Practical Portraits | Projects to Improve and Develop Your Pencil Portrait Drawing Skills | Matthew Dewey | Skillshare

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Practical Portraits | Projects to Improve and Develop Your Pencil Portrait Drawing Skills

teacher avatar Matthew Dewey, Writer, Writing Tutor

Watch this class and thousands more

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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

5 Lessons (58m)
    • 1. Introduction and Equipment

      6:45
    • 2. Practical 1 - Bearded Man

      13:44
    • 3. Practical 2 - Elderly

      11:33
    • 4. Practical 3 - Complex Portrait

      17:16
    • 5. Conclusion to Practical Portraits

      8:35
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About This Class

Hello artists!

My name is Matthew Dewey and I am your art instructor.

I created this course as an addition to my simple portraiture course. It includes various practicals and projects that will challenge and improve your art skills.

Portraiture is by no means an easy subject to draw, but with the right techniques, it can be made easy and fun! Whether you are a novice or experienced artist looking to draw a great portrait, this is the course for you!

In this course you will learn:

  • Various tips and methods to draw an effective portrait.

  • The details of elderly subjects

  • Complex portraits that include more of the subject.

  • and more!

Join me in this practical course where you can draw along with me and develop your artistic skills. Learn to draw a portrait to be proud of! See you soon and happy drawing!

"Taking the first step is the most difficult, but once you do, there is nothing that can stop you. All that you do from then on is your own, nobody else's. That's the only way to achieve success, that's how I did it and how you will do it too."

Meet Your Teacher

Teacher Profile Image

Matthew Dewey

Writer, Writing Tutor

Teacher

I have been writing and teaching for years, helping tens-of-thousands of students achieve their goals, be it completing their novel or publishing their work. Having written several novels, non-fiction books, hundreds of short stories and articles, I have studied and put into practice the best methods for writing effectively and efficiently.

In addition to writing, I am also a programmer and artist, teaching what I know on the subject and helping those interested get a headstart.

If you want to write a novel, a story that has been on your mind and not on paper for too long, my courses will not only help you start, but I will be there as well. Any work you submit, I will happily read, review. If you need professional advice or a friendly opinion, I will be there for both.See full profile

