Become A Portrait Artist | Understanding the Basics Part III

1. Introduction : Hey. Welcome back to another class. My name is Braden Messer. I am an artist, an author, a YouTuber, and today. I'm going to be the one that teaches you how to draw. This is part three of a three part series that I have made where I am taking you through and I'm showing you how to draw three different references from three different angles. I will say that if you find yourself enjoying this class, if you like the vibe, if you like what you learn, if you like the methods used, then I know for a fact that you would love my book. Drawing the portrait, step by step lessons for mastering classic techniques for beginners. This book does a great job of taking that deep dive into the ums method and that fusion with the Asaro method on a couple of different portraits all step by step. It is a great investment that you can make in yourself so that when you take more of my classes where I use the ums method and the Asaro method in tandem, you will know exactly what is going on. Based on the book. I will have a link in the description of the class, if that's something that you want to check out, by all means. Now, what to expect. This class is comprised of eight different lessons. The first, we are starting off, and I'm going to show you how to systematically build out the ums head. Once we have the lumus head established, I'm then going to show you how you can begin to draw the contour lines of the ear and the hair. Once we have that drawn, we are then going to be looking at the eyes and switching gears a little bit, we will be going from the lumus method to the Asaro method. This is where we're going to use the Asarofacial planes to help us build out not only the eyes, but the nose. The mouth and the facial planes as well. Once we have all of the Auro facial planes established, I'm then going to show you how we can use hatchmrks and start to build out our values. We're first going to start by doing a base layer, and then I'm going to show you how you can go in and begin to strategically layer by double hatching and building values strategically throughout the entire portrait. Once we have those values built, I'm going to show you how you can detail out the hair and we can wrap up this portrait. Now, I know that that seems like a lot. So on that note, what I would recommend is go through at first and just watch the class. Don't bother trying to draw along with me. Just sit back. Enjoy it, maybe get some popcorn, right? Like it's a movie. Then once you've gone through once and watched it, that is when I want you to actually go through it again and draw along with me. Once you've completed the class, I want you to upload your project. That way I can see what you were able to accomplish and make sure that after you upload your project, you also leave your review of the class. Then one last thing before I let you go and start trying is I am now offering drawing consultations. For $25 a month on my Patrion, I will drop a link to my Patrion in class description as well. That way, if you want to have a more one on one experience and you want me to actually build out a drawing curriculum for you to help elevate your art, I can absolutely do that for you. That is it. That is all and hosing class. 2. Drawing your Loomis Head: Okay, so step number one, when drawing a portrait is that we want to establish a circle. Now, there's a couple of different ways that you can do this. You can use a compass tool, which is what I recommend. That way, you get a perfect circle every time with very minimal effort. Or if you prefer, you can also draw your circle manually. It's important to understand that your circle does not have to be perfect so long as its height is relative to its width. Then we want to draw our oval. Now this is to effectively slice off the side of the circle and elongate our circle for us. You can refer to reference two with the looms head overlaid on reference one, and then we want to establish our vertical and our horizontal axis lines. Now, these are designed to help us orientate the head in space so that we can better understand the direction that our portrait is looking. So we're going to draw this line here and we're going to pull it over from the top of the oval across and that's to establish our hair line. We're going to extend the horizontal axis line over and that is to establish our brow line, and then we're going to extend the bottom of the oval over at a slight angle, and this is the bottom of our nose. Once we have all of those placed, we're then going to draw this line here. This is our center line of the face. Then we're going to extend our vertical axis line, and we're going to connect that to our center line. Then we're going to pull up here on the far side and this effectively, gives us our lumus head. Now, once we have all of this drawn, what we want to do is we want to go in with an eraser right here. See this part of the initial circle, and we want to erase this bit because we don't need it anymore, right? We've used it. It was important to have it for the first step. But now that we have our hairline, brow line, nose line, center line and jaw lines drawn, we don't need it anymore, so we're just going to go through just like this and we're going to erase it. Get rid of it. Then once we have this erased all of the way, we're then going to draw the neck and the shoulders and I'm going to show you how to place the anchor points and the cheek plains of your lumus head as well. Hopefully, you're able to go at a nice pace and not stress out. The lumous head is extremely important because it is the foundation for the rest of the portrait to