this for about five minutes and it's looking great already. So I could always a fluid stop there if I wanted to. I'm just going to keep pulling down. And these bits of had always a hidden reference pitch from just looking whether a darker bits. This is really fun actually because you can just let the pencil do that work here. You just really want to just move back and forth configured. So I've got this blending stump again now, Lincoln was just press down some of these into it before I say what I'm gonna do, I'm gonna take a full B this time. I'm going to press on top of why think doing because it should care around the gaps of the The harder pencil, like I said, I'm going to leave out naturally the fist I've scored the paper that nice width. Can this and darkness here, which using shading I'm gonna press in a doc is not too hard, stole just assign my pencil and then as I can see, the gradient easing able to the lighter areas, I'm just going to lift the pencil off the paper minimal. This seems really self-explanatory, but there's a bit of an art to it. And I'll reference picture just so I can show you briefly a bit here. And the Parsi Weber is in the foreground compared to the background of this because it's actually hanging over my shadow eBay here. So Y, I would always do this fit files and then work on top backwards. He'll say like taking my 789 dragging up here and I'm just marking that spits, which are really going to be in the foreground and these bits in the background. Doing these stuff again, I'm just gonna press that down like that. And what we say, this is going to be a one color. So I'm gonna take this and I'm gonna try and pick out the highlights I can see. So this is where the magic happens. You've got, you just pick on your pitch. Outlets like these bits here, imagistic now, splits in the front of the shadows are gonna be unlocked, Bryson. And I'm really making them can get as much detail as the in the ends of these as possible. Because it really makes it look realistic because that's going to be with different shapes and sizes. Subpar concerns whether it was being highlights in here. I can pick out and because I've scored the paper ready, it's easier the papers finding easier to pick up the bits at highlighted because our things I've done underneath. Pull around here. You can see that I've scored the paper and it's not really, really nicely on top. Which is great because that's exactly what we want to say. So you could keep fiddling with this for a long time. I'm going to do, I will take my white panic and I'm just keep, I'm just keeping him I reference picture. And these bits here are closest to the camera. And they that really light-colored Sarah bits and we've just got strands. And the best thing about this penance that you can direct sat P, y, y1, the has to pay. So here I can see that this has flowing up here over my doc I've done. And then SoC based on here. I'm just going to have to own. And they actually do really makes a difference because it's the, it's a very fine point in the pen. And even though we've already taken some of the policy, Rebecca, if he just add these bits in, it really gives a sense of reality. And just cook with it some healing. Nice. Obviously ME do this in the light areas as well. But sometimes you can get away with doing it in the Nazi lie areas because it really gives a bit of a kick to the picture like that. Now we're going to use the same techniques on this. And I'm going to speed this through so we can get onto the next pit. 7. Tackling the Main Fur: So they say, I'm really happy with, I think, I think I can see with the ellipse Fluffy the tones are there. So now we're gonna move on to, because I'm a right-handed like I explained before, I've done this bit here because it's on the left side and that means I can't smudge as I go along. So now I'm just going to work my way along the top and do the top area along here. This area here is pretty simple. I've just taken my 68 again, which is one of my harder pencils and I'm gonna use it in conjunction with my 3h. And I'm just gonna use it to has up here. I can see from my reference picture that this is quite flat along here. There's no wispy has like there are on the ears. So I'm just going to use it now to get the, the real dimension of the dog's face from a reference pitch, I can see that the dog eyes are obviously set back into their head. And we need to now make it obvious that there is a nice, it's always a parting of the dogs high here. You can see that the hair goes round the eyes and up and connects to the is. And that's a really important part to know which way the grain's going. And this technique I've used throughout my whole piece, I'm just going to score the paper again using a different pressure sensitivities for different effects. And I'm going to just make the hat going around the eye and basically give us a bit of a runway to the dogs who's going to start in the middle here. And I'm just going to keep licking a reference pitch all the time because you quote, longer has hair in there. And you've got lighter, shorter has here in that say around this 50, I can see that it's actually a bit fluffier and other places. But in the middle here, for example, I need to press a lot harder because I can see that it's actually really