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Transcripts

1. Introduction and Equipment: Hello artists and working to your practical portraiture course. My name is Matthew doing, and I'll be your art instructor for this course. The reason I started this course is more than extension to a previous course. I recently uploaded gored simple portraiture. The reason I created that course was select where I could introduce effective methods. One control portrait in that course are analyzed every feature off a portrait and how one can draw it in detail as well as make it more accurate compared to the reference image that you're using. Now that course is finished and uploaded, so you can watch it if you wish, But this course is more practical. It's an extension of this course because it includes a lot more practical work and Lismore extraction all work. That being said, this course will also then require more work from you, as we will be doing four major practical lessons. After this introduction, I'll be providing you with reference images that you're to draw. The reason I chose thes reference images is because they're both complex but not overly complex. They will challenge you, but at the same time not frustrate you. How you decide to approach. This course is up to you, since it is purely practical. But I recommended you could have a piece of paper pencil up in some earphones and listen to music while you do all these portrait's, I will be, of course, join these portrait with you and Tom lapsing most of it. But seeing as this is an instructional video as well, I'm gonna be stopping from time to time and obviously helping you along and explaining how certain areas are done more easily and effectively at the same time. I also don't want to, boy, when it comes to portraiture, sometime must be taken to draw certain features. So I'm not gonna be wasting the time showing how to shade in a certain area when really there is no educational value doing so. That being said, this is an instructional course. So everything our teacher is exactly what you need. We're joined portrait, but I will not be wasting your time repeating certain areas. In short, this is a practical course. No theory work, no practice immediately. Get straight into join an artwork. Now, before this introduction ends, I'm gonna be discussing the tools that I use throughout the course. First we have our basic pencils, all in very textures. For example, I have the softest B pencil, which I just simply used to draw out Lance. But find this great, especially when joined the basic picture as it's easy to erase. Sorry, come in when you start Portrait's. Whether you're doing the Loomis Mason or not is to draw with a B OHB or even a to B is large enough, and you control your at lands and where everything will go and then easily a race if you make a mistake. But of course, our Saliers darker pencils when doing the main artwork, So six B is a greater uncommon one that I use most of the time for. B is fine, but anything latter than four b I find is just not adequate. So I recommend having a four b five b six b all the way up, and you'll use those for most of your shadows and shady, never soft and effective. So it's perfect for Joint Portrait's, especially if you're going for realism above these pencils. I have these paper roll ups. These paper rolls are used to help with shading. You'll find that they're very cheap. You can buy them in any store. You can sharpen them with box cutters, and you can use them to smooth in. Some shadows blamed everything to make it all snooze. After all, skin flows into each other. It isn't rugged and jagged, as if you were drawing Hey, it all flows together, so shading it and blaming all their shadows together is important. Of course, you don't need to use the paper roll ups. You can use a finger or some if you don't mind getting your hands dirty when join The portrait. Now I have to raise is I prefer to have a regular razor. Always bomb Assad, especially for raising some learns quickly, however wannabe. More delicate and effective. I use a patty razor. These are more expensive, obviously, than the regular razors. But if you're very careful and can fix mistakes without raising, your most likely won't need this, of course, that if you work of a lot of pencil month to raise a lot in some areas, I would definitely go for this one. Next. I have some fine liners, yet I've recently started dabbling with more comic book art and seen as a lot of Incas used , their final honors are perfect for dark in in the areas I have varied. What's as you could see here? I prefer to use a 38 of a grow thicker fine liners. But if it's a delicate future, will use finer points. And on top of those, I have some markers to fill in some back space. I have a simple CD market, and I think to dramatic. It's perfect for Philly in some dark areas, but if I need to fill in a larger dark area, I simply use a larger market. As for the sheets of paper that I use, I use regular our journals and flip files when during major artworks. However, for more instructional purposes, I use these simple printing paper. But if you want to create some more professional artworks, I would use more art oriented paper, some thicker pieces of paper that you can use to create your more finished artworks. Of course, you can get these in several colors. This is an intense want, which is perfect for instructional videos, so the pencil marks and portrait stand out a lot clearer for you. You can get a ream of printing paper for fairly small price. So having fervent cheats of people on hand is great, especially if you're more active artists like me. We're constantly joined doodling, and we set. Those are the tools that I'll be using throughout this course, all the ones that you really need to use the simple sheets of paper, pencil and an eraser. Anything else will you make things easier for you, which is great, but you don't really need them if you don't want to use them. But that being said, this introduction is continued and we'll move on to the next video. We will start about first practical. So if you're keen and ready to draw something, I'll see in the next video, Rafinha. 