come. Okay. So now, when we're looking at the reference, we can see that the head is slightly tilted, right? And so because of that, this top anchor point, which signifies the top of the upper lip is going to be tucked a little bit closer to the nosline that we established earlier. Then we're going to go down and write about here. This is where we're going to place the second anchor point, and this represents the bottom of our lower lip. Okay. Then we're going to extend this line over from the center of our vertical and or horizontal axis lines over and down. We're going to do this on both sides. What that does is that elongates the face for us. Once we have that, we're then going to pull down here and I'm just going to do some quick lines for the neck and then plugging into the shoulders. The main focus of this class is going to be on the face. When it comes to these lines here, you can just do nice long poles for them if you want. If you don't like that and you want to go and do shorter poles, you can do that as well. That's totally up to you. Then we just have some light breaks here between high, mid and low values on the neck and I just want to draw these in real lightly. Then what I want you to do is take an eraser and erase your lumacad not all the way, but just make it to where it's more or less transparent on the paper. 3. Drawing your Ear & Hair: Okay, so now for this lesson, what we're going to do is I'm going to draw the ear and then we're going to draw the contour lines of the hair, and we're going to place both of these features on the lumsad. Right here, if you have questions on where you need to place these lines, refer to reference number two with the lumus head overlaid on the reference photo. This will help you. But what we want to do is we first want to focus on the contour lines of the ear, so the outer lines of the ear. Now that I have these contour lines established, I can go in and I can begin to bring out the other lines that make up the actual inside structure of our subject's ear. But it's important to understand that when you are drawing your ear, start from the outside and then work your way in. In fact, when you look at the majority of the features in this class, that is how we begin to draw them. You start with your contour lines which are on the outside. Those are the defining lines of your structure and then you work your way in just like this. Now we effectively have the ear drawn placed on the side of our lumus head. Notice where that ear is sitting. It is sitting in the bottom rear quadrant of the side oval. Of course, when I say rear, I mean rear to the what? That's right. We're to the front to the face, just like in part one and part two. All right, now that we have that ear drawn, we can use the ear as a proportional gauge for the hair. We're starting off from the top. We're going to pull this line over just like this. We're going all the way up to that hair line that we drew when we were drawing our lumus head. We're using that because the lumus head is the foundational structure, and this is why we draw it is to help us place the hair. Then right here where the hair folds back behind the ear and it's pulled back into a ponytail. It's then draped over the shoulder. I want to pull these lines here. Now, I'm doing this with multiple contour lines as you might notice. What I'm doing is I'm systematically drawing the segments of the hair while drawing the outside contour lines of the hair as well. Now, I've been doing this for a very long time, for me, I can identify these right off the bat, but if that's not you, that's fine. I would recommend then is if you don't want to draw all of these lines that bring out the segments of the hair right now and if you want to say those for later, you can absolutely do that. Just focus on the outside contour lines. That's totally fine. I don't think you have to copy me verbatim, you don't. Nothing right here what I'm doing. See this on the top is I'm using that initial line that we drew from the top of the ear up to the hair line. I'm using that as a gauge for how far up off of the lumacd do I actually need to pull this line. Everything is about proportion, you can use what you've already drawn to help you gauge exactly how far away or how close that next line needs to be in order to convey what you're trying to convey. Whether that's hair, the eyes, ever. It's all interconnected. Everything is relative in a sense. This class is teaching you how you can begin to approach your portraits in that manner. Now that I have this pulled over, I want to bring this hair on this side down just a little bit more. She's got a piece of hair that goes all the way down like this. I'm doing some really long poles right here. Some really long poles. Yeah. I actually I like that. Then we have some flyaways right here. Like I said, you don't have to draw these ones right here. I'm just drawing them because why not? The whole point is to make sure that your drawing is free flowing. You don't want to be rigid. You want to just have fun because you can always go back and you can watch this series again and again if you need to. This is one of the main reasons why I actually recommend going through and watching all of these classes as if they're a movie to really try to just focus on what's happening, what's being said, right? I got this thicker line right here, and that's looking pretty good. Now, here on the right side, I am establishing the contour lines of the pony tail. Then these lines here are segments, I actually talk about the segment lines in hair when you're drawing portraits in my book, drawing the portraits. If you haven't picked that up yet or if you're curious about