How to draw realistic lips - Portrait drawing | G-Code Tutor | Skillshare

How to draw realistic lips - Portrait drawing

G-Code Tutor, Engineering Artist

How to draw realistic lips - Portrait drawing

G-Code Tutor, Engineering Artist

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3 Lessons (31m)
    • 1. Lips part 1

    • 2. Lips part 2

    • 3. Lips part 3

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About This Class

Drawing portraits that look real is not difficult, it just takes practice and understanding the techniques used by professional portrait artists.

In this lesson, you will learn how do draw realistic lips. 

All you need to get the most out of this art course is some soft pencils, something to blend with and a piece of paper.

Draw along with me as I explain in depth what I do and how I do it.

I start off by teaching how to build up layers of pencil and how to blend the lines to form the shape of the lips. If you don't have a blending stump you can use your little finger or roll up a piece of paper into a point and blend with the tip.

Meet Your Teacher

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G-Code Tutor

Engineering Artist


Hello, I'm Marc.

I have studied engineering and portrait art for over 26 years. A strange mixture indeed.

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1. Lips part 1: in this lesson, we're gonna take a look at drawing the lips now. Families picture online. These lips are about perfect as you can get. They're perfectly parallel on where face on sodium. That's a great picture to learn how to draw is also a lot of detail. So what we're gonna do is draw a line through the center of the lips. Lightless throughout the gap is, as you can see, it's nice and horizontal. Now it's catch down into center line through the middle. This gives us an easier reference when we're sketching them out so we can try and get proportions as right as possible snow on our paper. We're gonna copy that and draw a sense lines. I find it much easier to work from a reference photo. If we've got some sort guidelines in place, I'm just eyeballing up to see where the corn is. The mouth for bay on the top of the bottom of the mouth should be easy enough to judge because we're drawing the same size. It's photo, and now we just need to sketch out the outside profile of the lips. Now, if we look a top, there is a slight radius where it dips in towards the center, so he cares to be taking that weaken sketched out in the more accurate or sketches. More accurate, the picture will be to the photograph. Now it's It's easy to start drawing what you think is that and know what is actually there . So keep checking the reference photo as you sketch to make sure everything's in the right place, and you actually draw with marks on the photo and not what you think is on the photo. This is a mistake I still often make now, now one of the benefits of drawing digitally robin on paper insights. I can have my sketch on a separate layer and draw a shading on the layer underneath it. This means we can easily deletes our sketch once we're done. Or if you're doing this with a pencil on paper, I would suggest drawing with the very stuff penciled lately on your sketch, and then we can cover it with shade. And as we go, my favorite benefits of joined digitally. I got an undue butting controls Ed un does my last brush trick, which can save meet hours of time off, deleting stuff and get some things right. But apart from those two handy features, the actual skills needed to draw on a computer is almost identical to the skills needed on paper if they think it's a bit more complicated because you need to learn the software and you need to be able to get that software to feel exactly like it does when you're using a pencil on paper. So let's get back to our sketch. What we're doing now is where ads in a base layer of pencil used very soft five B pencil. Now I want to cover the whole lips in a shade of pencil that we can blend in on, blend the other shades into. Now, if you look at my lines, I'm going in the shape of the lines and the lip. If we keep doing this and every time that we add pencil lines to the lip, we go in the same direction. We're doing this because as we start blending it in the grain off, the lips were always going the same direction on ads. Afridi effect on also shows the radius of the lips so we can see that they're not flat in their rounds and a consort. So now we just Blair that in using a blend in tow. If we using paper, I tend to use a blending stump for this. But with coral painter, I spent a long time looking for just the right blender that works the same in my blender does. On paper, I end up switching between free. Different kinds of lenders are using a fine points one. Someone called a dry, wet blender. There is one other planes or use the from stump. But I don't use it that often when I'm doing portrait's, then on top of our first blended base off soft pencil. Now going with a slightly harder strikes, especially because we're doing the dark areas in the corner of the mouth. It moments now keep one eye on where the