Complete Portraiture Course For Beginners

1. Materials Required for Course: My dear fellow artists. I am so happy that you decided to get this course. And I know that by following the different lessons and assignments, by the end of it, you will be able to draw a realistic looking face. I'm really happy to have you here. Before we begin, I would like to tell you what are the materials you're going to need in order to follow this course? Since this is directed to beginners, we try to keep it as simple as possible. But this will also be good for intermediate and advanced artists. But for this course, this is what we're going to need. We're going to need to start a regular HB pencil, which is the type of pencil that we all know that you find at the office at school. Just for everyday life, you can get pretty much anywhere. You're also going to need a pencil sharpener and you're going to need an eraser. I would recommend to have a white one, but a pink one also works. Then as we keep going with the course, probably by module five or six, I would recommend for you to have a small array of graphite pencils just so we can work on the shading or the contrast a little bit more. I would recommend for you to have a two pencil, 4.6 all graphite. That's basically what you're going to need. Let's dive right into the course, and I'm very thankful that you're here. 2. Overview of Course Lectures: Is it your dream to learn how to draw a realistic looking portrait? But it looks like too daunting of a task and you're not really sure where to begin. Welcome to my course. My name is Julietta and I have been drawing for over three decades perfecting my craft with the techniques that I will teach you in this course that are condensed in nine modules. In this course, we're going to learn the basic structure of a human skull. Why do we need to do that? Because in order to build anything, one has to have a good foundation. By knowing the basics of how a human skull is, we will be able to have a great starting point on how to draw realistic looking face or portrait. This course we're also going to learn two methods that I consider that we enough practice will teach you how to draw realistic looking phase. The first method that we're going to cover is what I call the oval shaped method. Where we start from an oval that we draw and then with different lines, we're going to have a great reference on how to properly place proportions as well as features off the face. The second method that we're going to cover is the Lumis method that is named after the master of illustration, Andrew Lumis. That with a series of geometrical shapes, you will be able to draw a face in it, always in a realistic looking manner with the loss of proportion. After we're done with these two methods, we're going to move on to the details. We're going to learn how to draw the features of the face, which are the eyes, the nose, the mouth, the ears, and the eyebrows. Then we're going to cover three hair types which are going to be straight, curly, and wavy. By the end of the self guided course, you will be able to draw a realistic looking face. And you will be able to do it in different positions. Looking straight ahead, down sideways, and anything in between. Thank you so much for watching my video, and I really look forward to having you my course. 3. Lecture 1: Study of a Human Skull-Front View: Hello everyone. Welcome to the first video of our class, of our whole program. In this video, we're going to learn how to draw a human skull. Because like I said in the, in our introductory video, in order to learn how to properly draw a realistic looking face, we're going to need to know how to draw a human skull as a base. Okay, let's begin First, we're going to begin by doing a sphere. There's a couple ways that you can do a sphere. The way I'm doing it right now, like this, always with flowing movements. Something very important is not to press on your pencil too much, we can do it this way. There we go, so we can see it better this way. Or we can also do a sphere from your shoulder. You do this, but always try to do flowing movements, Okay? Don't press on the pencil too much, just flow, soft movement, something like this. Here we can see it over here. All right, the next thing we're going to do, once we have a sphere, it doesn't have to be perfect. We are going to cut it, cut the, and try to make a line as straight as possible. I would say avoid the temptation of using as a ruler. However, if you really want to, you can. But in order to let it go and just be, have this flow or like spontaneous, let's say, natural movement of your hands. It's always good to get out of your comfort zone. Let's actually do it a little bit more this way so we can have as evenly as possible anyway. As you can see, the tracing I'm doing is actually very soft. I'm not really pressing on the, this is the one we're going to consider. Then we're going to do the same thing on the top, the straight line as possible. The main goal that we're going to try to achieve here is to do a square. Okay, we're going to try to get to a square in the middle. As you can see, I'm barely pressing on my pencil. I'm being very, very soft. Because that way we can make modifications if we need to. Here, for example, I'm going to erase this one so we don't get confused. Right? Something like this. Now we're going to do another line over here. We're going to divide the square into two. Okay? One that is going to be vertical, and now we're going to do another one that is going to be horizontal. Basically one, like four little squares in the middle. Another thing that I have that is really going to help you, especially when you start practicing this exercise. I have a prop right here. It looks pretty big for this. But that I have that as a model every time I have a dot. So I just go ahead and just watch it and make sure you use it as a guide. So that's something you want to do. So now that we have the square, let's begin. Let's begin by drawing the pieces of the skull that we're going to need. The first thing we're going to do is do this curvature right here. This is going to be the bridge of the nose. Okay, once we have this, and actually I'm guiding myself through the skull I have right here, right next to me in this line here. We're going to do the nostrils, the nasal cavities. That makes a shape that is like an inverted heart. Like a heart that is upside down type of thing. Something like this. Let's remember, this lesson is going to be about skull frontal view. A front view of a skull. Okay, that would be a phase that we're looking at straight ahead. This is what is underneath that face. All right, we did, we divided this something, I have forgotten. We divided this into two, obviously since we have a rectangle, rectangle, we're going to do a third one over here. It's going to be about the same distance between this and this and this and this. Let's calculate somewhere around here, perhaps a little bit, just a little bit longer. This is going to be the in the tip of the chin of our skull. Once we are done with this, we will move to the eye sockets. This line, the cavities don't start immediately here. There's a little bit of a space that happens over here. This is where we have our nose and this is the depression that happens here once we get started. By the way, this that I'm doing is something that we're going to repeat later when we do our faces. Now, the shape of the eye sockets of these two holes resembles aviator glasses, something like. I also want to let you know I'm not reinventing the wheel at all. Like I said, I have my skull right there, serving me as a, as a guide while I'm doing this. And that's always a good idea. A lot of people, even the most famous artists and everything, they don't come up with things right off their head. These are things with observation that they keep observing and doing. And that's how you learn. This is like the shape that we're going to do goes a little bit sideways. And you don't want this to get all the way to this line. You want to keep a little bit of space. Okay? Something like this. If I go very fast guys, don't worry, just pass this. Go back. You have the recording, you can just keep going. Very good. So far we have the nasal cavities, we have the eye sockets, and now we're going to move ahead and keep going with the skull before we go to the area of the teeth. What we're going to do, these are angles that we have happening over here that are, as we keep going up in the cranium, everything will make sense as we keep going. The reason why I'm choosing these right here because these are the ones that are most noticeable, even covered by flesh and muscle and skin. These are little, these are the shades that we're going to do later. This is what is going to tell us where the shading is going to be indicating the shape of the skull underneath. It's important to pay attention to the East. Okay, now we're going to go to the cheek bones, something like this. As you can see, there's the line of the nose, let's say the end of the nostrils, let's say the nasal cavity. These cheek bones will just go a little bit lower than this line that we have done here. Something like this. Then towards, let's say halfway, or a little more than halfway, this is where it's going to curve down. Okay, Now we do the same with the other side. Something like this. And I know I'm like pressing on the pencil a little too much. From time to time, I keep forgetting. But whenever I catch myself, I also want to, you know, remind you, try not to do that, You know, that way is going to be easier to correct. Whatever it is that you consider is not like, you know, totally cool. Alrighty. So how do we, how do we know where to draw the teeth? So we have this here. This would be the tip of our chin, right? So we want to kind of divide this into third. In a way, like something like this, more or less, okay? Okay, we have 123. Let's say in the middle. Third, second, third. Let's say we are going to start here doing a shape for our teeth, something like this. Remember one thing when we are talking about faces. Human faces, and this is a lesson we're going to see very soon. It's oval. This is not two D, it's three D, therefore there's a lot of texture happening here. This is going to curve like an egg in a way, okay? This is going to be a division right here of the teeth. This is why I'm doing a slight curvature over here. Can we see that actually this is a little, let me just strike here. This is going to be top teeth and then the bottom teeth. And