2. Practical 1 - Bearded Man: artists and welcome to your first practical miss. Listen, we're going to start off things simply with a basic male portrait. We have some new features that we're gonna be working with. In this case. It will be a beard, and it will be a Beanie now had, so something that are very difficult to get right. Especially if you're drawing from imagination as if they're not fit in the right shape. It can make the head seem a bit out of proportion. On top of that, we have a beard to work with now, a beard hards most facial features. So the structure is kind of walked again because the beard can be in any shape where the structure of the head can be different. Was that in mind? We have to not work with a beard as if it was a part of the head structure. And in that way we can't simply just use the Loomis draw method to its fullest. What really need to do is start with circle and construct ahead with the beard, making it a creator, draw structure and draw the beard on it, or we can draw the head and integrate being it itself. The special is this is a very basic portrait to work with, so it's a great way to start this practical course now what your need for this is pencils of your choosing. I consider an introduction. I recommend a to be your HB for doing small plants and then a darker pencil toe. Work was when you working with more details in the darks and shadows and so on. Yet their store, Halutz in the face to work with. So we feel we've made it too dark. We can use the party raisel simple race over here to lighten up. And finally, if you wish to go even further, you can use fire liners and pens and markers to do some more final touches to the portrait as a whole. Whether you create an entire portrait from Inc is up to you, but I recommend working of pencils. Sina's geologist practicing so with that said, let us begin. The largest pencil I haven't will be using is A to B, and I'm gonna use it now with the limits may 3rd to get the aid structural, - I feel that is enough of a skeleton off a portrait to work with. So I'm not gonna take a darker turn. Probably four b would be best, and I'm gonna establish where the features will go first, I'm gonna start with the nose. The nose is one of the key features I always begin most portrait with. Sometimes I start with the most before I even do a Loomis head structure or anything like that. I found the nose is one of the key features to get right. Was that a month? I'm not gonna have to pick where the knows who started end. So I think it's just around the center v here and over here and from you, simply get the shape of the right of your struggle. It's always best to draw a circle where the noses on enjoy the nostrils around. With that done. I'm now is so gonna now sit up the beard using the nose as a way of measuring how the B it is shaped on the face. Not only is the head structure gonna help you beside the size of the beard on the outside, but it also helps to have a feature such as the notice or anything else to work with two position. How the beard flows on the inside of the face. It's always fantastic to work with darker haired subjects. A slatted subjects can. Often I have various high lots, and they end that are difficult to work with. But when it comes to dark hair, you can feel secure when joined hands. So once more there at an angle that you can turn the paper, you can adjust the picture to any way that you need to. I will be providing the picture not only now at the start of this portrait, but I said at the end of this video, in case you prefer to watch first before practicing it yourself. Is that a proposition? I'm just going to outline with bean yoga, I think a little bit higher around the middle. Following the shape is how you see it fairly straight. Here on this side is fun and out for the hours themselves. The eye shape we practiced in the main course, but I'll give you a quick look at it again. Simply start of the upper island and flow it in like so decide where to pause and Barbara founded force just past our bug yet at the start, and also it kind of ends around the same point here. When the arm Brian's and I'm a clean of course, the fold into the averages. - I prefer taking advantage of wide space in a picture rather than used to using something like a white pencil. And, of course, this is preference, so you can decide whatever you'd like to rather use, be it a wide pencil whitespace. I just feel that wide space. Is it really big? And what you're doing is adding the shadows with pencil. The next feat show we're going to add, is the mouse Now. I would say it is more in the upper part of the half year than in the lower half of the face. I'm gonna draw alarm beer. Yeah, way with the lots and dogs land separating way, everything will be now. What we can do is start adding details and shadows wave. We feel necessary way have everything laid out before us right now. So it's a simple is a coloring book. No way. - With that done, I cannot take a stick of my six B because it's on us softer pencil toe work with circumference, um, shadows, but also abused my roll ups here to help shade in the areas and do it a bit quickly for you to watch and see how it's done way. All right, We're basically nearing the end of working with the face. Yeah, we're gonna move on to like the clothing for now. I ever You need to focus on the details of the face. I'm gonna be darkening these shadows here, especially in areas where I feel it's the darkest mainly around here and the beanie, its edge, Uh, darker turn here. And you obviously need to do so as well. If you're going from or that realistic look, Whatever this portrait for now has come to an end on getting in the video. Just now. In the next video, we're gonna be working of another portrait, Of course. Most of the end of the video going to show you this picture because you want to work with it later as well. I hope you enjoy this practical Laysan. I hope you have fun working on the portrait. Isman seeing the next video. Enough 3. Practical 2 - Elderly: and our artists and welcome to the next video In the practical course. Now this one is gonna be more hands on lesson than it is gonna be working a portrait. Although I will be providing what you was a portrait of endless list to work with, since it would be great practice. This listen is mainly about dealing with features, and it comes to working with an elderly person. Now the futures of someone older will, of course, be different from that off a younger person not only in hand around ours, which are the most obvious features that will change but also the skin itself will change is more wrinkles are formed, increases in the face that begin to stick. So I'm going to do a small sketch off portrait that I'll be showing you at the end of this video