learning more when it comes to drawing hair, then I'd recommend you pick that book up. I would definitely help you. Especially if you are reading that book and then taking these classes in tandem with each other. Now right here above the ear, I'm going to just go ahead because we're here and I'm going to draw some more line segments. Now, these line segments, when you're looking at the reference photo, these can be a couple of different things. Some of them can be for texture, obviously. But then depending on how the light is casting across the subject's hair, you can also use them to define the difference between your high mid and low values. And that's the cool thing about drawing segment lines in hair is that you can use them for either or. 4. Drawing your Jawline & Eyes: Okay. So now what we're going to do is I'm going to define the contour line of the side of the subject's face and the jaw line. And then once we've done that, I'm going to show you how you can use the Asaro method. Notice how reference to has changed from the lumus head to the Asaro head. And I'm going to show you how we can identify the eyes via Asaroplanes. Okay? So just like this, notice how I'm doing a nice light line right here. I have the basic line of the lumus head, but that is not completely accurate. Remember, the lumus head is meant to be a general guide, but it is not absolute. This is the point in the drawing process where we want to go through and we really want pay close attention to reference number one. One of the ways that we do that is by streamlining and defining exactly where the edge of the face lives. Once we know where the edge of the face lives, we can use that as a proportional gauge. I remember how in the last lesson we were talking about using the ear as a proportional gauge to the hair. We're doing the exact same thing here with where the edge of the subject's face actually ends. Okay? So you can take your time with this too. I mean, you don't have to go fast. I would actually encourage you to take a little bit of extra time when defining the edge of your subject's face because that will really help you identify the proportions accurately of the facial features. Okay? What I'm doing is I'm actually going over my lines very lightly at first. I'm using a very light pressure control. Once I'm satisfied that those lines are exactly where I want them to be, then I use a heavier pressure control and I go over the top and I really streamline that line. I thicken up its quality. I give it a heavier weight, a darker saturation. And we go from there. I like that. Now right about here, right about here, what I'm going to do is I'm going to draw a horizontal line. Now, this is the bottom of my nose bridge plane. Once we have the horizontal line drawn, we're going to do this right here. We're going to pull up two vertical lines on either side. And then these plug into roughly where the edge of the subject's eyebrow lives. Now we're going to be doing contour lines for the eyebrows. I am not worried about detail right now. This is simply to get the basic shape of the eyebrows placed. Okay. I got the bottom line drawn, and now I'm using that as a proportional gauge to go up to the top, and this gives me the entire shape of the eyebrow. I'm also making sure that I am adhering to my underlying lumacidUsing that as a gauge as well. Okay. Now that I have that one drawn, I'm going to do the exact same thing on the other side. When it comes to eyebrows, I personally like to draw the bottom line first, but you don't have to abide by that if you don't want to. It really depends on the reference photo and the type of eyebrows that you're drawing. You'll find as you draw more and more people that female portraits tend to have better structured eyebrows. I think that's just cosmetics in general, where men don't necessarily have that same type of structure, and it just makes it easier to draw. Okay, now that we have the contour lines of our eyebrows drawn, now I'm going to pull these lines off right here and roughly where these two dots are. This is where the inner edge of the eyes are. Now what I want to do is I want to draw these temple planes. If you actually refer to the Asaro head model, you can see the plane that I'm trying to bring out in this reference photo. That's one of the reasons why I wanted you to have the Asaro head model in this series is so that you can see firsthand what I'm trying to accomplish. Now, these are called frame lines. I give a very detailed analysis and multiple use cases for these in my book, drawing the portraits. B here. You'll notice how the second frame line from the top actually aligns very nicely with the temple plane, and that's on purpose. Um, we're just going to pull these down just like this. Because what we want to do is we're effectively drawing the Is from the top down. We're framing them because lots of times if you just arbitrarily go in there without any framework and start drawing the Is, you're really going to struggle with proportion. I know I've done it many, many times. When I learned about the Asaro method, I was like, This is brilliant. This is much easier to guestimate exactly where of the subjects eyes need to live. Of course, when you have a frame line, you can equate on the other side of the face how long your frame line needs to be based off of the initial frame lines. Altogether, it makes for a very cohesive approach. Okay Now that we have these lines here. I'm just going to draw the iris. Now that I have these ones here, what I'm doing is I'm just connecting the frame lines. Once I have the eye drawn across the top, then I can use that to figure out how far down I have to establish the line for the