PORTRAIT DRAWING #1: Sketching the draft with a pencil | Barbara Baumann | Skillshare

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PORTRAIT DRAWING #1: Sketching the draft with a pencil

teacher avatar Barbara Baumann, Illustrator & Drawing Tutor

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

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

7 Lessons (30m)
    • 1. Introduction

      3:38
    • 2. Warming up

      1:20
    • 3. Proportions of a face

      5:24
    • 4. Making the draft

      6:43
    • 5. Sketching nose & mouth

      6:19
    • 6. Sketching eyes & hair

      5:25
    • 7. Your project

      1:19
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About This Class

Would you like to draw a portrait without spending hours of drawing? Just a quick sketch to capture the most important characteristics of the person? Then this course will be perfect for you! Sketching a face can also be done in some minutes, by having some basic guidelines in mind.

This class is the first part of 2. It is about the draft of a portrait. The second class is about the details: how to continue this draft to transform it into a realistic portrait ( PART 2: https://skl.sh/2Pbc9nu )

Barbara Baumann is an Austrian artist and illustrator. She is teaching drawing classes since 2015 and is enthusiastic about showing the students how they could express themselves by drawing and finding their own style of drawing.

She will show you how to start on a plain sheet of paper. You will learn different methods how to approach by using a minimum of material. 

MATERIALS NEEDED:
- Pencil (ideally a 6B) 
- Eraser (ideally an kneaded eraser)
- Sheets of paper: A4 or A3 (the size is not important, choose the size you prefer), medium textured

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FOR WHOM IS THIS COURSE?

This class is designed for those, who would like to start drawing in a more practically oriented way, but also for those who are drawing regularly but like to try out new techniques in order to sketch quicker.

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WHAT WILL YOU LEARN?

In this drawing course you are going to learn how to draw a human portrait from a photo in a rather quick way. We begin with the basic structure of a human face, using basic forms and simple rules. There are a lot of rules you can apply in order to build the structure of the face, but the aim is, not to keep all those proportion rules and anatomy principles in mind, but to learn to deduct your own rules by observation.

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Meet Your Teacher

Teacher Profile Image

Barbara Baumann

Illustrator & Drawing Tutor

Teacher

Hello and welcome! My name is Barbara Baumann. 
I am an award-winning illustrator and drawing tutor from Austria.
And I love sketching.

The idea of teaching classes on Skillshare comes from the bottom of my heart:
to get you close to drawing and to show you that you too can draw. I love to welcome you in class!
It's all about learning to feel the drawing!

For tips and tricks about drawing, subscribe to my weekly Newsletter here - full of drawing tips and inspiration.
I'd love to connect with you on Instagram.