cool. If you're not confident in doing this straight out wide suggest is that you get your pencil very lightly and just mock why you think that the has going to end up. So I can see it says Has there and then it stops or about his spirit and then it goes all the way around and then it connects on to my is. This area here which is more of an active site that docs eyebrow, a list that sits like that. And this one just the same, but it's just a bit fluffier. So now I'm gonna. School over the paper until I'm happy with that. Using my six h bar areas, whether it's more, longer has and this into a course. And I'm gonna use my 3h in conjunction with that. For the not so Coase has. You don't have to do this all the way round because we, we, we don't want it to look like it's the same texture because that wouldn't be very realistic all the way round, but use it as you will to what you think it looks best. I might just leave this area hip because I know that it looks a little fluffy and I'm gonna do the same. Now. Can space them out and make sure as well that they don't always connect. So I'm leaving bits here so that they look like it's just not one big hat, just pulling that way. It's, it's loads of smaller has going round and they space out. We'll look more at the top because that's where the Hephaestus, using its mind a bit, a bit. This side of the pencil. It's less deep. So we'll read day again, a couple of minutes lay at that's looking really promising because this dog is very light head anyway. So if this was a Dhaka had doc, I always do this fast off, but then I get my my my Docker bees and I just take this i depends on I go straight over the top and then I pick out the highlights. But with this I'm it's a lot easier because you've already got the base color of the dove that which has a very light color. Now I'm gonna take my 2B. Here. I can see that my hazard look close together. So I'm going to do a dark area. So you can use this item I penciled jock or areas can see down here and darker area. And that kid is dark area. Again, you can use the pencils to your strengths, so you use it. How do you feel confident? And remember, you can always work hours. That beauty of pencils, especially if you use the softer ones on the side, that's so easy to feel confident that your first tried went very well. Who picked up the grain I've drawn in there? So now I'm going to take a bit of a a bigger blending stump for my wife to surface area. And I'm just going to do is actually gliding over the top and just press that in a bit. So the B's so grainy. And now for my darker areas on given, take my 3h again and I'm just going to walk on top. And I'm always gonna sandwich that grainy penciling. Now you can just stop. Just every now and then. And because you, Verdi scored the paper, it, the pencil naturally on my sits in the groove over the top. Which is really cool. So I've used this technique for I don't know how it came about or how I realized. I wasn't even told that pencils were different. How does isn't surpluses? Because I just realized it will budgets, the experimenting old. So I found this technique by using harder pencils with soft depends on top and then taking some of the pencil off and you get a really great Lai Ni drawing, which is really good for phi hat and the palms of your hand lines. So yeah. And already this is the king really promising. You can see all of these lines. And then again on the lighter areas, what we don't want so much. Pencil, we're just going to take a bit of Pasi. Remember that we've used already and we can literally just really fits well. And remember, you can always put them back. I didn't even, I didn't even touch the paper with this Rayleigh. And then it's gonna remove excess bits of pencil. Like sky. So I'm just gonna carry on now doing bits and bobs. And again, in the lighter areas where I really want lightness, I'm gonna use my white pen and I'm going to go over the dark areas. And I'm going to really highlight the fact that like just to bring the dogs eyes out. And you can always go over the top of these with your pencil if you think they are a bit too intense. But for now, I'm happy with that. I think that looks good. So I am going to now, just so you understand what the bottom half is going to look like. I'm going to do what I did before in this area and I'm just going to put some deeper shutters and where I can see that the shadowing, just so that when I'm looking back at the picture, I can see the dimensions a bit more and see where I am. Bits I need to focus on. So down here I can see there's a lot more shadowing underneath the eyes, which is black. That will keep fine with that. As well. We know that this is going to be darker. So I'm just going to take my nine Bay and just mark that in. Just so you guys can see you didn't have to put that in yet if you don't feel happy, just this habit of just always gone back and keep adding, but sometimes you just gotta leave it. Scott's gonna be down there and then we're going to have and dock. It was motivates me when I start seeing a big start seeing results. And just by paying a couple of marks in, you can really tell who is gonna look like and just bring it all together. But say this gets rid a sizing. Always follow the direction of the lines. This has flowing