for you to practice with and showing you the details and highlighting areas that are definitely important to study, especially when working portraiture. Now the face we're working with here is but more basic than the previous one, but also complex as you noticed your civil creases in the face. The expression is different, but they had structure is still summer. So using the limits mate that I draw a circle that's about big enough agile H in. This is a fairly long face, and I just sketched out to shape good please, right with a bit of ah, structure down here and some basic features the news and years. That's a big in this study and the basic changes that have happened here with age. Now, as you could see, the hairline has moved back event, and here's but more sparse. But that being said it can be making it easier for you threw them. Draw he at the same time you have to understand now is that they're gonna be some key differences that need to be changed, since there here is thinner and is always based to leave spaces in between in certain areas , especially near the edges, to give that effect. Otherwise, there hey appears just to think and wouldn't look right. Another difference, you notice is now the wrinkles themselves is not joining yet with wrinkles increases. Coming with age, you're gonna have to note where each wrinkles seem to flow where the chin years now being established and it flows upwards into the face like so it s ah, increase here, which is formed by the smiling face but increase that flows from the cheek below the chin and into the neck more than anything else, when you establish where these flows of the skin will go to be easier with shading as well as giving shape. So it's best to decide where these things will go and then drop them accordingly. So that way, it looks realistic here. Now it's supported to understand when it comes to working with the IRS off an elderly portrait is that the ads themselves will be narrower often, but the same time there'll be more creases and wrinkles around them. That much is clear now when it comes to drawing these creases and wrinkles, you need to decide how heavy in the darkest areas will be goes is also gonna be some intense detail required if you want to paint an accurate picture. So let's take this awful example Vigil. I'm bro itself. We're short of girls down like so and, uh, his narrow like so that as full decreases and wrinkles around them, they for similar to that of a young person's, which are destroyed here in the corner, quickly. I have a basic hard to work with. This is us. The left are just follow me. The elderly are works the same way in a similar shape. But the same time you gotta understand is now The skin is looser, and as such, it weighs down gravity. So often you'll find that the eye is laden with skin along here on the injures, some more wrinkles form. But you gotta realize as well that they roll on top of each other. They fairly smooth, so you can see where all the lands kind of form and develop into the face. So if I continue what what I'm doing appear down? Yeah, In the actual portrait going to draw more lands going down above the island, a swells below some dark alliance. Yeah. Oh, yeah. Another lot coming up. Yeah. Now with the bags that they asked, this one meant particularly flows of, uh, like, so being pushed by the smile that the subject has at the same time more lines of developing around that as well. When it comes to other lands such as the law flans yours. So notice that a thicker and darker. I like you take particular note off this side of the face. Here, the rights out of the face lift is you're looking at image. You notice that the cheek itself now stands out a bit more. This is because as the skin becomes abusive with age knows that gets pushed by expression a lot more. Which is why would you see it? When an elderly person smiles, so much shape of their face is being pushed and changed. Skin is laid and down. It's being pulled down by gravity. And so when the muscles push the face of a year and gravity pushes down, the cheek begins to puff out of it. Important to note. And it's an effect that you need to try and convey, especially when you're trying to do the shading. Now with the expressive lands, that formula around the hours as you could see, there's a vertical along that comes down like so is a more horizontal language. Crosses like that. These are so very important. No, this is more. Details get added. The expression becomes Kira, but the's lands on massive dark, making it fantastic practice, which is watchos. This image was to work with. If you were in the main course, watched Main course, You will remember the listening ears three years for a similar shape. But these ones are fantastically clear to work with. So you could just follow the shape as it is dictated in the picture. No problem. Siding with your lights and darks would go, of course. And now I'm going to carry on with the other detail, which is one of the more clear details as well. To remember is the forehead wrinkles, which I just follow the lands and try to give space to the other ones, which I feel are gonna be above it now. These lands, of course, um, are perfectly straight, so you don't need to worry too much about that. Should make it a bit easier to draw. So there we have our picture formed. Now I'm not gonna go into too many details when it comes to the shading. As you'll find, it is no different from working with the shading in the previous listen. However, what's a point to note is that when it comes to shading this picture, in particularly, you notice that there's a lot of lot being used. Mainly, the darkest here is that you have in this picture, uh, and neck itself thus, but under the nose and nostrils and in the mouth. But otherwise everything else is fairly lots. So you can go easy on the shame with a full B I recommend. And also your handy shading to a beard. The paper roll up for your finger. Both will work just fine. With that, I conclude this. Listen, yeah, I wish you luck in your joint. In the next video, we're gonna tackle more complicated subject, which will be making use of a popular problem Portrait's. And for this one, I do recommend you to take it, Tom, with a lot of lots to work within the shadows. But they're also more details that you need to be focused on. So in that way, you're still going to find this one a bit of a challenge if you're still beginning in portraiture. That being said, a challenge is exactly what you