See full profile

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Transcripts

1. Introduction: Hello and welcome to my class portrait drawing part one sketching the draft with a pencil This is the first part of two in the second class will transform our draft into a realistic portrait. My name is Barbara Bowman, and I am an Austrian artist and illustrator. I am a book illustrator, but I'm also making scientific illustration as well. Usmagazine illustration. On doing illustrative branding, which means them usually on the lining strategic principles off a company. So today we're going to sketch a portray from a photo in order to learn more about a human face about its proportions and characteristics. And we begin with the basic structure of a human face by using basic rules. There are so many proportion rules for a human face. If I did really complicated to keep all those roots in my mind. So I prefer to have some basic guidelines for drawing a face and just to look at the face. Because observation is key for drawing. You don't have to memorize all the proportion rules in your head. Just look at the nature and deduct your own rules, and that's what this class is all about. What you're learning in the hearing. This class will be useful for sketching as well. As for detailed portrayed Roy, we will talk about the details on the second part of this class for this class. In general, you do not need any drawing experiences. And by the way, drawing is less a question of talent. But more question off practice and technique. You will learn techniques how to draw the same proportions as they are in the photo, and you will learn that there are only some characteristics you need to take into consideration to make a drawing similar to the photo and to define the characteristics of a specific person that you're drawing. So why do we look so closely on this photo instead of inventing a person? Because in order to visualize anything, even the image in native things, it's important to learn the basics by taking Mother Nature's A motor at the nature is a great motor. It would like to draw comics, for example. It is is Sancho to learn drawing and normal human face before and to learn how to dry notions. If a person looks surprised, what is it that makes his face looking surprised? Look, at the form of the eyebrows, the shape off the mouth and also the shadows off the cheekbones there are changing, so you need to know these indicators in orderto exacta rate them. That's why we start with this first step in this class. Well, look at the basic structure in the face by using a photo for his drawing last year. I need a pen, a red, a soft 16 p, for example, and the near razor, ideally and needed a razor on the sheet of paper. Medium textured like these that have no Did you hear for a class project? I'd like you to choose a photo off your favorite actor or actress or off a friend or family member, but you can also download this photo in the project field, try to sketch him or her by using the techniques that I've shown you in this class. I hope you enjoy this class, so let's start sketching 2. Warming up: lesson one for me. Before you start throwing, it's important to get your hand ready for drawing, so it's a warm up for your hand, and it's also a good occasion to get to know your material. You randomly draw lines and circles in the paper with a pencil, ideally six B. But if if another soft pounds Lee eight Pier 90 or, if you prefer harder one, it's OK to you can do some hatching and cross hatching. I'm always talking about the self pencil, but this means that a self pencil has a core with a higher ratio of CRIF it. Beeston for black, the higher the number, the darker and softer the Pankey. For us. Capture where itself pants is great because it's the basis for the detail poetry, which will be the topic of class number two. This is a needed a raise that it can be easily adapted toe any shape. We need one withdrawal with a six B. The lines can be removed and brightened up with this a razor so that we can continue with the details later without having still Elizabeth draft. Sometimes the classic a razor is very helpful to 3. Proportions of a face: lesson two proportions of the face. When is that drawing your face? Start with the basic structure that will lead you throughout the whole drawing. Brose is because it would be really a pity if you have finished to draw wonderful eyes, but they're not on the right place in the face, so you won't recognize the person you've dropped before. Is that drawing? I'm sure some helpful guidelines for the face. Here's a picture if of woman. Just a minute. Here it is we will look at have face seriously before starting to draw is simply look at the picture because it's not about drawing wonderful eyes in the beautiful mouth. It's about drawing this person. So what is so special about what makes her unique a cheekbones, For example, a read a prominent as well as her lower jaw, and her eyes are kind of almond shaped, and her mouth is read, a small compared to the rest of her face to make it more visible. What I'm talking about, we'll have a look on it on the pet. I'll show you how to structure the poetry. If it's blood they had into two equal halfs, you'll find out that the eyes exactly in the middle of the head. So we have those two eyes here. Now you will notice that the distance between the eyes is about the space. Often I This space isn't always exactly the size. It depends on the individual characteristics off her face, but it's nevertheless a great guy lying to keep in mind. I'd like to present you now a technique that I call the third to kick. I think it's only media calls it the third technique, so don't take it for granted. It's just a name that I find very logical. And I show you why. Because if you split the head into three pig parts without the here, you will have one part reaching from the hairline to the