that way and it goes up around the cheek. Mill things like this, just pitting the contour lines end can really shape the face so easily. And it can give you a sense of what it's gonna look like at the end. Because I Sonoma three-dimensional has gone in different ways around the news that it's shutting down to the bone. Then bits hair kinda sweeping up and going round. And this is what my 3h because it is lightly score my favorite, but it's not going to do it too, too much. And I see this is very subtle. Snow is how you can tell isn't causes is it looks softer, then the areas of P n. Now I'm going to use the soft dependency layer over the harder pencils that I've scrolled the paper with just like I did with that is and then we will go on to the NYSE. 8. Drawing the Nose: Okay, so I'm back and I've just been adding in little bits of hat all around the face using the techniques that I've told you. And I've just been hitting the areas in around the dogs nose as well with the head going in the same direction as his high-res. And yeah, we're not going to get Saad on the news. So let's do it in my seven H communicate looking my reference picture. And I can see that on the sides, it's darker. So I'm just gonna draw that in because I know that that will be there on the top here. It almost blends into this part of the face. So what it will not to be and it will never be a physical line that really say, when you get rid of that completely and just kinda smartly. And then on the other side again, I can see that about this point here, it's quite dark. And it goes in, comes out again, and it goes down. Make that does the same thing on the other side. Like psi. Now looking at the texture, Ramon knows, I can see in this area here, we've got almost three-dimensional, we say so this is where our nose is and then we've got a highlight hair bringing it up and connecting it to the rest of the nose. So what I wanna do is I want to focus on this bit being the darkest at the bottom here because there isn't a lie hitting it. And as I go up, there's going to be a nice gradient. And then at the top here, because the light is hitting it, you can see the actual dimples of the nose. So to make the den, pose of the nose, I'm gonna use my scoring technique again, but I'm going to use this side of a blunted, harder pencil. So this is my seven h And I'm just gonna, I'm gonna use it like that as if it wasn't lines this time, it was more circles. And I'm gonna do that where I need to know pitch so we can see that it goes all the way down. Now. Again, don't worry if you don't get this right because we can always layer on top of it. We can use our PI program, we can take stuff out. That's gonna go further as well. And then I can see that I've got a line here and these bits on bringing that right. So I'm just going to take them out for now because they are a bit distracting. Then were kind of more of that to show you guys. Give you a bit of a sense of perspective. So. Go my dots dive in here and they will travel down onto the base of the nose, but not too, too much. So I can see I've got a line here that connects that. If it didn't fall here as well. My main line here, so I'm going to press quite hog with that because I knew that will indent the paper. And the soft depends on wherever to catch on that problem. Nisbett connect up here like that. So that doesn't really look like anything right now, but that's our base layer. And now I'm going to use my darker pencils. So I've got a 6B here. I also have a full Bay. And the dark is pencil that I have is this nine B. So for the dock, dock areas, which according to my reference picture in here, obviously these nasal parts of their nose and down here connecting to the mouth. And then it's almost a bit of a gradient. I can use my six bays and four b's up here. And then for these lighter parts, I can put my 4B over it, but then I can also pick out the highlights because I've got this school paper, hey, ready for me to pick it off. So I'm gonna start with my doll qubits and then I'm gonna work up. So around the outside here I can say that this is really dog. Who say these bits here. I'll show you what to do around the nose afterwards. I can see that it stopped down here and then I'm gonna go over the top. And you can see already that my pencil is going over this score, par the paper. And then I can see that I've got dark areas around here. Like say, in a really dark area down here. A bit docket lab is not two dots are not gonna prestin pod. And then around here as well. That's quite doc. And now to blend out, I'm going to go from my Docker is and I'm just gonna start lifting like I would just shading up that. And getting around these parts. Shaded around here like a groove. A bit dark and then I'm going to lift my pencil off the paper to make it a bit more shaded here. And I'm gonna start around here because I knew that this part here is not gonna be as like I'm going to go around this part of the indented paper as well. And I'm getting liftoff to create that shading like psi. And this part here I can see it's a bit darker, so I'm going to press a bit hard to hear and I'm going to follow my patent. I've done for the dots up there and then I'm, again, I'm just gonna lift it off the paper. So that's looking quite good