this is going to be the chin, somewhere around here. In order to do the teeth, let's guide ourselves with this middle line over here. As a matter of fact, let me see because I want you to see the shape of the teeth. So I'm not going to do, the line's going to be somewhere around here for doing the teeth. We get started with the first one right here, and we're going to do this one over here. They're going to do the shape. And then we have a nine. Then they're going to have the shape coming in this way. I'm going to do that once they're drawn, as we keep going further, you're going to notice that the teeth are going to start getting smaller because that has to do with the loss of perspective, and that's something that we're going to talk about quite extensively. Then we also have a nine that is going to have a different shape. There we go. Then if we want to get really sophisticated, you can do this beautiful shape that the jaw does right here. Okay. Now for the bottom teeth, we're going to do something similar, but the other way around we want to make sure they align to have an aligned very well. That's okay. That's why we have eraser. Yeah. Once you do the lower on the top ones. Once you do the little ones, then you can guide yourself through that so they all align perfectly like this. Okay, so here we have our teeth very well. Now that we're done with this, we are going to get started with the rest of the face. If we make a imaginary line going this way, this is going to be this part right here that will start going down. Okay? That will be our job. And then something like this. Let's connect the dots. Maybe a little bit lower here. Here we have our China is not the same, since everything will be covered with flesh and muscle and everything. It's going to be a different line. Let's do that. If it was well here, just so we can find where the line of this is going to be going to be approximately around here. Around the end of the third, like the end of the teeth right here. This is what we're going to do, this line, can we see that? Okay, very well, very well. There we go. We have this call. And then if you look at a prop, of course you're going to see that there is a hole right here. There's a cavity. And then this part goes this way, then like this. Very good. Okay, Yeah, of course is going to change per person. Everybody's different. They're not going to be all the same, but this is basically the shape of a skull facing forward. What are the things we need to take into account here? What we need to take into account is, first of all, it's very important to start from a geometrical shape, that is a sphere. And then from the square. And from there we're going to be able to build everything else. The more you get to practice this, the more you're going to get familiar with these important areas that are important for us and for our purposes. Because they will guide us on where everything is going to be located and will make it a lot easier for us to draw a realistic looking phase. Now I'm going to just shape it a little bit, little bit more like a skull like this, something like this. I'm probably going to erase some things we're not going to use. All right, Okay guys, I hope you enjoy this lesson and practice this as much as you can with all the little tips that I said and the important things you should look at. Then in our next lesson, we're going to see how to do also, but from profile view. Okay, thank you very much for watching and I will see you in our next lesson. 4. Lecture 2: Study of a Human Skull-Side View: Hello everyone. Welcome back to another video, and this is the second video of our first lesson, our first module, where we're going to see how to draw a skull from a profile view. As you know, our last session lesson, we have learned how to draw this call with front view. What we're going to do right now, we're going to get started the same way we started with the other video. We started already with the sphere. I already have that done. We will begin just like we did with our last one. As a matter of fact, I think I'm going to turn it a little bit we can do to just turn your paper, that will be easier. Then we're going to do the same thing on the other side. The goal is going to be to do a square in the center. All right, now we're going to cut it this way. And then on our lower part, like this, try to make it as straight as possible. Something like this. All right, and then we're going to cut it in half, somewhere around here. That looks about right. Like I said in the other video guys in the last one, make sure you don't press too hard on the pencil. That way you're going to have the chance to fix things in case they turn out to be the way you want them to be. And you can easily erase whatever you need to do before we get started designing our skull. We will do also another section right here, because remember like we did in our last video, these are blocks that will be divided into third three equal parts. That will happen further on as we keep going with our lessons. You're going to see that this is going to be a pattern that will be repeating itself. And the distance between these is going to be the same distance that we're going to have with the one somewhere around here. Our third, that's going to be like this. Okay, remember as we said, this video is going to be about a skull on half profile view. Okay, so let's begin. How are we going to design it? We're going to start designing it from here. Okay, We're not going to design it from here. We're going to start from here is a profile. We will get started with the bridge of the nose. This would be something like this. It will be like a sharp ring like this. Then we are going to do the nostrils, the nasal cavities, They're going to go this way. They're going to make this type of shape. And they're going to go all the way down to this line over here. Let's compare with this one that we did before. I'm just going to move this a little bit. This one that we did, this part right here, this would be right here if we can see that. See they are both in the same base right here on this line, but this is profile view and this is front view. All right, let's continue Once we have that done, this is also a cavity that Yeah, goes like this because it's a hole but also has like a return line right here if you will. Now the next thing we're going to do, let's work on the profile view. We're going to, like I said before, this is going to be divided, if we imagine, into third, something like this, imaginary lines like similar this. Now we're going to do the th, this is going to be protruding. It's not going to be flat, but it's not going to be too obvious. It's not going to be too much. Just a little bit of protrusion. This is going to be where the upper jaw on the lower jaw are going to meet somewhere right here. And then we're going go down. This is going to be our chin. Okay? Before we do that, now that we did the entire line of profile, the first thing we're going to do is going to be the eye sockets. They're going to go like this. And these are the same ones that we designed in the other one in the previous lesson. But in this case we're going to see them from profile. Remember these are basically holes. That's why they look like this. It's like this banana shape in this way. Because things change with the loss of perspective. It's something that we need to get our eyes accustomed to 0. This will be once we have the face already made. This is going to be our eyebrow line right here. That's why over here we have some curvature that goes this way over here. We're also going to have this, this is something that we drew in the other one. Soon enough, I'm going to compare the two of them so you can see what I'm doing. Because I'm trying to do the same angles and protrusions that I did in the first one. In the second one, therefore, we can compare them and you're going to see what we're doing. Now, here we have the cheek bone that we had done in our first one, but in this case, like I said, we're looking at it from a profile view. We're not looking at it from a front view. Okay. I'm going to show it to you very quickly. Let's see, let's compare this. Can we see both? Okay. Very well. This that we have here would correspond to this right here, this cheek bone right here. Okay. Then over here that you have, this is a part that protrudes a little bit and we can see it with people when we look at them, which is the site right here at this angle over here, as we keep going up here, it will go like this in this way. Let's say this is the curve that we see over here is the temple right there here. Of course we have the nose and now we're going to move on to our teeth. Very good. Okay, so what are you thinking about this so far? I know it looks complicated, but trust me, everything with practice, you have no idea the things you're capable to achieve. I would say be patient with yourself. This is something that the more you practice, the better you're going to get at. We are going to work on our teeth right now. This is the upper jaw here, we're going to do our lower jaw. Before we go to the details of the jaws themselves, let's start with the teeth. What did we learn in the previous lesson about the teeth? It has a lot to do with the loss of perspective here. These are the teeth that were the biggest in our previous lesson. But right now they're going to start to look bigger as we keep going back. We have this one right here. And then as you can see, I apologize, I don't really know how many teeth I'm supposed to draw, but all the nines and all of that, the point is they're going to start getting bigger as you go back. And they're kind of smaller over here. Okay? We have a nine, something like this. They're going to keep getting bigger as we keep going down the molars. There we go. All right, there we have it. Now we're going to keep going with this area over here. If you look call, I don't know if you were able to get a prop but I would really, really recommend that you do. You're going to see the orifice, the hole that we saw in the previous drawing. We're going to do it here from profile view. This part right here is empty, is a cavity. So that's why I'm darkening it already a bit here. We're going to do our line. It will go up all the way here. You can go a little bit higher, a little bit lower. Like I said, it depends on the person It changes now that we got to this. This is basically the shape of a skull. This. Now we can soften, we can press our pencil a little bit more and give it more of a real