bottom of my subject's eye. Yeah, something just like that. And then of course, now that I have the contourlines of this eye, I can go in and I can put in the contour lines of this iris on this side. But yeah, something just like that. Now, you might notice that most eyes have a fold, and that fold is for the eyelid when the eye is open. Now, when the eyes are closed, that fold goes away. But when the eyes are open, the eyelid folds back into itself and so you have this line right here. And of course, this exists on both sides. So now that we have that one on the left drawn, let's go ahead and draw this one here. Yeah, that's looking pretty good. And I think while we're here, I'm actually gonna put some quick detail in, um, the iris. I mean, why not? You know, win in Rome. Party hard. But yes, so just like this, I think what I want to do, yeah, is I'll just establish the pupil pupil here. H. 5. Drawing your Nose: Okay, now we're going to draw the nose. Remember how I was mentioning that this specific reference photo is at a tilt. Her head is tilted slightly up. So first things first when it comes to the nose, remember how with the eyes, we were drawing them from the top down. Well, with the nose, I have found that it is easier and more beneficial for you to draw it from the bottom up. So right here, we're drawing this horizontal line across the bottom. And then we're referring to reference number one and then we're going to pull up here on the sides. Now, what this is, this is the width of the bottom of the nose. Most noses, they will get skinnier as they go to the top, not all, but most. Right here, now that we have this edge established, I'm just doing short little pools. We want to bring this line over. Be what we're doing is we want to bring out the bottom plane of the nose. Because once we have the bottom plane of the nose, then we can identify where our nose ridge plane resides and the nose ridge goes up and it plugs into the nose bridge, which was the first plane that we drew when we were doing the eyes. Okay but right here, we're just pulling this over. This line on the tip of the nose is going to run parallel to the initial line that you drew for your nose. Notice how the line goes up at an angle, then it goes straight across, and then it comes down at an angle. Make sure that you work on your finse with this plane. Don't draw a line just from left to right, because that wouldn't be accurate. It goes up, then it goes straight over, and then it goes down at an angle. Then of course, we have our nostrils here. You don't need to worry about getting too fancy with the nostrils. You just have your line over the top, and then you have your lines on the bottom. If you need to erase, absolutely, go ahead and erase. That's not a big deal. Because typically when you have the bottom plane of the nose and then you have your nostrils, that's realistically all you need because the rest can be accomplished with shading. Now that we have the bottom plane drawn, we're going to pull this line up right here, and it plugs right in to the nose bridge plane. And make sure that you understand the difference. You have your bottom plane of the nose, then you have the ridge plane of the nose, which extends from the bottom plane and then it plugs into the nose bridge plane. There's the ridge and the bridge. Make sure you understand the difference between both because they're similar but different. Okay. So that is the majority of the nose, but then right here, we also have what are called slope planes. Now, slope planes are pretty much what they sound like, but they're planes that actually stem off of the ridge plane of the nose and they're important because especially when you're shading, depending on how the light is cast, you will have to shade these planes, sometimes less, sometimes more, it really depends on the lighting. But when you're drawing, it's really important for you to understand that they do exist. You don't have to draw them all the time, but I would recommend, especially if you're new to portraiture and you want to make sure that you have a full understanding of the planes of the face. These slope planes are crucial. They're very important for you to understand. Even if you don't use them all the time. But just like this, I'm pulling the line from the corner and then I'm just very lightly pulling it down and you can solidify these lines. You can give them a thicker quality if you want. It's really up to you. But effectively, that's it. We have the bottom plane. We have the nose ridge plane, and then we have the slope planes. Depending on how much detail you would want to do, you could go in and you could do a nose tip plane as well, which if you refer to the Asaro head, you can clearly see the plane I'm talking about. It is the plane that exists between the nostrils. Every nose is going to be different. John Asaro's head model was meant to be a general guide. It wasn't meant to be a model that you would completely have to adhere to. But yeah, that's pretty much what we have because now that we have those planes, when the time comes in the next couple of lessons, you'll see how we go through and how we're able to shade and we'll be able to understand more effectively the underlying form of our drawing. 