need to further your skills with that time to Tia. And I'll see you in the next video 4. Practical 3 - Complex Portrait: hell artists. And welcome to another lesson of your practical portraiture course in this Listen, we're gonna be dabbling with those complex subject which I'm gonna be teaching in the schools since we've not progressed in this course from something that's a basic portrait of contrast on lots and docks to something that's involving a lot more detail when I gonna work is something that includes not only the head structure to work with, but a bit of the body structure and arm and hand structure to work with, which is gonna be an incredible challenge for some. But it might be necessary to take your art skills to another level damage we're gonna be drawing today. You'll see on the screen. Now for your benefit, it is gonna be in black and white, so help a lot of working shading and so on. But more than that have also made sure that this is gonna be a structure that were unfamiliar with so far in our learning process. If you're not sure how to draw hands, I do have a course on my profile. You can check out and have a quick go through. However, if you're not really too interested in their hands, and you just want to work on the face mainly. Then I recommend looking at this other example image, which I have on the screen now. Any compactors that for this lesson, However, for those that want to step up the reporter to a skill level, we're gonna be working with this portrait now. This is a figure in action. As you can see here, he's smoking there. Some details that we need to include swinging a jumper, which has some folding to it, which would be difficult to draw since is mainly a dark a jumper or jacket. He has a watch, but personally, I don't think that needs to be included. I think it's just another detail to work with. But as an artist, I am a full Raj and so you to remove anything that you feel is not necessary. That being said, it is a male ahead structure. It is from the side profile, so there are some basic elements here that we can work with. But of course, that comes down to our first sketch. We're position everything before we go into those details. So let's begin now. I'm gonna just start with a head shape. I used the limits method to position ahead. So let's say here. Ah, maybe a bit smaller. I have the chin somewhere. Yeah, Finger here. - My right, you know, So they were fit in our portrait. Now we can start working on bigger details. I'm gonna take a higher, so I'm gonna take a three B. It's a little softer, but still really loved. So make mistakes. I can fix them. But here, I'm gonna go here and just draw out where the dog should be. But the lips here, the feeling around here, where the shutters caused by the hand and I send to the side of the face like so have another one of you here. Now it's interesting about this area here is that the lot hits the each of the next year, which is fantastic and in allows for some great dips to the picture. It's good idea to make sure that you know where your highlights or being in a picture. If you're working off a completely dark image, you might find it lacking in some details name. But if the highlights are included, it will help create a more detailed and realistic portrait. Yeah, itself. Yeah, it's very dark spots to work with. So I'm going to include those. Maybe you on. This is a perspective that you may not be used to. So if you have any troubles with it, just take it to him and understand how everything lines up. This is at an angle, but at the same time, but at the same time, it isn't too unfamiliar. You still have the head structure to work with, and you can use the Loomis methods to regard how that works from the as for the hand, it is just a simple practice hand. So whether you have experience or not, you can still create something that doesn't have to be completely, truly detailed, an image. But you can create something that is quite good. Anyone First things first, I'm gonna start with the nurse just that to be more point upwards. So taking a razor to my mom now the nurse is fairly loud to the tips. I'm gonna leave that alone, but on the inside it's gonna be dark industrial, and I'm gonna share that in a bit darker as well. It's gonna be a look to us, which I'm gonna shared in, uh, brows. I'm going to darken as well. I'm gonna leave as many lot areas I can seen as the head. Yeah, in the front section is being highlighted quite a lot. As for the rest, understand? To talk in it. Be careful, especially. Here's now That's what they here. They here seems fairly short here. So what I'm doing here, the edges is creating these short loss strokes, docks, trucks as well, just to shape it out of it. And doing this crossing the struck's onto some of the shadows and create millions that beyond the line, but only a little bit smoothing it out necessary. This is really here, flows down and then strikes you. And let's do the same year around the truck, but smooth in some areas so that short years and the others is up. Add a bit more to the realism of the game, but it's a detail that you don't really have to get into if you don't wish to. Most of the same, a probably dark and in some areas, that is what they have. Too many details in them seems fairly flat, but some areas are gonna be highlighted. So I'm gonna leave. Those is great terms. Well, as a lot. What turns as I can spears out around here have some crown of the being a tonic stark at the lands jacket. I'm moving from the face onwards, but as a girl, obviously I'll addressed Were I feel necessary to adjust. So this here here is done. But now we're jacket and I'm going to know Join his little loops here Which signal? Show off the foals. You know, small folds, including that the loop in words with the shadows and then backing in thes loops can be a regularly shape, but that is simply hardest done. - Now , mostly gonna be taking a six b again, and I'm going to be doing little speaks and shadows to hint at this latte. Is that appear here in the shadow in the images? Well, I'm gonna go overboard with them. Maybe around the edge are just dark in the mount just to help further shape JoEllen Does that feel needs to be docking in these areas? Just a touch again. Taking your finger roll up way and keeping my pencil fairly shop for this one is I want the strokes to be clear enough. An image off course, like in the previous picture will be taking a rush to it. So I can probably blamed the years