dark areas are as we copy our control with our curved lines. This goes for same is blended, always blend in the same direction as your strikes on lips. Now the old heavy line here and there is a good thing because we want those lines to show fruit, so we want some dark lines in there. So when it's blended in. We can see the lines on the lips. Comfrey ones need to blend. Now. It's important to remember when you're drawn digitally to take your pencil to paper every now and again. When doing short strokes like this, it's fine. But if you're doing a lot of shaving while keeping your pencil on the paper, if you make a mistake and you have to press controls edible, undo you undo all of your work. And not just the last strike you made because your pen hasn't left the paper as we blend with blending in the same direction as our pencil strikes actually concede that's starting to be darker and lighter strokes coming through where are concentrated on the corner of the mouth on the bottom lip. There it's darker. Still, the corner of the lips is always one of the darkest points on the portrait, so we have to keep going over that with pencil to make it as dark as possible. Keep adding layers to it now. It doesn't matter about cross. No, there are sketched lines here. That spot in the race is full using a soft putty razor. It doesn't leave any marks on the paper where we're using a soft pencil so we can clean up our lips once we have shaded them. And when I'm drawing on paper, I used a soft putty rubber, did the same thing id yet another layer, doing exactly the same thing with short lines. This time, what we're doing here is we're emphasizing the shaded areas using a slightly harder pencil . I'm using a four beat this time, so it's a little bit darker, so we can really get into the corner of the mouth and get that nice and dark. I'm looking at the reference picture. Looking with a shaded areas are on the most darkest areas. I'm drawn in with my sharp pencil. Adding the old lying on the center lips is a good idea here. It's all would be blended in, but adds to the effect that the lips are not a flat surface. Still keep my strikes going the same way. I try to keep every stroke on a lip, going in the same direction as the radius of the lips, so make sure your lines are slightly curved as well. Planted in the short lines is not easy. Sometimes we might need to go left or right. But there's still a lot more layers and a lot more pence. What's going to paper yet? So it's not a major issue at this stage. But as we progress through portrayed, it becomes more and more important that we go the same direction as our lines. Now where the gap in the mouth is extremely dark, we can draw that in it later and keep going over its me. Keep building up that layer of darkness there, and it would cover up over this area. We were gonna want to keep blend in it. So from the center of the lips, up and down is a dark fade, gives the impression that the lips meet. Then we can draw in the shadow where the lips are. So this stage are pictured. It's quite messy, but keep going, move it. They get discouraged as you're drawn it. That doesn't look right, because the more layers you add them or the free dimensional feel of the lips and the realism starts to happen. I'm just blends. Now that sense lines come to shadow between the lips are indeed you can afford to be quite sloppy at this stage, there's still a lot more details to be added. We just want a base underlying shade. Before we start out in more detail, it starts here. The highlights in the center of the Lipa's well coming free, where we've purposely avoided it without darker pencils, I will say you start seeing the grain of the lips coming free, so we're gonna end that there, and in the next lesson, we're gonna start out in more detail. 2. Lips part 2: so we've done the bottom lip. Now we're going to take a look at doing the top lip Now on the upper lip, we can see there's some lights around the very Crestor that's help, and then it fades darker as we go down to the center, the mouth so the same process as before. We want to get a layer of pencil onto the drawing and lure it in. So we got basically to work from now again, the corner of the mouth stark on. We've got the highlights in the middle and sends part face downs to gap between the lips. So we're gonna keep concentration on these areas as we build up the picture. The same is the bottom lip. Our strokes and our blend tools were going in a radius to follow the contour. I'm slightly exaggerating it here just to give a free dimensional effect because of drawing doesn't really show. The top lip is curved Now. The top lip won't be is curved as a lower lip, so our lines could be a little bit straighter again. I'm not too concerned about taking my lines over the control amount because we can use our raise. It'll to clean that up. Now we can start concentrates on the dark patches. I'm looking at the reference picture seeing what's dark and in Adan darker pencil going over the top off our pencil we've already used as a base layer. Now for this something slightly harder pencil so we can get darker