skull shape. Because here, this is not a perfect circle. It flattens a little. It's more like an oval shape, and then it gets a little more elongated back here, something like this. As we keep going back, this also flattens from the bottom and gets a little longer as we go back. Just like this. We're going to do one last comparison with the one that we did before. All right? I try to keep constant. All right, there we go. Actually, as a matter of fact, let me see here. This is the one I had. All right, now what do we do? We have the ice aviator shape that we have here, but here we're seeing them from a profile point of view. Then we have the teeth that are bigger here and they go smaller as we go back. And here is the opposite way, because we have a much better view from over here. Then this is our nasal cavity right here, the cheekbones, we're going to see in front here, we see the protrusion mainly. And this right here is this part right here of the temples. And right here we have the cavity by the jaw. And rubber here right here make it darker. But there we go, this is basically what it is. And I also have a little treat for you because I have this paper and what I did look at this, I made this face. So you can see how this would work if we have a face on top of the skull. Can we see that comparison? This is how wonderful it is. I would really, really recommend of, I really recommend you do something like this. As we keep going with the course, go back to your sketches that have to do with the skull, and then as you keep learning more concepts, do this and compare your knowledge, compare how much you have advanced and the things you're learning. Here we see how we would be look different. But you can see that the skull shape is in this drawing. It's present because here we have the eye, the nose, the way things are protruding, and the proportions, Everything has to do with the skull that we have underneath. Okay. All right everyone. I really hope you have enjoyed this lesson. I really have as well. If you have any questions or anything, do let me know, and I look forward to seeing you in our next lesson. 5. Lecture 3: How to Draw a Face- Oval Shape Method: Hello everyone. Welcome to another video, and welcome to module three of our course. What we're going to do in this lesson is draw faces in different positions using the oval shape method, which is just the name that I came up with. I don't know if that's official, but that's what we're going to do and we're going to see how it works in different positions and what are the things the similarities that we can look up for. Yeah, we will begin what I'm going to do for this, which is basically a practice that I would like you to do. This is a practice exercise that will get you used to seeing the face in different positions. This is an excellent way to get that done. This is just a hard boiled egg, regular thing, nothing special. What I did here was draw the dividing lines that we're going to see in any face regardless of the shape, regardless of ethnicity. This is something that we're basically going to see repeating in every human face. Which is a central axis or line that is going to divide the face and a half. Then we have the facial axis that are the ones that are going to tell us where each part of the face is going to be, where the features will be. These, of course, will vary depending on the face, but we can pretty much count on some similarities for all of them. Like here, we have, for example, our hair line, we have the eyebrow axis, we have the eyes, Here's the nose and the mouth. Why do we choose a high boil leg for this exercise? Because it's important to see it in different angles and to get a feel for how things are going to work. We will begin and I will show you exactly what I mean. This is the first one we're going to do, which is a face looking ahead front. Nothing is moving like this or this or anything. Nothing is tilted. This is just straight. These are important things that I wanted to say, since we're going to start this lesson. Once you do the dividing line in the middle of a face that is looking straight ahead, the other axes are going to be perfectly parallel to it, forming a 90 degree angle. This dividing line right here is usually where we have our eyes. I'm going to get started drawing some of the ice and we're going to start forming a phase. I'm not really going to spend too much time on doing like perfect features or anything like that because this is basically just so we can get used to start drawing the different positions of the important features of the face. That's not our focus right now and we will cover all the features in detail as we keep moving with our course. Now we're just like the eyes and the eyebrows right here. We're going to do the nose. You were probably wondering, how do I know how things are positioned? Well, that's a very good question. Again, these are general guidelines, things that you're going to see repeating every face. Obviously nothing is exact, but usually the rule of thumb says this is something that the more you do it, the better you're going to get at it. Is that, for example, the distance between the eyebrows and the hair line then from the eyebrows to the nose and then from the nose to the tip of the chin. These are equal, equally distanced. Right? If we start from that point of reference, then we can go from there with more confidence and just build our faces. But now we're at a stage where we just want to get familiar, like I said, with the proportions and how things work with a face in different positions. What do we have here? Here we have a face that is sideways. Let's take our egg as a reference. Can you see that when we turn the egg, suddenly this line that is straight starts to become curved. And this is a curve that is actually going to follow the line of the extreme of the edge right here. Okay? It will remain parallel, if you will. Then the other ones that are perpendicular, they are going to be parallel to each other as well. Here, this is very thin, you can't really see it. But let's imagine that the line goes all the way here. These lines have to be parallel to each other. That's an important thing. Obviously, these ovals like we are not being super specific with them. Again, faces are very unique. Now we're, I'd like to start, when I do a face on sideways like 34 view, I'd like to start with the nose because that's a good point of reference. Then we're going to get started with the eyes. This is the eye line right here and here. We have to start paying attention to something else. That is called perspective loss of perspective. That's when the features are going to start changing. If we compare it to here face looking straight ahead, things look pretty much the same, right? We have this dividing line and then these two parts are mirror images of each other. But the moment that we start turning or tilting the head, like in this case that we're turning the head, things are going to start looking a little bit different. Like, for example, here we have a full E on the right side of or left side of this face. This E is a lot bigger than this E, right? Make sure, let's pretend that this person is look into the side. There we go. We're going to do the eyebrow over here. Then we're going to do the mouth, which is going to follow the same principle. This half of the mouth is going to look smaller than this half of the mouth. Because like we said before, the loss of perspective, this part of the face is going to get a little bit more hidden. Then once we start going with our lessons and everything, if you watch all the other classes, you're going to see that obviously here we have to refine the features a lot more. And this will look more like this, Not so much like an oval, that will depend on each case. But for our purposes, we're studying right now and what I would like you guys to practice is basically get familiar with the loss of perspective depending on how the face is positioned. There we have it, this is front, this is sideways. We can see how this part of the face is starting to get a little bit smaller compared to the features on the other side of the face. Now let's go, let's move this forward a little bit. Now we're going to move, if you feel lost, just take your hard boil leg and move it. And you're going to see what I mean. Here, obviously it's looking up, here is looking down. We're going to do now, we're going to make it look down. Now, following again the loss of perspective. This face is looking down. We're going to have a much wider view of the top of the head and not as much of a clear view on the bottom side of the face where things get squashed. It's foreshortening, That would be the right term. Let's see, the middle of the face again is marked by the nose when the face is in a different position. I like to start with the nose because you have the features placed in different positions. You have a much better view and idea of what the position is. We're going to see again, more of this and how to properly draw the features of the face in an accurate way once we keep going and advance within the course. But for now I'm just going to do it this way. And as you can see, this view from the nose is different from this view and this view then the eyes are also going to look a little bit different. Like we're going to see much more of the upper eyelid versus the eye itself. We're going to get to see the eyelashes a little bit. The distance between the eyebrows and the eyes is not going to be really that big. Because again, like we're saying, the lower we go on the face, the smaller everything is going to look. Now we're going to do the other eye. Again, we're going to emphasize on the part of the eyelashes. And here we have the upper eyelid. And we're going to do, there we go. There is eyebrow. Just take this as a reference, right? When in doubt, here's the hair line. As you can see, like I said before, we have a wide and beautiful view of the hair line and all this area right here, we can pretty much see that very well. Then for the lips, we're going to see like the upper lip folding, taking center stage, if you will. The lower lip is just going to have this, like a cast shadow over here, but we're not really going to see much of it there. We have it guys. Even though this is not like a very detailed drawing, I think for our purposes you can see what we are meaning to do over here. The last one we're going to cover is going to be a face looking straight up like this here. The exact opposite happens, which