6. Drawing your Lips & Facial Planes: Alright, so now what we're going to do is we're going to draw the contour lines of the mouth, and then we're going to draw the saro facial planes. Okay? So first things first is we want to draw these two lines down at an angle, okay? This is to identify the filtrm plane. Now, the filtrm is that flat bit that comes off the bottom of the nose, and then it plugs into what's called the cupid's bow, right? It's the top of your upper lip that looks like the top of a heart. Okay? So we have these pulled down like this. Then they come into each other like that. Now, once we have the Cupid's bow drawn, what I like to do is I like to draw a very, very light line. I'm using the eye as a reference to where the edge, the outer edge of the lips reside. I go right to about the center of my anchor points right here, and I draw a little dot. Then I'm going to do that exact same thing on the other side. I'm pulling this line down very lightly. I'm using a very light pressure control. Then right about the center of my top anchor point and then my lower anchor point right about there. Now I have the cupid's bow at the top at the upper lip, and then I know what my boundaries are. Now what I can do is I can pull this line up from the edge. I'm going to pull it up. I'm going to follow that contour line reflected in my reference photo. I'm just going to bring it up nice and light. You can use either an overhand grip for this or you can use the three point. It's really up to you. I personally like to use the overhand grip. But that's just me. I'm plugging that in. Okay, cool. Now that I have that plugged in, I am liking those proportions, but I'm going to know more about that here in a second when I actually extend that line over to my other point that I drew. But what we're effectively trying to do here is I'm trying to use every anchor point that I can from the top to the bottom. Then, of course, those two dots on left or right to really help me frame the lips and make sure that I get them as proportionally accurate as I possibly can, right? Notice how we went from the bottom up. Now we're going from the top down. That doesn't really matter. It's just the way I'm drawing. I'm bringing this line down right here. Looks pretty good, for the most part. But now what I have is I have the upper lip. I have the top of the upper lip. Now, her lips are slightly ajar, so I want to draw this opening here. It's a little bit of an angle. It's kind of the opposite of the V shape for the top of the cupid's bow. It's the exact opposite, so I want to make sure that I have that accounted for. And now what I can start to do is I can start to pull this line here and connect it and give myself the entirety of their upper lip, okay? So just like this. Now I'm going to pull that line over from right to left, just like I did the first one from left to right. It's important as well. When you guys are drawing this line right here, just go super super light. In fact, what I would like to see is I'd like to see a variation in your line quality, have it be thicker from the corner of the mouth and then have it thin out as you go to the center. Work on some of that fnesse. Then of course, we have the top of the lower lip right about here. Now notice we're using that bottom anchor point as our starting point for the bottom of her lip. Okay. Yeah, she's got some luscious lips, so we want to make sure that we adhere to that so that we can bring out those perky lips. That's what we want. But the biggest thing is making sure that you're going very, very lightly, okay? And then as we pull this line up, just kind of let it fade, right? Again, I want to see variation in your line quality. It's interesting because lips are probably the most finicky facial feature in regards to line qualities. Because if you are not aware of that and you just draw a line and it has the same weight and quality throughout its whole length, what inevitably happens is your subject looks like they have lipstick on and worse than that, it doesn't look realistic at all. Okay, so just be aware. But now what we're going to do is if you actually refer to the Asaro head model, we want to split her upper lip into two planes. Then the bottom lip, we want to split that bottom lip into three planes. Notice how when it comes to the bottom lip, those plane lines are actually in line with the filtrm lines. So if you're unsure of where you need to put those lines for the bottom lip, you can just align them and use your filtrm lines as a guide. Okay, cool. It follows the filtrm line from here and then right about here on the lower lip, that's where you would put it. Now that we have the majority of the lips drawn, what I'm going to do is I like to do just some nice tone lines. These lines are meant to just help me address the shape of the lips. Because just like the actual face of the subject, you want to start to understand through how you'll shade and hatch the underlying form. You don't want her lips to look flat because they're not flat in the photo. This is a technique that you can use to ensure that those lips don't look flat. Okay, these lips are looking pretty good. Because once we have these lips completely drawn, then I'm going to show you how we can draw the Asarofacial planes. And that is more just to give the face more structure, which in turn will help you when it comes to hatching. You'll see. Lots of people don't use Asaroplanes for their face, and that's fine. But especially if you're kind of beginning and you want to have every tool that you can think of the Asaroplanes and the method as a whole is very, very beneficial to keep in the back of your mind when approaching anyone's portrait, even for cartoons. So we have all of these shadow lines, as I like to call them. I'm actually really, really happy with those lips. To look decent, very decent. I don't think I'm going to put any more lines on it because I think I'll be able to go in when I'm hatching and bring out the underlying form of those lips and make them look like they're rounded. So what we're going to do now is right here. On the left