line. I'm using a four B. I'm just gonna keep building up those layers. We can't add too much pencil to the center of the mouth and corner mouth because one that darkest parts to drawing so we can keep going over list item or pencil to make sure that darkness really builds up. Then I'm blends in it in with my fine, pointed blending toe. If you used in paper and pencil, you can use a blending stump. I'm being really liberal, my blending tool here. I'm not worried about the contour of the mouth whatsoever. Now a museum, my Blair, until still and just shaping around the lips so that features start to pop out. Now we've got plenty of pencil on the top lip. We can start working on the dark areas on the lower lip. Listen, I'm using a really sharp pencil. I'm using a T B. I shop into a point. I'm going over the lines, adding, where they are on the lips are being quite at Crewe. Alice. I'm actually looking at the lips and same whereabouts They should be by using a sharp pencil. It doesn't blend in as well as a softer pencil. This is great because we do want these details to come through now. You choose my blending tool and blending in those hard lines. I think now we can start adding some highlights, some good news that white pencil and start as in the light of sections of the lips. Again, it's very important at this stage we go the same way as a controlled the lips on the grain of the lips. Because these lines will show through on, we'll start showing more character. I'm just sketching down from top to bottom small lines that emphasize whether highlights are, and then we're gonna blend it in, as in the dark shadows where the top lip hangover the bottom lip is really important when we're doing lips as well, because you've got to bear in mind. The bottom left is further in towards the faced in the top, so it will cast a shadow unless the lighting is from below. Said in a few more little highlights from the top lips a little bit dark so we can start out by adding some white pencil or white chalk on and gently blending in. And we can move around the pencil on the paper with the blend tool to sculpt it where we want it so we don't have to be to act. But with the pencil with the blend all his position, never think where we need it to. Now we have ah highlighted laid down. We can add some more shade on top of the lip. This is where things really start to take shape now because we're using a no soft, dark pencil weaken, blend it in, and it sits on top of the highlighted areas and really starts to give a good effect. Lines. I've drawn up the lips. Now we're not blending them too much. We want them to be a little bit visible, but they still need to be blurry because I'm gonna add more detail on top of that later to give a free the effect of each line on the lip. At this stage, I just want to have even more harder, darker pencil through the center between the lips because I want that to be is dark as we can possibly get it. We have to bear in mind when someone's viewing our picture. There won't be staring at it as intensely or as closely as we are, as were drawn it. So from time to time it's worth to zoom out a little bit to see the picture in perspective to hold the viewer would look at it at this stage. Might pass as a recently drawn pair of lips, but we're gonna go a little bit deeper than that. I want to keep adding detail in shadow until we could make this picture really pop. But before we started in even more detail tulips. I want to look at the outline of them. It's a bit blurry and a bit smudgy on looks but Messi, So we're gonna start with the area underneath the bottom lip. This is always a very dark shadow here because the bottom lip overhangs on light doesn't reach its areas much, so it's getting nice sharp line on the bottom lip without actually drawing a line. Because we don't see lines on this, we can use a shadow to our advantage. By drawing in the shadow, we can show that the bottom lip is not flat on the face. It does project out slightly, and we can also start shading in the skin. Tang's. This is how we clean up the smudgy lines around outside and why it doesn't matter too much about blending outside off our sketch lines. We can run the blend tool around the outside of the lips where the line should be on. That blends a shadow with the lips that makes you look a lot more realistic now almost pinches it so we can see a line, but we don't throw it. No, that's coming along and we could leave it there, depending on the size of a portrait. If we stood back a little bit or with zoom down, it would look reasonably realistic. But I want to keep going with this picture. I want to keep adding more more detail and try and get a really realistic look. Sigh. Let's have a look at how we do that. Now. I'm going to be using, Ah, harder pencil. Now I'm gonna be using a sharp to be pencil, and we're going to go over the same sort technique is before we will keep adding to the dark areas and keep adding Sterlite areas, building up more laser pencil and getting a really realistic look, assuming a little bit so you can see what I'm doing. Science. Regrettably, my shop TV pencil