eyebrows. Yet apart from the I pros to the nose at the sort part from the nose tradition, you dry line about the eyes. This is the position off the eyebrows, the end of this part smart but a position off the news. The next line is on the Dejan and forms the second part, so we have two parts of ready. The 3rd 1 is formed by the erupting eyebrows and Helen. So if you only look at the face without Helen, there were four lines that divide the face into three equal parts. The eyebrows are position that yen off the first part, the nose at the end of the second part, and there's a ser parte reaching from the nose to region. These three parts are very precious for sketching because they help keeping a structure, no matter if yours catching the face in frontal perspective. Oh, if you're drawing it half turned outside face. The three parts are always the same. Let's have a look. If it can deduct further helpful principles, we already know that one splitting the head in two parts. The eyes Exactly animal. The third technique helps us just actually face. Basically, when you look at the vertical lines of the face, there are also some helpful guidelines going down from the corn off the eyes shows. But the nose is on the same line, so we can therefore marked with after knows he already the length of the nose was already defined, but the third technique, another helpful vertical line, shows us the position off the lips and you go down now from the mill off the eyes, you'll end up at theaters of the mouth as you can see the bottom lip displaced in the middle of a desert part the user about the same length as the 2nd 3rd the middle part ricin from the eyebrows until the nose. But those that have already said in the introduction part of this class, these proportion rules are only guidelines. You don't have to learn these roads, but they help to learn seeing the face. It doesn't make sense to learn these guidelines for heart, because in that case, every poetry would look like the same. It's more about the difference. Not every face has exactly three parts off the same size. So I will show you these guidelines in order to make you aware that there are some symmetries and orientation points in the face that help drawing. But they are not carve in stone, so it's all about observation and learning to see the papers, faces and the differences and the unique characteristics. So here are the eyes, the nose, the mouth and deals derived from some simple guidelines. Okay, so let's sketch in now. On paper 4. Making the draft : Lesson three. Making a draft general This sketches drawn very softly, very slightly with a soft pan. For example, a six peak for us catch now will draw the lines of its strong because they're better visible for you now this way. But it's we will continue the poetry in the next class. You can draw us, catch very softly already in order to erase easier the draft lines later. First of all, we'll start with a neck shaped circle, but it is not always possible to draw exactly the shape you want to draw. It's quite the contrary. It's very difficult. All is to draw the perfect shape right at the beginning. For me, it's more an approximation. Manus tracing the shape without immediately using the Pantsil. When I'm feeling that after perfect shape off my hand movement, a slightly put down the pounds on the paper so the shape is finally drawn here. These older not necessarily the first line that is the best. Continue with the slight drawing. The shape of the head is steadily formed this way. Draw now a horizontal line through the middle of the shape, toe the right head into two equal parts on this line of the ice, There should be this space off one night in the middle off them, as we analyzed before. Do not draw the eyes already in detail because you might do this in grain if they aren't in the correct place. So we first need to draw the face roughly before going into detail in order to measure. If you have drawn the eyes in the correct place, we use our pen as a measuring stick. We've already talked about the pen is a measuring stick in my sketching class. The link is down here If you like to have a look in it, the pen is a very helpful tool in orderto deductive proportions. How do you use the panza toe? Check the proportions off this catch. You'll need your pencil and your finger. You put the pants on the photo with a finger. We can now mark the three part of the face from the third technique in order to control If these parts are off the same size proof, they're different sizes in darling. In this case, they're pretty much off the same size. We can do the same for measuring the coric position off the ice as their position is very important because they influence the poetry enormously. The top off the pan is in the corner of the left mark, with iffing an Audi of a side of the eye. So if the full length of the I marked on your pencil kept a finger on this position and compared its marked size about the size of the right eye, do they have posed that same length? Or it's one I slightly bigger due to a certain perspective. On what about distance between the eyes, keep the fingers still on the same position and control if the space between the eyes as the same distance as the left eye. In our case, the lady has a bit of short off a short distance between her eyes. If you look at the poor tree directly, you will see the D eyes are exceptionally close to each other. So this is an important characteristic of her that absolutely shouldn't be Nick like that. One's catching her face because you wanted this catch looks like her. So we do have to look seriously to find the facial features that are special for her. It sounds weird, but a big part of drawing is watching. So it's all about learning to see the drawing. So let's continue our draft we control. If the size and the position off the eyes is correct with the same measuring method that we just applied on the