means that we have a much better view of the bottom of the face. But this part here starts to get smaller. As a matter of fact, it will actually change the perspective per se, like completely of the oval itself. We will see that much, much better when we do the Loomis method because it's more thorough. But this is more for beginners, since we are all beginners here. This is a good one that is not as intimidating or so many geometrical shapes like we're going to see soon. This is just so you can get your hand in your brain used to seeing things. Now as you can see, the nose will have a different angle. We're going to see the nose from up above here. We're going to have a nice view of the mouth. Obviously we're going to see more of the lower, the bottom lip. Then the eyes will look slightly different as well because they will be pointing up. Let's imagine this person is looking up at the sky, something like this. We're just following the lines that I have already done. Obviously, this is going to change. We're going to have the jaw will be like this. This is going to be the tip of our chin, going to call that. We will cover this more in detail later, but just so you can start getting the idea of what this will look like here, We're going to have the cheek bone, all the proportions that we're going to be seeing and we are seeing right now, They change. The moment that the face changes its position. There's going to be shading, of course, and all of that. Here we have our hair line, which is almost going to be imperceptible and that's going to be it. We're going to have the ears going this way because that's the other thing I have not explained, but I will explain here. The ears are going to be comprehended between these axis the eyebrow, but it's going to look lower the moment that we have a face looking straight up here. The ears are going to be like this. They will look a little bit higher between these and the eyebrows. But usually if you look at a face, the ears usually are comprehended between the eyebrow axis and the nose axis. That would be like a regular situation. Of course, this will be a lot more refined the moment that we start working on it, but we'll get to that soon. Here you have a guys, we have constructed four phases in different positions. Straight up, looking to the site, looking down and looking up, using an egg as an example. With the oval, oval shaped method for phases. I hope you found this useful and make sure you practice these. Practice them as many times as you want, the more, the better. And I will see you all in our next video. Thank you very much for watching. 6. Lecture 4: How to Draw a Face- Loomis Method: Hello everyone, Welcome back to another lesson, just like we did the oval method before. Right now, I'm going to show you the basics on how to build a realistic looking face using the Loomis method. Let's begin. The first thing we're going to do is do a sphere. We go, I would recommend that you move your arm from your shoulder. This doesn't have to be perfect, just has to be the most similar to a sphere as you can get. The more practice you put to it, the better it's going to be. Be patient with yourself, trust yourself, and just practice as many times as you need. Okay, we're going to do this sphere more or less like this. The next thing we're going to do, we are going to slice off the sites. I will explain to you what it is that I'm doing and why we're going to slice off the sites. You mentioned that we have one of those styrofoam spheres that we use for like parties and things like that. We're going to slice off the sites if we did something like that. Let's imagine that we have it here. I'm going to exemplify what it would look like from the side because that's something that we're going to do as we keep going with the course right now. Just to show you an example, I'm just going to do a face looking straight ahead. But imagine we had this fear on the side. And we're going to have something like this, right? Something like this. If we took a knife, I'm going to draw a little knife here like that. And we sliced off this, then we would have this little piece missing over here. Something like this, right? That is taken off from the sphere. If we look at this sphere from straight ahead, this is exactly what we would be seeing. All right, very good. Now that we have this and we have done this step, just take a look at it. If you need to step away just to make sure it's going right, you can do that too. Now we're going to do a line dividing this way in such a way that we're going to make 90 degree angles with these lines right here. We will do the same thing right here. Basically, at this point, what we're trying to do is, is make sure that these lines are as parallel to each other as possible. And keeping the 90 degree difference right here, then this is going to become a big square. What we will do next, we're going to cut this in half as evenly as you can, because it's always important thing to work your own visual muscle instead of just relying on tools. That's part of this whole course as well. Getting to get used to that, instead of relying on other things, old fashioned, our paper and our pencil and our visual skills. Okay, We have this done at this point. This is a very important step. Make sure these angles are right, because when we look at a pace, the faces are usually like they have this line dividing in the middle. And then we have symmetry going on both sides. That's the reason why we want to do this. Now I'm going to give you an overview so you can start imagining. This is going to be the hair line of this face over here. We have the line where the eyebrows are going to rest, which is actually called the eyebrow axis. What we're going to do here, somewhere around here, we're going to eyeball it is going to be where the eyes are going to be in this face there. We go over here, we're going to have the base of the nose. Then over here we're going to draw another line, which is going to be equidistant. There's going to be the same distance between the hair line and the eyebrow line. Then the eyebrow line, then the nose. And from the nose to the tip of the chin is going to be the same distance. It's going to be somewhere around here. This is important to keep in mind guys. This, this and this, these have to be exactly the same distance between them. That is going to be one rule that we can follow in order to create a phase that will make sense and for the Loomis method in this situation. All right, very good. Now we're going to start building on the features. Let's start making the shape of the face, okay? Of the head right here in this union where you see the intersection. Somewhere in between the sphere and then the nose axis, and then this line right here. This is where our jaw line is going to be. Okay? It's going to be a soft curve right here. We're going to. Down to the tip of the chin like this. Obviously, if you're thinking about this and you will be completely correct, every phase is different. But these are proportions that are standard in a way that through observation, they get repeated in a very high percentage. This is a very starting point for those of us that are just starting to draw portraits and you're a complete beginner, this is a wonderful place to start. This is the little curvature that this makes, very soft. In this case, I'm not doing a very angular phase at this point. The next thing we're going to do, we're going to start creating some of the features. But again, don't get overwhelmed with this. We're not at that stage yet. We're going to do that soon. Right now, we want to focus on practicing and getting to know and becoming familiar with how to create a phase using this method. Which in my opinion, I included it because I think it's completely bulletproof, is wonderful, and the more you practice, the more comfortable and proficient you're going to get in this drawing. Porches is not going to be that daunting anymore. Okay, now I created the nose. If you're not very sure of what I just did, just copy what I did. Just basically little curves, semicircle galore over here. I haven't copied this nose from anywhere. I just did it on my own like a standard type of thing. Then in order to do the mouth, the mouth is not going to be in the middle. In between, if we divided this distance from the nose to the chin, it's not going to be quite in middle, it's going to be a little more, little above that. If I had to give you a reference, I would say is approximately where the curvature of the chin is going to be. That's where the jaw, approximately where you're going to have won the division of the mouth to be. Okay, now we have this, then we have the lower lip. I haven't gotten there yet. Here we go, Mouth over here. There we have it. Okay. Then the next thing we're going to do is going to do the ice. And I will give you a little trick. Something that is also one of the things that I said as far as like universal observations of the face. We draw another vertical line right here. That of course, has to be parallel to this line. And this line, this line will be by the end of the nostril over here. Why am I doing this? I will show you in 1 second. As parallel as you can, as straight as you can. I know it's not completely perfect, but something like that. Why am I doing this? Because the eyes are going to actually begin, actually is supposed to be this way. The eyes are going to begin where this line is. This is the beginning of the eye right here, okay? Then once you're done with all of this, you can erase. These lines are just points of reference that are very important and they're very useful here. We have the eyes, This one starts right here as well. We're going to do this then. As far as the shapes of the eye and everything, do not worry. We're going to cover all of that the right time. There we have it. Then we're just going to do basic. It doesn't look too creepy. No pupil. No nothing. That's why sometimes you're going to notice that the wider the nose is, probably the eyes tend to be further apart because the nostrils are going to be further away. And then what we're going to do with the eyebrows, this is going to be the base of the eyebrow. This line. You're wondering where the eyebrows actually are. Is it the line? This is the base line. This is where the beginning of the eyebrow rests. Something like this. Very good. Then right here, we can do the neck very good. At this point, what we're going to do, we're going to soften the features a little bit, something like this. Where the cheek bone is going to be, this is going to follow the shape of the head. If you go back to one of our first lessons where we were looking at the human skull, that's why this has this shape. Okay, This method is wonderful. It's not just for the part of the face that is visible, but it's for the entire head. Of course, there are going to be slight differences depending on the shape of the face of each person. But like I said, right now we're refining the features. Then we can take care of all of that details later on. But this is basically guys, how Lumas head is made from scratch. Looking ahead I'm actually going to do is a little bit more straight. And then the other thing that we'll also focus on eventually is going to be the ears. The ears is an element of the phase that is comprehended between the nose axis and the eyebrow axis. Okay? As one of the exercises I would like you guys to do is observation. Plain observation of your family, your friends. When you go to the grocery store, look at people in the front of their face facing you. And you will realize that the years are in between the nose and the eyebrow. Very rarely you're going to see this changing. That is something that gets repeated very often. I hope this lesson was useful. And before moving on, the more you practice, the better. Trust me, Follow all these guidelines. Straight lines, it's very important to keep parallel lines. It's important to keep the 90 degree angles and develop from there. Thank you very much for joining me today and I look forward to seeing you in our next lesson. 