already, however, because this is a soft pencil, it's always going to pick up the grain of the paper quite a lot. And that's quite a nice effect for the nose, but that's not, that's a bit too grainy for my liking. So I'm gonna get, I'm still in the soft range, so I'm still on the darker, softer pencils, but I'm gonna get a 4B this time. And I'm going to start laying on top. And you'll find that just like we did with the softer pencils, with the harder pencils on top, this will work just as well. So I'm gonna get the side of my pencil and i'm going to use circular motions. I'm basically going to press that graphite right into the paper. I'm still going to use my shame technique of just in the darker areas and pressing harder and in the lighter areas of my reference pitcher, I'm not pressing as hard. I've always got this on the side and I'm always using in circular motions just to fill in those parts of the paper like that. So already you can say that verse is that, that is a lot better. I've still got all different tones here by using just one pencil on top of another pencil. But just using different precious. Which is really, really cool. So here it's a bit dark picture that comes off a bit. This is my lightest part here, so I'll leave. It should Empress jihad that I'm just going to use this, I'd like I said, to my pencil to press into the paper darker parts, pressing Karla enlightened pots and lifting my pencil off the paper of it, more like say now I still say that's a little bit too dark really. I can't really tell there's an Austrian and I can't really, I don't really know what's going on up here. So I'm gonna take my 2B. And I'm going to go over this part which I've purposely left lighter than the rest of n. Just very gently like that. Just to connect it up a bit more. And I'm going to use a blending stump. And in the areas where there's not a texture. So here there is a texture according to my picture because the light's hitting it. But here, for example, I can press this down a bit more because I don't want that much texture there. And then we've got a bit of variety in the texture. See down here. It's a lot more grainy, but up here, it's been pressed in a bit move like that, which is really nice. Now on isis in nowhere finished. But just to show you guys, the next part, I'm going to take a seven or a six, resist my darker pencils. And on this part of my reference picture I can see that obviously the note is not discreetly by itself. It needs to be embedded into the file. So I'm going to use this. And I'm just gonna do my schooling technique again around here. Just so we can our eyes can. I don't understand a bit more what's happening. And they might be so confused that there's just a floating knows there. So these bits are quite close together. However, these bits are a bit further away from each other. And these bits actually act as their hair down, then we can always come back to this bit, but for now I'm just going to put those in there so I know what's happening. And again, I can see that some in this part here does not say much around here because this bit is, is standing out more. And again, there's not much Roundup, but it's more around the bottom part here. And then this part Hertz as not much there. So now that that's there, I'm gonna take my 2B. And in areas where it's a bit darker, like here, I'm going to blend out, so I'm going to press hard and I'm going to pick my pencil up and blend that way. So press hard and pick my pencil up and blend that way. On Docker is around the nose. And again, it's still happening now has a new press hard. And then picnic and silicon planned that way. Press hard, Pim event. I'm blend. Blend. So I'm happy with that. I think that looks good. Because now what I know I can do is I can use my technique and I can take my eraser and I can just stop taking out bits that I need to renounce them. Stick a, my favorite obviousness is I can actually also use my white pan to just layer doc, unlike pencil on top of each other. And then take this white pen and really put the highlights. And so for now let's focus on this part of the nose. I've got the light coming down. So I'm gonna use my electric arrays and I'm gonna go over the school paper that I have already and I'm going to use just a technique as if I was just dotting. And I'm going to go around the side of the news event like that. Now I'm using my full bees and 6B is just to pay in order the darker areas and get the shot news. Correct. So I'm happy with that. But what I'm gonna do, I'm gonna take my white pen and I'm just going to bring some of these bits down here. And I'm just going to pave these white pits cuz they have major highlights of the nose. And then I'm going to use my full V and I'm going to, in the term lines I've made already with the with the h's I'm going to put in some dark areas is really great because it flows between the lines that you've scrolled already. And it makes it look a lot. It's a lot easier, faster because the pencil naturally flows into the grades that you've made. But also it just looks really effortless because it really is like setting. And then I can also use my white pen here. I've drawn here, I'm just gonna put why. Certain areas. Just to blend the end. 9. Nearly there: Drawing the Mouth: I'm pretty happy with