throat of the lady, This is the ideal moment to correct as the drawing is still rough. Okay, if this is fine, we will now apply the so called third technique because we will split the face into three equal parts by drawing for lines. As you have already drawn the eyes, you can continue to position the first lying about the ice. This is for the I props. Look at the photo. Are the eyebrows exceptionally far away from the eyes? Are they very close to them? We won't use a roller, So try to get a feeling for the distance in the face by looking at the portray or by using a method measuring stick. So the pencil we define the three parts step by step, verifying regularly. That is three part of unequal size. The second part marks the position off the nose. I am Mark here. The position off the bottom, off the nose on the chin is the position off the third part. Now we have arrived quite a big part of the face by using simple guidelines. As we've analyzed before, the cheekbones are very eye catching. They are an important part of our A draft. So we marked him here in our drawing in our analysis feels so that the corners off the eyes are a good indicator of a deposition. Off with off the nose off the L awaits often knows the corners of the mouth can be deducted by looking at the position off the eyes. The worth of the mounts isn't always the same. It also strongly depends on the face of expression off the person. But as we have already drawn roughly eyes, there are always a great guy land for the corners off the mouth. Sometimes the corners are the same. Height s the pupil. Sometimes they're more the height of the iris. After the people, we can deduct their position with our pen. Her hair frames the face. Now draft. We marked the main waves in order to know where calls should be drawn later. Now we have the basic structure of our face as I have a really said, it's the most important part off the drawing because it's the moment were defined, the unique composition off the face, the relation between the eyes, the nose, the years, the mouth. So let's go on with parts to face. 5. Sketching nose & mouth: lesson full sketching nose and mouth in this rough drawing face, I only used straight lines for defining the parts off the face because it is much more difficult to draw the exact round shapes right at the beginning. Instead, off straight lines, the nose can be split into four areas. The drug peas covers the bottom off the nose, including the nostrils. It is the part of the nose with the darkest shadow. The trapeze I used for the nose helps me to define the bridge of the nose in the position off the nostrils. So we continue with the second part that covers the Brit Justin News. It is usually brightest partisan news, the other two areas, other ones that cover the L A wings and the side of the news. It doesn't really look like in those right now, but that will soon change. The nostrils are placed in the drop peas, and the height of the trapeze gives us a good orientation for his size off the nostrils. Because there is this tendency to draw the nostrils bigger than they are. The basic shapes of the nose are only a helpful tool for the beginning, but we won't need it. Later we remove a bit off the graph it to draw the details. The width of the yellow wings was already defined by the basic shapes weaken else. Catch them directly In our draft, I will keep this knows drone with the basic shapes here and retried by a rising the whole structure. Because the top off the trapeze was also the tip off the nose, which is the brightest part of names. It is therefore important to completely areas. The structure for a owns catch only indicated basic shapes very slightly. I roughly do this shadowing here toe better show you the logic off the basic shapes construction. But we will do this more seriously. In the second part of portrait rowing. The focus here is to get he used to apply this basic shapes for the nose construction. The bigger 20 off these basic shapes is that they're very appreciates for other perspectives on the frontal bone. The side phase has a clear structure with it, but especially the half turned face. It's very difficult to draw. The basic shapes are here off great help. When we apply our trapeze here, we see that the sides of to trapeze have different lengths. So instead of drawing around nostrils in a different shape in the different lengths, it just it is much easier to make this with a simple line. So let's look how we can apply this doctrine or poetry. The trapeze comprises the shady area off the nostrils, reaching until the tip off the nose the brightest part. So the drop EES reached until a tip off the nose. The with off the notes is a ready to find the corners off the ice so it is essential, not mark, the exact height off the trapeze that they Cano's a Mitchell with a pen. In this portray, the nostrils are until half off the height of the trapeze. You can also measure this with your pen, knowing this prevents us from growing. The nostrils to be now draft were indicating the shed off the bridge and the bottom of the nose to get a better feeling for the shape of the nose. There are no real lines for the nose except the nostrils and yellow wings. The rest is shadowing in order to get the form off the nose for the drafted ever need some basic shadows. Just catch the nose entirely. We will work on these Cheddars more seriously in the next class. When it comes to the details, we continue now does catch your mouth too. Short lines mark the corn off the mouth. As usual, we're working here with straight lines and transform the later in organic shapes. The lower lip is usually sicker than Yeah, Philip. To better estimate this proportion with music and our measuring stick lipin the lower lips about 1.5 thicker than your clip. The width of the lips is about three times bigger than the hide off the lips. This is the frame for the lips that we can take