7. Lecture 5: How to Draw a Face Using The Oval Shape Method- Front View: Hello everyone. Welcome to another video. Today, we're going to begin with the first video of our next module, which is going to be how to draw a phase with the oval shaped method. And this time we're going to do it in detail. We will begin by creating first the 0 shape. I want to say this first video is going to be about doing the oval shape method phase with this method looking straight ahead. Then following videos, we are going to do the same thing, but instead of looking ahead, we're going to do three quarter view. And then we're going to do profile shape like side looking. Now we're going to do facing forward as we did in previous videos. We will begin by doing an oval. Doesn't have to be perfect, something like this. This is going to be a face looking straight ahead, full front. We're going to do our dividing line. Nothing is different, so far from what we have already done. There you go. You see how again, I am pressing on my pencil very, very lightly. We're trying to do is over a little bit more symmetrical like an egg, right? Like we saw at the beginning with the basics. Now, the next step we're going to do is going to be dividing this in half. And just doing a quick summary of what we did before, remember that this line, dividing in the middle, is going to be our eyes axis. That would be the term to refer to each area of the face where the main features are going to be located. Eye axis, eyebrow. And we're going to keep going through them as we go. This is going to be our eyes. Let's imagine that the eyebrows is going to be somewhere around here. In this case, one thing that is very important, these lines that have to do with the axis of the face, have to be always parallel to each other. In this case, there is a face looking straight ahead, It's not too difficult to determine that. But then in different positions, we need to follow the same principle. Okay, now we have the eyebrow axis over here. We're going to think that this is going to be our hair line. Why is this important and why is it important to follow this order? It is because this way will be able to create the other axis, and I will tell you why in a moment. Again, let's make sure this line is as straight as possible. As parallel as possible compared to the other ones. If you remember from previous lessons, this distance between the hair line and the eyebrow axis has to be the same distance that we're going to have between the eyebrow and the nose. That's our little secret. In order to know how to properly start drawing the facial proportions, something like that, I'm eyeballing it somewhere around here. Very good. We are going to do a line. This is going to be our nose axis. Again, I'm pressing the pencil very lightly, then this is, this is going to be the same distance that we're going to have to the tip of the chin, Something like this. Nose is something that will take practice, but I promise you as you keep doing it, it will get better and better. Now, as far as the mouth, this one is a little tricky. It's almost like if you divide this area from the nose to the chin axis. If you divide it into four equal parts, it's going to be somewhere in between the first and second part. This is where the middle of the mouth will be located, somewhere on here. Again, like I said before guys, this is a standard phase. This is for visual library, that's a term that we'll probably use quite often that will help you get familiarized with the phase before you actually take on bigger ventures such as doing porches of different people. Now we will begin. I think personally starting with the nose. The base of the nose is probably a good starting point and I will tell you why. Let's suppose in this phase that we are doing right now, we have a nose that has this shape. We're trying to make it a symmetrical as we can. Something like this. Very good. We're going to do a little bit of a shape over here. Like we said before, this is where our eyes are going to be, right? How do we know where to start when it comes to drawing an eye? Now this is a rule that you're going to read in a lot of drawing instructionals or drawing classes as far as. Portraits go. Now we'll give you the trick. I am drawing lines that are perpendicular to our face axis. That start where the nose, the nostrils end. This is going to be the beginning of our eyes right here. Okay? Then if you want to know where the eye should end, one of the rules or one of the guidelines, Better said, not rules. These are all guidelines. Okay? Because there's nothing like exact when it comes to drawing faces. One of, one of the things that we see is that we observe that usually with the length of an eye, this length that goes from the end of the nostrils, this is the length of one eye. Let's imagine that. That is the length we're going to work with, somewhere around here. Same as this, right? Something like that. Again, I'm making these eyes from my imagination. Obviously some people are going to have more like oval shaped eyes. Smaller, little different shapes and everything. So something like this, I'm paying attention to this distance to make sure these eyes follow that guideline. So okay, and then we need to draw the inside of the eye, right? How do we do that? How do we know where the pupils and the iris are going to be in this case? Here comes the other guideline that you will also see as far as like portraiture like we have the nose right the mouth. We're going to start out lining the mouth over here, something like this. We're choosing to do a mouth that is not too large, something like this. Then this guideline that has to do with faces says that the iris and the pupil will be somewhere like, aligned with the end of the mouth. Something like this. I'm trying to draw straight line as I can. That will be a parallel to the line to determine where the eye begins and it will be somewhere around here. As we work, you can always correct as you go, if the eye was a little too big to begin with, you can correct that. In this case, it definitely was. It all depends on how you're constructing your face and how it's starting to look good. These are exercises that I personally consider are extremely important to get your eyes and your hands used to how to draw a portrait. Okay, there we go. There we have it. That's basically basic guidelines on how to place the different features and proportions in. Once we have the face already constructed, Drawing the eyebrows is easy because now the axis is telling us where it's going to be at this stage, once we have all this basic stuff already done, what we will do is start refining the lines to draw a realistic looking face with the features. How do we know how to draw these features? Well, a very important thing that you can do to help your own memory and your practice is go back to the video where we drew the skull and compare it to the drawing that you are making. And see why there are curvatures where there are. In this case I chose this face has pretty smooth features. It's not very complicated. But usually, I think next time I want to do a male, male face because it's much more pronounced, if you will, the features. One thing I wanted to say when we're doing the oval method and we already have the help of the lines that we drew for the different facial axis, then this part will become easier because it will help you determine where some things are going to be. For example, a little bit below the end of the mouth right here. We are going to have the angle of the jaw. If we had a line going here, it would be like this. You see that? Then if we follow these lines, see how they intersect right here in the middle of the face. There we go. Now we can do the neck like this. If you remember from other drawings that we did from some of the previous videos, where do we draw the ears? And this is something that one of the most commonly seen guidelines are going to be between our nose axis and our eyebrow axis. This some very thinly reduced type of cylinder. There we have it, this is our hair line we are in. There's a part here. It's important to look at a face and get used to looking at a face from this angle because usually it's very deceiving the eye for the naked eye, because this part is usually hidden by hair. We make the very common mistake of thinking that a face starts here and ends here, which is not correct. We have to take the whole skull into account. We're drawing a little bit of her here following the line. Okay? Don't stray away from the lines that determine where the shape of the face is going to be. There we have it guys. This is going to be our face front view. Looking ahead with the oval shape method, please go back to it and look at it again. If you haven't followed along with me and then follow along, I want you to pay attention to how these lines play together as a symphony. And you need to have all of these things happening at the same time, for example. What I mean by that is they need to be parallel to each other. If we're talking about the horizontal lines, if we're talking about the vertical lines, they all play a very important role together in order to help you achieve a realistic looking portrait. I hope this video was useful. I will see you guys in our next video. Thank you for watching. 