side, I'm going to pull this line up. If you're curious about which Asaro planes I'm actually drawing here, you can refer to reference to the Asarohad model right there and you can clearly see which ones I'm bringing out. Once we get to about here, we pull this up. This plugs into the slope plane, and then we're going to continue to Then once we get to about right here, we're actually going to extend this line at an angle and it's going to plug into the first frame line of the subject's eye. When you actually look at the shading on reference to on the Asarohad model, you can see how when the light is cast across the subject's face, everything above this line is going to be of a lighter value and then everything below it will be of a lower Now, granted, that kind of depends on the specific lighting situation, but more often than not, right? And I think one of the things that you'll also notice, see here, we're going to do this on this side. One of the things you'll also notice is that this is very, very simple. In fact, after you go through this entire series and you've done P one, P two, and then you wrap up this one, part three, it will become second nature for you. I guarantee it. And you'll be able to plug these Asurofacial planes into your drawings if you want or if you don't want. But they're always good to have Okay, so we got that one, we're extending that up into the first frame line of the eye, and then we're going to extend this line back and up a bit. Then once it gets to about here, we're going to pull this up, that plugs into the third frame line of the eye. Then once you have these ones, this last one, it just goes straight back. Notice the Srohad model. That line rests right at the top of the ear, just like this. 7. Hatching your Base Layer: So now what we're going to do is we're going to hatch. Just like this from the far temple, we're just going to hatch nice and light. You can either do the three point grip or you can do the overhand grip for this. But the whole point of this is this is designed to help you practice and begin to understand the importance of each individual Asaroplane. This isn't necessarily for aesthetics, this is more for muscle memory and a subconscious understanding of exactly how each one of these planes works with the other. Okay? Just go straight across, just like this. You don't have to get too focused on the spacing between each individual hatch mark. It's more I want you to just think of the underlying form that you are conveying with each strike within each Asaroplane. Just like this, it's nice and light. And really try to challenge yourself a bit and follow the form, the direction of each individual a so plane. Now, if you want, say, for example, if you're doing this in charcoal or if you're doing this in graphite, you can actually go through after you've hatched out the face with a smudger or your finger and you can start to smudge and blend these hatch marks and give yourself a much smoother gradation. You can do that as well. But the whole point of this right here is notice how I've changed the angle from the nose bridge plane to the eye planes here. Just like this. The cool thing about this technique as well, as you will see, is that this is just the first layer. We want to go nice and lag. We want to start to build out our understanding of the underlying form that is based off of these Asaro planes. But we can go back and we will be. You can go back and we can start to hatch over the top of these existing hatch marks to build values and convey detail and form. But for this specific part of the class, we just want to focus on the planes themselves. Especially if you're new to drawing this way, this is just another level, right? But just like this. Notice how I change that. We're hatching from left to right, we're going down at an angle, and then now that we have that slope plane done, we want to flatten out. We're pretty much going left to right, and we are hatching across the top of the nose ridge plane. Perfect, just like that. And now we've switched it up. We're going more or less vertical, right, top to bottom. And now we're hatching that bottom plane of the nose, and we're going from left to right. Okay. And hopefully now as you're going through and you're drawing along with me, you can start to understand, okay, cool. That's why these planes are this way. It's basically just another layer to help break down and help you digest the face and understand it on this intimate level, where you can look at a reference photo, let's say in the future, and you can see the planes on the subject's face, and you can adhere to these methods and use your own techniques for drawing anyone. That's why these methods exist. The Auro method was actually originally created for painters because when it comes to oil paintings and whatnot, that's very much a layering process. If you've ever painted, you understand that much. But these planes, because they are rooted in visual principles, you can apply them to pretty much any visual medium. So, in this case, like graphite or charcoal or whatever. Okay. Now, when it comes to the lips, we want to start from the corner just like this. And then make sure you pay attention to where you're at in that plane. You start from the corner and do short little hatches. But then with each hatch mark, you're slowly bringing it up to a point, it aligns with that split down the center of the upper lip, and then as you're going past it, you start to bring it back down. That is what I mean by following the underlying form of a specific Asaro plane, then of course, when it comes to the bottom, we're doing the exact same thing, only it's the bottom lip. I cannot stress