as a basis, so the lips of three times longer than their high and the lower lip is thick up. More precise is that 1.5 stick it in the upper lip. We apply this knowledge about the form off their lips on the portray draft the ice give orientation point for the position off the corners as we're ready, so before you to find a middle off the eyes for the position off the corners. In our case, the mouth is a bit smaller, so we will place the lines for the corners at about the height of the inner side of the pupil. Additionally, half off the level most part marks the position off the bottom lip. So we have now defined the shape off the mouth by using straight lines and transforming them in more organic shapes. Step by step, to finish the lower part of the three parts of the face we control the length of the gym and the shape off the cheekbones. The cheekbones are forming a kind of a circle together with the upper lip. 6. Sketching eyes & hair: Lesson five, Sketching eyes and hair. The eyes are so strong and expressive in one's face. That's why we especially turn our intention to them. At least that's what I'm doing because I'm Avery. I focus person, and I think it's not only me. Eyes are important for everyone to know about the feelings of the other person. So let's make a test if you if you look in my eyes so eyes are really expressive and they're essential for recognizing a person. And that's why they also blackened out. If a person shouldn't be recognized, let's have a look what we should take into consideration when drawing them for our draft. The I consists of a vitreous body that is all shaped. This ball is supported by the up in D level it. The pupil is in the center of the iris and is open in order to let the light come into the ready. The size of the pupil is there for changing, depending on the lightning conditions. In the corner of the eyes close to the nose, you'll see the tear duct as the eyes went. Its surface creates reflections, so we absolutely have to keep in mind toe put some highlights as these highlights house in one of the darkest parts of the poetry, the pupil and the iris. We need to think about them already in the draft and leave them out because it's much more difficult to create thes highlights within a razor when you have already drawn over them with a pencil in the draft stage. We don't think about eyelashes yet. It's more about the shape and the size of the eyes, as well as the position in the face. Careful, very marked. The position off the US roughly the distance between the eyes is at a bit smaller than one I. In that case, let's catch a position off the hours, which is a Santel for the direction off her plants, and we formed the shape of her eye. They're kind of almond shaped, slightly, turning upwards at the corners outside as Charlotte. The beginning of this lesson, the shape off the eyebrows, is very decisive. We just him said that so that they conveyed right emotions and not any other expression. So let's go on with the hair. And when it comes to health catching, don't get lost in all the details. Let's assume out a bit and look at the main streams. She has slightly curled hair. These big waves are therefore important elements for the overall impression Off the poetry . You don't have to copy the hair one by one. It's more about capturing the way they have flows down. There are some main waves that was kept for draft. There will be the guidelines for a detailed hair growing in class number two. And don't forget about a William. The hair is not close fitting to this. Cup started to draw the hairline in great more volume for the hair, but drawing here was a bit of a distance from this cup. By keeping this in mind, reply these hair waves. Now in our draft, we resist the temptation to draw more hair, but concentrate on the big waves that will give us appreciates direction for the shading light on. During this catching phase, we're always controlling if the proportions are still right. In my case, the forehead is a big toe peak, according to third technique, so I need to adapt a bit. Let's go back to her hair waves because there's important aspect to keep in mind when you draw too many lines with risk having lines that aren't completely parallel the same with the hip, let me show you what I'm talking about. Drawing organic shapes like hair waves in parallel is even more difficult. You still ready my difficulties when I'm drawing this few waves here. Drawing here this way is impossible unless it's looking artificially. Looking at. Our poetry means that we won't manage your drawer exact hair way for a second time. So try to focus on the main shapes that are visualizing the different curl directions without replicating the same wife. Otherwise, the hair waves won't match together in the overall flow off the hair was now finished the draft. I'm adjusting a bit, so they had to have a good base to continue with the details and shading in the next class . 7. Your project: Lesson six your project for a class project. I'd like you to choose a photo off a person you'd like to sketch your favorite actor, actress or a friend or family member. That's up to you. But you are also welcome to download the photo off the lady that I fused as a model in the video. You can download it from the project field over there for your project dry to sketch the face in the same way by using the basic shapes. It would be awesome if you upload your project afterwards in the project field so that we cannot for look on it together. If you like to post it on Instagram, I'd love to give your future, so please don't forget to take me so I'll know about it if you have any questions or if you want to share some of your working broken aspects, you're always welcome. I'm looking forward to seeing your drafts. See you in the second part of this class. I'll show you how to transform this draft into a realistic portrait by shading and adding details