8. Lecture 6: How to Draw a Face Using The Oval Shape Method- 3/4 View: Hello everyone, welcome to another lesson. Today, what we're going to do right now, we're going to continue with our oval shaped method in order to draw a face. As you remember in our last lesson, we covered how to do this with a face looking straight ahead. In this video, we are going to do this but with a face and three quarter view. All right, so let's begin. The first thing we do, as we have already seen, is create an oval. That will be the face that we are going to build upon. You do your oval as well as you can. It doesn't have to be perfect. As I have said before, we want to get side like this. And then once we do the oval, and as you can see, and as I have said before, the tracing is very, very light. I don't really press on the pencil very much. Okay. That's very important because you can always go back and correct things, but make sure yeah, that your tracing is very light. So the next thing we will do, we're going to do our vertical dividing face, which would be the line dividing the face in two equal parts. But in this case, since this is not going to be looking ahead, but we'll be looking sideways, 34 view, this line is actually going to be slightly curved and this is how we're going to get that done. Okay, the oval remains the same because this face is not really looking up or down, it's actually looking straight. I mean, the position of the head is still the same. However, the direction the face is looking towards is different. And as you can see, this curve is pretty much follows the same curve and direction as this one. So make sure you follow this as something that will make sense. All right, so what we're going to do next, we're going to determine where our middle line is going to be. You know, you can use the pencil like to guide yourself. Something like that. Yeah, about that. Or you can also use a ruler. But I would encourage you to just trust your instincts on this practice as much as possible. That's always the other big key. As we have said before and we have explained this middle line is actually where our eyes are going to be located. I know at the beginning it doesn't really make much sense, but trust me on this, because remember that this is actually where the hairline is going to be around this area. But all of this is the rest of the head. That's then this line that I'm doing right now is actually going to be our eyebrow axis. Eyebrow line, if you will. And I'm eyeballing it. But now that I have the eyebrow line, the brow line already done where Rule of thumb and a very something that you will find in any artbook or anywhere that you're trying to learn how to draw a portrait is going to be a guideline that says that the distance between the hair line and the eyebrow, the eyebrows, nose and nose to chin is equal. Those three sections are going to be divided about the same. And this is something that we have already said, but I'd like to repeat it just so you know it stays fresh. Let's see. Let's say more or less like we have our hair line somewhere around here. Now we have the hair line and our eyebrow. Let's see if we can. I'm going to do it with a pencil, measuring from a little far away, and this is going to be about that distance from here to here. Something like this about, like I said guys, we don't have to be completely exact. These are important exercises to do. And repetition, repetition, repetition, until things start to make a lot more sense. And we're going to have the mouth somewhere around here. But before we do the mouth, let's see, then the chin is going to be somewhere around here. If you really want to be exact, let's just do it for fun. I have a ruler right here, something like this. I'm doing this in centimeters, so bear with me. We have about 4 centimeters from hair line to eyebrow, and then from eyebrow to nose, 4 centimeters. And here's 4 centimeters. Probably a little bit lower, Kind of like this. Just like we had done our chin close enough, right? That was close enough. Very good. So now that we have all our important lines done, let's start constructing this face already. So the first thing we're going to do, I like to work like the axis where the eyes are going to be located. And start from there. Here is where we have to start applying our observation skills. And the following lessons are really going to help you determine what I'm about to do next. You will see I'm going to do some of the things we're going to do in the lessons to follow, which is constructing these faces using just geometrical shapes here. This is going to be our nose. I'm barely doing it at this moment. I'm not really focusing on this too much. And I'm sorry, I forgot about the mouth. And another thing that is important, if you can notice all these lines, I try to make them as parallel to each other as possible. Because remember we're constructing something that from the get go, you know, if we start from the structures, it's a lot easier to compare these to just geometrical shapes. Okay? So you want to be as general as possible in order to build amazing results. Now here, this is an imaginary line that is also going to be sort of parallel following the same direction as this middle line and right here. And this is probably going to be where our eye is going to begin. And let's go ahead and start working on our eye. And don't worry about this. We will cover this in great depth as we keep going with this course. All right. Following the rules of perspective, this eye is going to be a lot smaller, right? Because this side of the face is going to be, look smaller. Since everything is hidden towards this side. This side is way more exposed. Therefore, this is going to be a lot bigger. Now, I'm not really focusing on details at this moment. I am just doing the outline of where our features will be right now. Following the same line, let's just say that the nostril will be somewhere around here, so this mouth will be somewhere around here. As you can see, I'm following the same thing that I did over here. Following the loss of perspective, this part of the mouth will be a lot smaller and this part is going to look larger. But remember, if you go back to the lesson that we did before, this one, the dividing line is going to make the face look almost like a division line, that is a mirror image of each side. But as we start working on faces in different positions, that is going to change. So it's very important to be aware of the loss of perspective. Now I'm going to start refining the features a little bit. Remember that this oval method that I'm teaching you is a really good way to kind of help you with like a compass, something like that. Just so you can have a good idea of where things are going to be located. Now we're going to kind of do the chin following a line that kind of makes sense. You know, this middle line dividing over here, things are going to be kind of like cut in the middle because of this line. Okay, here we go. This is actually the limit of our face. And obviously this is a general oval, so you can kind of, you should work through it. And this head, the cranium, probably going to be a little smaller than that. But these lines are very good at guiding you on where things are going to be located. Before we go to details, let's keep doing a little bit more of the crucial or important features of the face. In this case, if our aim, if our goal is to draw a realistic looking face, we need to do certain things as far as the features go. That also includes eyelids. Upper eyelids are very important. They're a big part of the eye. It's not just the area that is formed by whatever you see from the eyeball, but everything else that is in between that is in the middle, let's say for that, it's also always good to go back to the lesson that we did where we covered the human skull. Because the human skull is the base that we use in order to draw anything. That's why everything we do after that, it makes sense because every single phase we're drawing has a skull underneath it. And that's why certain things look the way they do every single time. Okay, there we go guys. So now we are starting to build this face. Yeah. With this dividing line. You keep adapting it as you go. But what I want to make very clear in this lesson is that there are certain guideline, let's say, or just general rule measurements and rules that we follow in order to construct a face. What are they? In this case, I'm going to talk about them as I keep constructing this face number one, you do with a very light trace, you do your oval. Then if what you want to do is a face like this, in 34 view, the line is not going to be straight, but it's going to be curved. Why is that? Because if you remember when we began and I did the example of the hard boiled egg, a face is pretty much like a hard boiled egg. It's a three D object, it's a three D entity. It's not two D. Therefore, everything is going to move according to what the position is going to be. And once you have that done, make sure it's like forming a map that you're going to use in order to work better. Do your lines that will determine where each phase axis is going to be. Then we start doing our features very, very slowly and doing a careful observation of everything else because everything is a symphony. Things do not work by themselves, but they work together, okay. So as you can see, now I'm starting to form this face. If you're wondering about distances, how do I know that things are located where they are? Just stay tuned. Just be patient and have faith. Because all of that is going to be covered in this course. Right now, we're not really focusing very much on details, but I want to focus basically on teaching you what you need to do in order to build a realistic looking face using the oval method. And these rules that I told you about and these aspects and tips and techniques that I'm sharing with you to make this a little bit, um, more, you know, cleaner, I am going to go ahead and erase all these lines that have helped me so much in order to construct this shape, this face. I kind of dig a face like that without pupils or the irises and everything, but I will work on it, don't want or