and start working in those dark areas. Same as before, using small lines in the contour of the lips, starting from the center of the lips, coming outwards. Now Madden darker lines on the shadow areas in the centre of the shadows that we've already Jordan. And the reason for this is as we blend them in. It shows different depths to each line, so it gives look contour and Shay's love shading at the lips. MoveOn slows lightning. We just let out a little bit and start seeing how it out works. A nice, sharp pencil, so we can really see those lines when we start to blend a Nikon strain on the darker areas , we really want to make them darker with pencil. The more you blend the doctor, it gets the first layer of pencil barely adds any shaded to the drawing it'll. But as we keep adding more more pencil, the dark hair is really stuck in darker now. I always tend to draw a little bit too light. So this is why I build up so much darkness with my pictures because it first never dark enough for my liking. I have to keep darkening up as we blend that in. You can start to see those ridges in the mouth really start to showing for you now, because we're going over the same dark areas but with a thin a pencil, same as before. The corners of the mouth and in between the lips need extra attention from a darkened things up on the shade on the bottom lip is really important because it shows that the top lip is overhanging the bottom lip slightly as we blend that in now and start seeing it's really getting a lot darker because of all different layers were working with on the sharp pencil. At this stage, the picture really start to come to life. It really starts looking a lot more realistic, just blending in from the central lips down still keep going in a radius fashion. So showing the controller lips there's no straight lines here, just keeping the same procedure going for the top lip. As we can say for my reference drawing, the darkness of the center lies in between. The lips spreads out slightly, so we're just trying to emphasize that, almost overemphasizing it. Really try and get the effect that we need as I come into my blend. Until now, I'm using a lighter touch so we can start to see more detail come free from those lines. I'm using a foreigner point blending tool, so we want anyone to blur those hard lines that we've decided and not blow out too much lips. That way we get those those lines and ridges that we're after. But here I've ever done. It's slighty. The lips look a little bit more unrealistic, so using a softer blend until in a lighter touch, then go over and blend in those harder lines so we can spread it out a little bit. So looks less emphasized. It's a mistake so easily I'm done in. Just use the blend until to sort out any mistakes blended back into the pencil in the background and then keep adding more detail. You have a highlights there on the top, lip and sniff. It goes dark, and it's almost like a line, so we can emphasize that by using more dark pencil underneath the highlights. I'm really studying the reference picture here to see exactly where the light and shade meat start to go over the lines of our sketch on the outside. Love turned off our sketch laid now so we can't see it. But ellipses doesn't need to be cleaned up around the outside. That's another problem, because we're gonna add some child coach that later or pencil on Lola's lines. And like we did just now, I didn't highlights the top area when using our white pencil toe ad highlights. It's very easy to overdo things, so we have to be careful with not overzealous with it and put too much voice on the paper. A little bit of white pencil goes a long way with sketching. In fact, it's a little too light, so I'm gonna blend that in a little bit and blend at him with a darker pets we put underneath. So we get a nice tape it feeling to the lips. I'm just gonna use the plane until to clean up the outside. Lisburn is part lip. As we continue to build up the picture, the sketch becomes less and less importance. This is because the more we work with the image, the more obvious mistakes show up so we can easily correct things using a blender and continually work on the accuracy of the sketch. Using a very soft touch with a larger Blendon stick, we can start to move things around a little bit blurry in areas that we don't want. So much detail coming through on highlight in the darker areas by pulling the darkness between the lips in both directions. 70 shoes in a blending stump to correct anything we see. That might be slightly wrong. Now we go really dark. Not those areas again. As usual, got keypad. Insulin. Real dark areas on slowly blends net and keep booting up players because it's difficult to get a jet black when you're using soft pencils. This is why I like to draw the charcoal because the black star a lot darker, but it's harder to get the detail you need with a larger charcoal pencil. This is really start to come to life now, so we're going to leave it there until the next video, where we're gonna add even more detail in finishing touches. 