to you enough how good this is for your subconscious drawing mind. Now that we have that, what we're going to do is we're going to start bringing these lines up, I would recommend for the chin that you start from your contour line and then you pull up, right? Now, if that first layer of hatching, if you're not liking it, don't worry because what we're going to do here in a little bit is I'm going to show you how you can go back over certain areas of the drawing, the chin included, and you can start to do what's called double hatching. Like this, for example, we came all the way around from left to right, and now we're coming back over the top from right to left. Now, depending on how low a value you want to convey, you can be a little bit more aggressive with the amount of hatch marks that you do and the pressure control that you utilize as well. But as far as the subtleness and the details of hatching, I'll show you some tricks, but for right now, let's just focus on the ear here. Notice how I'm not just going through and hatching the entire ear, from top to bottom. No, I'm going through and I'm being very, very specific and conscious of where those individual planes when it comes to the structure of the ear reside, just like this. Notice there's one, two, three, there's four different angles that I just did. Just like this. Remember, hatching like this is designed by its very nature to help you understand the flow of each plane and how they tie together. Now when it comes to the neck, I'm going to go from right to left, just like this. Nice and light. I want to use a very light pressure control here. I'm just pulling this down. I'll show you too, because if you look at reference one, you can see how the other side of her neck is a lot darker. It's a much lower value. I'll show you how we can build that up. 8. Detailing & Double Hatching: Okay. Now what we're going to do is we're going to detail out the face and then we're going to double hatch and I'm going to bring out some of that underlying form. Just like this, the eyebrow right here. I'm just going to pull these lines real quick across it like that. Then we're going to go through and we're going to double hatch a bit. Notice how the value actually libers when we do that. Then right up here, above the eye. Notice how we have lower values with the way the light is casting across her face. We want to double hatch just like this. Because we already have that initial layer of hatch marks on our paper, when we go to double hatch it, it's going to lower the value. It's going to give you actually a really cool aesthetic. I challenge you to try to figure out exactly where those lower values are right in here by the eye. I just went through and lowered some of that. Then here around the corner of the eye, subtle little detail work. But it's the detail work that really brings the drawing together, right here on the bottom plane of the nose, going through on this left side, right along the bottom. And notice how your hatch marks for your second layer, for the detail layer, they don't have to be the same length. One of the reasons why we were doing these very broad hatchmarks for the initial layers because it was just that. It was an initial layer where now you can go in this nostril here. I'm going to fill both of these in and that's actually going to help bring out a lot more detail and it's going to help us with accentuating the value scale, we're going from complete black to complete white. That's really going to make our drawing pop as it were. Then we can do some crosshatching here on the nose. Then I'm actually going to darken up the top line for the eyes, and then I'm going to make sure that I fill in the eyes right here. I would encourage you to put in that same amount of detail in your subject's eyes as well. Notice how the line quality for the top line of her eyes is a lot thicker and it has a very, very heavy weight. It's got that thick saturation. That's what we want, but you don't want to do that on the bottom, and that will help bring out the details in the eye and make them a lot more realistic and accurate to the reference photo. Okay, now right here below the lower lip, we have a shadow. It's more or less a drop shadow because of the lower lip. I just want to double hatch that. Now we have longer hatch marks right here because of the way the light is casting. The right side of her face is of a much lower value, while the left side of her face is a much higher value. And so when it comes to hatching like this, we don't have to hatch aggressively on the lighter side of her face because of that. But now right here along the jaw line. I'm just doing nice short little pools, as you can see, right here. But I'm not pulling them all the way up. This is going to lend itself well to bringing out the actual roundness of her jaw. I'm going to take this all the way up to the ear here. Okay. That's looking much better already. I mean, we've really brought out a lot of that detail, especially in the eyes. But then here when it comes to the ear, we can actually cross hatch this if we want. As far as the amount of time you spend on hatching and detailing, if you don't want to do that, you don't have to, but I would say with this being part three of this series, hopefully, you've already done the first two parts, so challenge yourself a little bit and really try to make this one. The third one the best one. Take everything that you've learned from part one and part two and apply it right here. Okay, now that hatching is looking really, really good. I'm liking that a lot. Then as far as the lip here, lowering the value there. But yeah, this part of the drawing, it's a little here