two, look way too creepy. There are some things that I will leave though for you to look at. Just the lines that I used to determine where things are going to be located. We're going to make this face kind of look towards the side, a little bit like this. Something like that. I hope I'm not she's not like her eyes are not totally out of out of orbit. No, I think it's good. We didn't really work very much on the lower eyelid, but that's not the point of this video. I just so I hope this video guys was clear enough. I hope you practiced with me and follow me along. And if you didn't, make sure you do, I look forward to seeing you all in our next lesson. Thank you so much for watching guys. 9. Lecture 7: How to Draw a Face Using The Loomis Method- Front View: Hello everyone. Welcome to a new video and to a new lesson. We are going to, this time, go back to the Lumis method that we have looked into, that we have already explored. But this time we're going to do it in a little bit further depth. We will just to refresh our memory a little bit, we're going to begin by doing a circle. Let's just refresh some of the information that we have already learned. As I said before, in order to do a lumishadl will begin with a sphere. That's something that will never change. It will always remain constant no matter what type of position we're doing the head in. What we will do right now, we will do ahead looking forward. And I want to say that in this lesson in particular, we will touch on how to do, again, a head looking forward. We will focus a little bit more on the position of the features, and the eyes and the mouth and all of that. Then in the following ones, we will also focus on drawing a face using the lumit method with different positions looking upward, looking downward, three quarter view. It's going to be fun. Now, I'm going to tell you what I just did, if you remember from previous lessons. First we do a sphere, right? And then we're going to do, we're going to do two dividing lines. It would be like I'm going to draw here, so you can have an idea. Very small, another sphere. Imagine that you get like a Plato ball, something like that. Imagine that you slice a side of it. You have your Plato ball. Especially for those of you that have kids or love Plato. I know I used to when I was little. Imagine we cut it on the side. Imagine like we're looking at the other side. If it was through, probably the sphere would look this way. And then we would have it cut on the other way. Something like that. This is what we're doing here. Let's imagine we have this sphere looking straight at us, right? Just like that. I'm going to put it here so you guys can see it a little bit better. There we go. That's what we're doing. We're cutting these extremes of these little parts. The next thing we're going to do is draw our middle line. Let's imagine we have this square over here. First of all, we're going to draw this will be probably the hair line somewhere around here. It's a little bit curved because we already know like this is a sphere. It curves something like that. Not too curve. This is going to be in the middle of our square. This will be where our eyebrow line is going to be. As you can see, I'm making fluid movements that are really very straight. There are very controlled, if you will. Now, if you remember before, the distance between the hair line and the eyebrow line is going to be about the same distance that we're going to have for our nose line. We're going to do measure, eyeball it a little bit. We're going to draw another line over here. Before we keep moving with the lines, we're going to do a center line. This will help us determine where the chin is going to be. You want to, I guess what we're aiming for over here is to create some, actually I want to do is a little bit straighter for you guys so we can see a little clearer even though we're going to change the hair line afterwards. But for our purposes at this moment, just aim for four squares that are as similar as possible, like we have a square within the sphere. And then we're going to do another one. Same distances from here to here. From here to here, it will be over here. This is going to be our chin. Okay? Once we are done with this, our next step is going to be to draw the jaw line. This is when it starts to get fun, because this is where we start defining the face of whoever it is that we are doing. One thing I want to say as well, this angle, I know it's an angle that is very soft, is very smooth. But it starts approximately where the sphere ends. It's a little bit lower than our eye line, our nose line. It's useful to draw this line, dividing line in the middle just so we can have a much better parameter and just guide as to where to do the center of the chin. We're going to do the same thing here. If you find it helpful, you can always do like another thin line over here just to guide yourself and get lost. Right now, I'm not really doing much new from what we did before, but you can never practice too much. This is important to do. Once we're done with this, I would like to focus now on the features. We're pretty much done with the structure. Once you get the hang of it, I know I'm explaining and taking more time, but once you get to practice this enough, it will come out naturally for you. I know right now it's probably looks a little overwhelming. That's why I feel there's not too much practicing. Look at this. Look what I'm doing. You see how I'm moving the pencil very lightly and flowy movements. I don't do this, I don't go like that. Because it's just try to practice on your natural movements. This line that I did here, this is going to be our eye line access. If we want to be really specific, we will begin. We will begin. This is very similar to what we did before when we did the oval shaped method. Now we're going to start finding some similarities change when it comes to how to start the structure of a face. We're going to do a nose since we have all these things that will help us determine where things are going to be located. Look at it as if it was like mirror images of each other. Once you start doing the features, take what you're doing. Don't just keep going. I know it's tempting, but it's always good to lean back a little bit and check what you're doing just to make sure you're on the right track. Something like that. And then, as we have said before, if you want a universal or standard type of reference on where to start drawing the eyes. If you draw a straight line that starts from like the end of the nostrils, this is usually where I will begin. If you want to have a much better idea of where the eye is going to end, then we should start moving on with the mouth first. And that will give you the reference of where. Now you're going to ask me, where does the mouth start? The mouth is going to start approximately where We draw this very thin line that has to do with the jaw line. But again, it will depend on each phase that we are considering. I will position it over here. For now. Yeah, this is like a longer type of mouth, but we want to make it now. The lips, I'm making them a little bit thinner than I usually do, just I can see different faces and I want to draw with the same face. Now remember also the other thing that I said in previous lessons was if we draw a vertical line here, this will give us an approximate of where the pupils and the iris are going to be. Here we have more of a reference that we can guide ourselves through in order to learn to learn how to draw a phase. Let's go ahead and do that. Something like this. Now, I'm just making the shape of the eye and do it in a way that will make sense since we have already traced this right here. Something like that. Yeah, it can be a bit longer, a little bit shorter, but these are, like I said, we're guiding ourselves through parameters that are like universal. I don't like to say ideal phase. There's no such thing as an ideal phase. All phases are beautiful, but these are just things that are very cool to practice so you can get your eyes and your hands trained with enough of that. Then they will be a lot easier to just draw portraits of whoever because these are techniques that you can adapt for yourself and that you will use probably for the rest of your life. Now what we're doing, we are going to refine the features of the face. We're going to do the cheek bones. If you need further direction as far as like, why am I doing the features the way I'm doing that, go back to the first video where we studied the skull and where the different features of the face are. Here we have our hair line. If you remember, I first I did a curve. Then to make it easier, I did a straight line. But obviously the hair line will be, will have a curve just like so. Then you obviously are going to have to make it a little bit bigger because this is the texture given by the hair. The last thing I want to do that, I think it's important it's to be the ears. The ears are going to be comprehended between the eyebrow axis and the nose axis. Again, guys, we are doing a face looking forward. But then it's going to start getting interesting when we start covering how to do heads, also looking straight ahead but facing up and facing down. That's what we're going to do next. Very good. Before we do that, one more thing we're going to do in this lesson before we move on to drawing faces, looking up or down, Another exercise I would like you all to do. This is very important. If you want to do it, I would completely encourage you to do that. Here we have this before we jump to the next part. Here we have our face looking forward loomis method. And we covered a little bit more in further detail. How to do the features. Do not worry right now about the details of the features per se. We will do that in following lessons. But now what I would like you to do is this draw is fear again, just like we did before, 1.2 spheres. You don't have to be super, super specific with this. You'll see what I mean soon. This is just going to be an exercise for your eyes and an exercise for your pants. All right? Imagine a beach ball. Now you're wondering why is she's saying this, but I will explain you why in a moment. What we're going to do, we're going to draw a dividing line. The same thing in this one, about a dividing line halfway, something like this. Actually, this one is going to have a line dividing horizontal line. This for the Lum ****** that we're going to do, this is a very valuable exercise. You see how this curve semicircle that goes up, semicircle