it together and fill in his white spaces just a just a tree of human necessary and then working other features way decide where everything goes and it'll just come down to simple shading. Not seen as that is just gonna be working with dark and much DACA in this image, I'm going to show you the family major, You know this video and just leave you here now, this was a more complex piece for you to work with as you had more, uh, features to include such little social shoulders in the hand itself. In action, try to retain your lots. As always, it's always important to have your highlights If they included an image as their help for the shape and to find the face in the next video. It'll be the conclusion to this course and the final project and which you'll draw portrait from your imagination. Much like I ended in my main course for portraiture. But this is a nice relaxing way to end off portraiture. When I do recommend, most of our students work from reference images if they struggle, but are also recommend working from imagination if you want to. For the develop your skills with create portraiture, you need to have an understanding of how the face works, and you're gonna only get a great understanding if you start practicing from your imagination. And if you develop a portrait that is realistic, you started to understand how everything works together. Does that help you with both Creating borders for imagination as well as reference reference images can also show you quite a lot, but you're funded a lot easier to draw them. If you understand how it all works together, I will show you the difference immediately into the video in case you're just watching to see how I work and you want to work on it yourself. I was to be showing my completed image so you can see 1/2 and you should have was that. Thank you for watching, and I'll see you in the last video half an hour 5. Conclusion to Practical Portraits: and artists, and welcome to a final video in the practical portrait. Of course, in this listen, we're going to create a portrait from my imagination. It could be a portrait of anyone or someone who just made up in any style that you, which the purpose office listen, is like the last lesson off my main portraiture course in that this lesson is more of a one down from the tents and more difficult portrait's we worked on throughout this main course . Now the reason I say you can use any style that you wish. It's because you may have a style that you prefer for any other. May you not prefer more realistic portraiture? So that's why you get a chance to show what you know best. And of course, you can share any artworks you want with the community here on the platform. So I'm gonna create my own portrait now, Normally, when I create my own portrait's Annamarie starts with a single feature such as the nose. I found this a fun and easier side of Portrait Junction, always startled with way. I generally still use the Loomis method when creating my bowl treats, but at the same time, I prefer using a single feature to start off with, because this also helped me get proportions just wrapped with everything but the Loomis mitt. That definitely helps with shaping the head. In addition to that, I always generally try to get the shape of things down as soon as possible so I can work on a more aesthetic details, as you could see have working girls over here a bit more. I prefer the more cartoonish atmospheric looked things at the same time. I'm not afraid of going into detail. It was certainly add some measure of dips to every portrait that I work on his wall now when it comes to the folds of glory, and I can give you an extra few tips before continuing this portrait. When it comes to working with folds in clothing, I do tend to use this method of again. You draw a fold of clothing, communion words on the same curve, incoming units every year, and you connect them with the line in between the sense at folds falling over. It always notes that when it's Christine like this, this creased is normally overlapping some other clothing, so you could increase parts of it here, creating a deeper full. We would create still a form of a crest, and a least one straight would least curved afterward. Line. And you can have this part shaded in yet, So that's what I'm doing here. With this portrait. The sleeves have again a reference image to work with, but I know exactly how to create folds. You give the impression of folds throughout. I hope you enjoy this portrait. Of course, as it went, it is more practical side. And I'm sure for many students, this is a blessing, as very few practical czar done. And most courses, Where is some artists like myself? We prefer more practical work than theoretical. That is not to say theoretical art is a bad thing, but those who want to approach their studies of a more hands on attitude will want to work worth more practical as they go. And that's what I've always kind of introduced with my lessons. I always prefer practical lessons of anything else, so I prefer to give more homework, orm or projects to work on throughout the course. But this one was mainly for those you felt like they needed more projects to work on after my main portraiture course. And of course, this will applied to any other student is looking for more practical work in general. You may be, um, or experience Porter. Charge ist Oh, you may not. But either way, you may have enjoyed this course and enjoy the practical work that came with it. All also maintained a very active profile. So if you have any questions, please feel free to ask if you wish to show your work. I and other several students watching this course will be happening to provide any sort of constructive criticism way . Now, I'm not gonna boy with too many details. As I worked on this portrait like this to be a short to conclusion Vigna. At the same time, I'd like to emphasize that Sina's This is an act. Of course, if you have any more questions to ask, please feel free. And if you want to share our took your pre producer as well. In addition to that, I do recommend that if you are interested in any more my work, you could check out my website, the pains hulu's dot com or as you see on the screen now a swells. Visit my profile where you can see all my other courses and you might find some that you are interested in checking out and perhaps learn anything with you. And with that, I think for joining me in this course I wish you have be joining a hit and have a good day .