a little there right here underneath the chin. Remember how I was mentioning, I was going to show you how to lower the value just like this. It's important when you go over with that second layer of hatching that you really pay close attention to exactly where those lower values are. Now that's not to say that you can't go over them again if you really need to get a little bit more specific. The cool thing about hatching like this is it's very much a layering process like charcoal. Just one layer over the next. 9. Final Details & Thoughts: Okay. Now, what we're going to do is to wrap this all up. We're going to draw the hair. We're going to detail the hair a lot. I think it'll be pleasantly surprised how this brings it all together. But just like this, what we're doing is we're using a heavier pressure control, and we are using the initial lines that we drew for the contour lines and then the contour lines of the hair segments, and we're going over those again. Notice how each time you go over these lines, that value gets lower and lower. But don't be afraid to do this right here. Notice how I'm going back over the contour lines. Effectively, what I'm doing is I'm solidifying exactly where the boundaries of the hair are. Because once I have those, then I can go in and I can start to detail out the hair with my hatching. Okay? Because what I'm trying to do here is I'm trying to bring out the flow of the hair and that's one of the things that drawing the contour lines of the hair segments helps us to do initially. But what we want to do now is now we really want to exaggerate it. Because by exaggerating the hair flow, we're going to be able to bring that out and really showcase exactly how the hair lives on our subject. But just like this, the biggest thing is going through one line at a time and starting to bring out the flow. You can go fast, you can go slow, you can go somewhere in the middle. It's really up to you. But the one thing that I would challenge you on this one to do is to really try and focus on the different line qualities. Don't go through and make every single line the same weight. We want some of the lines to be thick, we want some of the lines to be thin, and then most all the other lines, we want them to be somewhere in the middle. We just like this. Notice how we're bringing in this flow. Anywhere where there is a lower value in the light reflection, do not be afraid to go through and hatch that again and again, like how we were lowering the value of her face. We want to do that exact same thing with the value in the hair. You can have shorter poles depending on where you're at in the hair like this right here. Notice how short these poles are. I'm not pulling them all the way down from the top of her head to the top of her ear. I'm barely pulling them over the top. One of the reasons why is because we have that light reflection there in the center of the hair. This is a way where you can go through shorter poles and you can start to lower the value where it needs to be lowered. But at the same time, you are bringing out the high to mid values throughout the rest of the hair. What inevitably happens as you do that more and more and you focus on specific parts of the hair, the hair overall becomes more dynamic. Right? That's good. That's what we want. We want there to look very dynamic and we want it to be of a much lower value, you know, much lower than any value besides maybe the eyes and the nostrils on the face because that will plug into the face itself and then give us a completely dynamic portrait, you know, holistically speaking. Just like this. When it comes to everything that we've done so far, this is the part of the class where I really want you to slow down, pause this part of the class if you need to and just really focus on the detail that you're trying to bring out and the flow of her hair. That's the big thing. Because we are lowering the value by hatching over the top of what we've already hatched. That's good because that brings out detail as well. Effectively, when you're hatching and using this type of technique on the hair, what you're doing is you're killing two birds with 1 stone in that you are lowering the value, but you're also being aware of the detail. Now, especially for someone that's going to be looking at your drawing critically, they'll be able to see the technique within the value itself, if that makes sense. And hair, of course, is a very unique texture. Her hair is straight in this one, and so we want to make sure that we bring that texture out. But it is important to not go over the top as well. Notice how when it comes to the far side, that hair is of a very low value right up to next to her face. The value across the very, very top until it hits the light reflection is of a low value, so that's where you're going to want to do shorter pols. Then where the hair starts to tuck behind her ear. Right there is also of a very low value, then of course, behind here where the hair is underneath itself. But everything else is going to be of a high value or a mid to high value, so you want to make sure that you don't accidentally lower everything because that would look realistic and that wouldn't be conducive to the reference photo as a whole, especially if you were drawing someone's portrait. But that's pretty much it for this one. I hope that you had fun going through Part one, Part two and Part three. I hope that you got a lot of value out of this little mini series here on Skill Share. I hope that you leave your projects, leave your review of the class. That way, I can showcase your projects in my monthly newsletter and stay happy, stay healthy. Remember, never stop drawing.