that. However I can carry on if I need to afterwards. So just a couple of bits and down here I can see which I've missed. And then we're gonna get on to the whole nose and Gary down onto the tongue. Which is really we've now got this part of the tongue to put in, which is because the drawer actually. So what I'm gonna do is I'm gonna just go around the nose for us to finish this off. So I'm going to use my six h and my seven H's. I'm gonna give this a show up and moment. Taught it probably don't sharpen your drawing. So I'm now going to follow the news and I'm gonna put a few bits in around here to some of the has. And so this is most obvious down here. And obviously the has in the reference pitch and actually coming off of there. And that draping over the tongue. We're gonna fill in my patent around here. And I'm gonna further these lines down here in the, in the same way. Like I can see that these bits, I'm just gonna, so even though these pencils a hot, then the bees, they are very dark. So you can get away with layering very easily. But she's good. Actually. So here I'm following the nose round, I'm remembering the fan and that comes from outside. Otherwise, you know, he asked compressing relatively hard hair variant and depression layer and say that it's not just one line up creating little bit. So foams like psi. Let's highlight that. So now we're going to remember that we've got darker bits and lighter bit. So this bit here is very dark because this is leading on from the base case. We're gonna use my full BMI 6B and might even use my nine BN places to go over this. Just again using the same technique I did, but the grain will pick up in some places rather than others instead of just favorite completely documents up here as well. And this is mostly going to be darker bits. Now, again, I can do the same up here. The great thing is that when you start layering and you start adding darker bits in dark places, you can see where the lights a bit should be and you can also see why you should have gone a bit darker. So it's ever-changing. It is. I never stopped looking at my picture of my reference picturing a yeah, I could do that, could do that. But again, the great thing is that with these techniques, you can use as little or as much as you like. And it's still really looks like what you want it to get like. So now I'm looking at this, I'm thinking I've got some untill like I'm missing some highlights on my nose here. So you can see here that it is highlight around. And those are just going to put some drawing him with my white pen. And again on chromosome fits around here. To me, it's a lot more. Masonry is totally optional as well through time nicely to those areas. The texture of the Tang is a lot different to the texture that we've used for the file VC. This phi is, it's got a nice texture. We know what dogs Firth feels like, but we know that a tongue is a lot different to that texture. So this is where my h's are coming back. I'm not using them to score the paper this time, this time I'm using them to indent the paper in a different way. So I'm gonna use my six H's and my seven H's, an OC got my 3h around. And probably in fact I'm going to use my six HMS 3h mostly, maybe with some HB in there. Just to have a pencil is hard, but it's not so hard, it's really gonna ruin my paper. So I'm gonna take this on the side of the pencil and I'm going to concentrate on the line. It's going down the tongue to start with. So I can see this going down there. And now obviously carries all the way down. Here is a lot deeper than the rest. So are created that groove in the paper. I'll go So just to, just so you guys can see, I'm going to take a darker, consequently interest go round these bits here, which are, which are really dark. And you can see the difference here is actually lighter. Just put that less. You can see you I mean, just around the dogs gum. You can see the shape a bit clearer. I'm going to use my h's on an HB and a paper. And then I can see that this is the darkest areas and here plus a little harder with an HB which get softer. And then I'm going to start shading for me the side with my six H shape from the side has hada and pull it out of the paper as we get towards the edge. And the edge is going to be very like competitor RCA in an area. You can see in this part of my reference picture, this bit's a bit darker, so I'm gonna use this on the side and I'm gonna flatten the graphite litres per owner and flatten it like so. And then I'm going to bring that to slip off the paper Ben, and actually hike up to the same half star corrupt here. And then I'm going to make it dark ahead like you, my reference picture up to about here. And then I'm going to start bringing paper that's gonna get lighter at the edges. Stuck around here. And let's go down here like that. So already we've got the main part of our tongue there. And now going to use this to score the paper bitten more so I can see my tongue. I've got some nice cracks almost. I'm not going to press too, too hard. And I can also, I can score the paper by kinda left the graphite off the AIF per nasa, they went so dark, is gonna put a few of those in, not too, too many like that. And I'm just going to use my posse Rabaa. I'm gonna lift some of that graphite alphabet. They