3. Lips part 3: If we're drawing with pencil, we would probably leave it there. It looks like really realistic. Andi every great for a high, detailed pencil join. But if we're drawn digitally, there's a few things we can do to enhance them even more. Let's have a look. A different techniques I can use on call painter. Or it can also be done on photo shop Kitchener or any of the free suffer available to really enhance these lips on finish off the portrait. So now I'm using an airbrush with black ink of the flow setting. Turned right down to 4% on a pasty is around 40% because I don't wish to undo our hard work by spraying over the top of it. I just want to tense certain areas that I believe could be a little bit darker or a little bit lighter. And this way it really smooths out our lines as well, making it look even more realistic. I could just work my way around the picture of a very fine point, airbrush just smooth now, areas where I don't want to see any lines, but also adding to shaded areas where I do. It's great for getting the mouth darker and add inside of shadow on the bottom lip made by the top lip. Now I'm at this stage. I might. It's about cleaning up the outside of the lips a little bit more. I'm still not happy without that. Looks a little messy, so I'm just gonna use up lending to to do this. Using the blender here, I can cut back on where the shadows are and smooth it out and with a background colors. So it's not so defined. But we can still see the sharpness of the lip coming through. I should really added this level before we finished a pencil sketch, moved into the digital realm, the shadow, and leave the lip. It is one of the most important parts to make the lips look three dimensional. I'm just using a soft five B pencil here, pushing really hard on the pencil to give me a nice dark shade now and issues a blur until to subtly get rid of the pencil lines. Go around to the actual long of the lips very gently with blurring. Tool gives a shaded radius effect, so we're not actually seen a sharp climb but it blends in with the shadow underneath because spread out some of that dark pencil lines. We can really blood at him, so we don't want this to be a focal point of the picture, just using skin textures and shadow to define the outside of our drawing. I don't want to be going overboard by adding skin texture and shade here. I just want some pencil on the paper so we can use the blend tool to define the outside off the lips without actually drawing a line. You know, soft paint selfless because I barely want to see it on the paper. I just need some pencil there. How part blend to do its job. I don't know this on the same layer, but you could do it on a layer behind. We've coral painter allows you to blend layers that based on top of each other, but it's the only art software I've ever used that does that. So I tend to just draw a law on the same layer when I'm drawn digitally apart from a sketch that's normally done on a separately I saw can remove easily. No, our skin textures blended in nicely we could start seeing the highlights from the top lip coming free there. I wasn't apparent before because we've drawn on white paper. That's a black and white drawing. We were finished. Now I'm happy without I mean we can keep adding detail forever, but we have to know when stroller line and say the drawing is finished. But since we using digital arts here, Arkan experiments with colors. Now we don't need to draw the lips with colors. We can add them on afterwards, and the shading from the pencil comes fruit to save us doing it in color. So, using a light airbrush, I'm still using my 4% flow on my airbrush. I could make the Nautile a little bit larger and start experimenting with overlaying different colors. Now this is done on a separate layer. I don't wish to damage my original drawing, so I'm just going over the lips with a very, very light airbrush on. And we can build up darker areas by going over it two or three times in that one area and not a great deal of work needs to be done here. Apart from just covering the lips in our red airbrush. Now there's different ways of doing this. You can set the layer to screen or modify or overlay. But in coal painter there's a layer called colorize, which I'm using for this, and it works perfectly on. The good thing about doing this on a separate layer is we can change your pasty of the layer. So if we're not happy about the shade of the color or it's too overbearing, we can adjust your pace to a little bit and bring down the overall color effect. This is one of the things I like about digital art. You can play around with different colors, and it's not damaged in the drawing for doing this on paper, we'd only get one shot getting the color right. So the only thing left to do is play around with your pasty that I was talking about so we can see what it looks like. If we light and shade a little bit, we can get a lot more natural, filled with just a hint of kind of doing it. This way. We can up the color to give a big pair of rosy red lips. So once I've got my color balance with the pasty on the layer, I can say Okay with finally finished our picture of a pair of lips.