want them to be too, too dark. I'm gonna get one of my larger blending stamps and I'm going to start the circulation. And you'll stop lending to look this shadowing. And just for N, which will make it a lot less grainy. Like psi. And already we've got a really nice texture that this is very dark. We can see that that's about right. That's a bit more shading in his circulation again. Up as Docker image that which I can use another pencil and a minute flat. Okay, so this area here is naturally going to have a lot more shadow, isn't it? So I can see here that this bit looks fine, but there should definitely be darker up here to create a bit more of an illusion that the dogs mouth is open. So I'm going to use a darker pencils. So I'm going to take a full Bay. And I'm now going to work on top of this pencil. And I'm just going to go up here. Again, keep looking at my reference picture. I'm just going to shade to create. Make sure it's darker than lift my pencil off the page of it more to create a shutter. It still current here again. And I'm lifting a pencil off the paper. Now I'm going to make this a bit darker as well because it relies on each pivot taka for down here. And you can keep playing with this as much as you like and talk with them, which made that bet a lot lighter. And now can you see these bits here which I, which I have marked. And with this, with this softer pencil, it's leaving out these bits high score for and it's making them white. Which gives a really, really cool effects, like as cracking in the dog's tongue. Newsweek blending stump up here. And this N-bit full fits in. The texture of this tongue, like I said, is a lot flatter. It's not really the same. Test your tools. So smooth. So this is where the blending sums come in really handy. So we're gonna take my electric razor here around here. Start picking out pets like that. And I can see this behavior that you really like competitive insides are going to give up on the page for a bit longer. And then I'll take my puppy Baba and I'll stop just taking bets. So for that I need to say up here can tell this highlight around them, but every now and then, just so still one color. For my scoring. I'm just gonna take my pencil again and I'm just going to get to the top so that I can see some of these bits out of it. Because I think they should actually be a bit darker. That looks good. And what I'm gonna do now, I'm going to take my white pants. And I'm going to put in these bits on here, which I said we are going to be in the foreground. Too many, for just a few will make it obvious that that is in the background. Now, time to focus on the dock. One of the dog is possibly the picture as well as the nostrils. It's going to be the gums of the dog. I'm gonna use my nine Bay and I'm gonna make sure that it's sharp. And now I'm going to go around and I can walk on top of these areas. I've school to read a because they've, they've scored the paper nicely, then they will come through and we can always go over them. Just kind of go around the areas which I have left out for the teeth and I'm just gonna press nice and hot and get a nice bit of dog. Goes around as well. Say this case up here. This dark areas in areas of the dog that makes any sense. We're gonna use placebo Brennan maintenance time. But for now let's just make sure that they can get. And then around here, we've got bits of gum that stick out. Now this nine b is a really, really dark pencil, as you can see, it very easy to smudge. So I do this bit loss, even though I am walking down, I do this bit loss. Now I can see that this is very dark compared to this, which is pump it up, give them a bit of darkness and to even out. Now I've got my teeth here as well. So I'm going to take my seven H's and my six ages because I can press thought and they if I press the hardest I can that's the dock as they come out. That's exactly what we want. Because it's some, the, so, so different to work within the bees because the base of a dark shadow in that. So again, you really dive Each too much work to this. It's looking great as it is. Take my pot irreverent and just take the largest fits of the tooth of she can see at the sides. That's looking good. Now I'm just going to finish off around the color of the dog and around the mouth just with my bending sump and some softer pencils. And I'm gonna use my rubbing, my electric rubber just to clean up around the edges and make it look more like. But I'm pretty happy with that. Say finally, what I'm gonna do is I'm gonna take my white pen, which is a godsend. I'm going to put in a few bits around here, which I can see should be coming up remains. So I've got to have that. Again, this doesn't need to be specific. But I can see that this one overlapping that white is very Doc plot which is very obvious from here. So this is my final drawing. I'm really happy with it. I love the way that it fades off at the bottom here, but it's very obvious what's happening. I'm really, really happy with it. And in total has taken me approximately three hours, which I think is bought out too. 10. Thank you!: I hope that this video was helpful and that you realize that it's easier than you thought it was to make a realistic drawing. And that you can use these techniques in your next PET portraits. Thank you.