that goes down. This is what we're going to do. I want you to practice this as if this was a beach ball or one of those cool designs that we see, like from space or planets. You see what I'm doing. I'm following the curves. I'm trying to make them making sense as much as possible. Following the same line as the top curve. You will see why. Um, when we go to the next lesson, why I'm saying to do this is an exercise. Then we're going to do one more, like a rainbow. Like with a rainbow, how these divisions are so beautiful, or even an onion. Think about an onion. When you peel an onion and you cut it, you're going to see these patterns happening. Something like that. The same thing here. This is an exercise that will help your eye, remember to compare with the ones on top and the ones on the bottom. Something like that. Now we have one that is like a beach ball or also like an onion. Whichever reference you prefer here, we're going to do the same thing, but we're going to do a vertical. I think what I'm going to do, I'm going to just erase this one so we don't get confused probably. We're going to do the same thing with the vertical. We're going to take a reference. This right here and this one right here. Okay, so we have the straight line. This one is a little crooked. I'm going to correct it a little bit. There we go. That's more like it. Now we're going to do it this way. We start out with a very slight curve. We keep going a little more of a pronounced curve until we get all the way to here. That's when they start getting more pronounced. The closer you are to the center line, the more straight that line is going to be. Right again, think about an onion. Think about anything in nature that will resemble this. There are quite a few things right now, unfortunately, I can't like pinatas or like little decorations like for parties or like a mortals type of thing, that they have little things like disco balls, that stuff, I don't know if you can see what I just did. The reason why we did this, and this is an exercise that I would like you to do, is because it's going to help you with our following steps. When we start doing a phase, looking backward, looking downward, looking upward, because our axes that are straight here are going to start curving. This is something that I will suggest you guys to do. But I hope you have enjoyed this lesson today and I will see you in our next class. 10. Lecture 8: How to Draw a Face Using The Loomis Method- Upward and Downward View: Hello everyone. Welcome back to another lesson and we will continue with our loomis head method. This time we will learn how to draw a face looking straight ahead but looking upward and looking downward. Let's go right at it. The first one we're going to do is a face looking upward. We will begin, as I said before, with a sphere. Very slowly, we move from our shoulder. This also will help you with your freedom of movement, which is very important So far we're going to do the same steps that we did before. We are going to slice the sides of the head like this. Remember the example of the sphere that I gave so far we're already familiar with, right? Just try to make these lines as straight as possible and of course, parallel to each other. So far so good. We do the same thing. Now here's where it gets different. The term that I'm going to use a lot is going to be foreshortening. Because if we have a face looking up or down, what happens is like the distance between the different axis of the face is going to get shortened. The distance is going to start to change because of loss of perspective. Let's begin with what I'm trying to say. If you remember usually what we have done, so f, this is the line where we usually have the eyebrow, the eyebrow axis right somewhere over here. Don't know if you can see it over there. What's going to happen now in this face is going to be looking upward. This is going to start going, curving up. Curving up. Now this is the other thing that I want to say. This is the reason why I suggested you guys do the exercise that I suggested, like the beach ball or the onion, because this is what we're going to be talking about, all these curves. I started with the eyebrow one, because that's where we want to start, usually to give us like a nice feel of where we're standing on the drawing. And once we're here, the other thing I think I will do also the dividing line because that will also be helpful for a parameter not very thick pressing too hard. As you can tell me, I'm trying to make these three lines parallel to each other. They're not perfect, of course, but as parallel as possible. Something like that. Okay. This is actually, this is actually going to be the nose one. Yeah, the nose one. I'm going to do the eyebrow one a little bit higher, somewhere around here. Because I want this face to be looking up in a way that you can actually see it. We're going to do this over here. You will see what I mean as we start building the face. If this is going to be the eyebrow, the next one is going to be the hair line. And the hair line is going to be somewhere around here. You see how now the line is starting to curve a little bit more as we get closer to the top of the sphere here. Work is actually going to go a little bit, a little bit straighter. This is where we're going to have our mouth. We're going to have the chin somewhere around here. Very good. We're trying to get these lines as parallel as possible to each other, but the fore shortening is also going to work here. They follow a pattern, these curves, don't they? Even though the distance between them is not the same, they are still following a certain line. That makes sense when you have a phase actually looking up. And this is why I did the nose first. I apologize for not saying that at the very beginning, but this is going to turn more into the center of the face instead of the eyebrows, and we will see why. Let's do the nose. If we have a face looking forward, we're going to have a much better view of the nostrils of the person. Right? That's what we're doing right now. Don't worry about not really knowing how to do this. You will learn soon enough. But the important thing is that you learn these concepts and how the laws of perspective work. Now here we have a nose looking up. If you can remember, since everything is foreshortened, the distance between the eyes and the eyebrows and the nose going to be like squashed a little bit. It's going to be foreshortened. We're going to have usually like the eyes looking upward like that and the eyebrows like this. Because the angle changes, the perspective changes. Of course, I'm not doing any specific face at this moment. This is just to show you how this would work with this face looking up. Then since this person is really looking up, we barely have a view of what's happening here with the hairline and all of that. And then we're going to have the mouth over here. As you can see, I'm like slightly changing the shapes of the things in the way I've been doing it before now. They look a little bit different, right? Yeah. Let's make this person with close mouth open, something like that. Close mouth here we have this. As you can see, I'm still following the rules as far as like vertical goes. The pupils are still meeting the ends of the mouth. And this is here with the edges of the nose. That's still happening. This is where our chin is going to be. And this is where things start to get really interesting as far as like features go. So the chin becomes something like this. We're going to have the jaw line looking a lot different from what it would look like if we were having a face like looking straight ahead. Now the neck is going to be more like this. There will be a lot of shading in this case since we're looking down, mean upward. The cheek bones are not going to be here, but they're going to look a little lower. Okay. Something like this. Then we can of course, refine the features depending on the face, something like this. All right, very good. I'm making their face just a bit thinner. But my main purpose here is showing you what happens when we have a face like in a completely different posture, different position. Things start to get a little bit different then the shading here will also count. Just so everything can look more realistic, then obviously we're going to have some extra texture here for the hair. Very good. Then the years are also going to be much lower. They're not going to be here anymore. They're actually going to be much lower this time. Okay? Something like that. Because remember, all the proportions are getting in a different way. Imagine looking at a ball that is like straight, like this. Then suddenly you're seeing the same thing, but you're seeing it this way. That's what we're doing at this moment. This is a face looking upward. I know it doesn't look perfect. I didn't really focus on adding all the details. I just wanted to show you. I'm going to change the lips a little bit so you can look a little bit better. There we go. Here we have the upper lip, then we have here the space between the chin. A little bit of a shadow over there, Something like this. Now we're going to do one looking downward. Okay? We're going to start with the same procedure, the same way that we did before. We're going to do sphere right now, we're going to do the same thing we did before. We will slice off the sides. Remember we're still doing a phase that is looking down, facing forward. I mean, that's what I mean. Then the next thing we're going to do is we are going to mark the middle. Because remember that it's important to have a center line to guide us. The next thing we will do is going to be the eyebrow line. Remember, eyebrow line would normally be here if we wanted to do it the way we did it for the first lesson. But it's not going to be there. The eyebrow line is going to be now right here, right here. As we're following the exercise that we did before, we will do a curved line just like this. As I said, as I always say, do not press on the pencil too much. Do it very lightly. This would be our imaginary line where usually the eyebrow would be. But now we're making a lot lower actually this is not very straight. Just straighten this line que little bit more. Something like that. Okay. So this is going to be our eyebrow line. That will mean that the hair line is going to be somewhere around here, something like this. As you can see, there's a very slight change between the curvature of these two, but there's still a little bit of a change. They're not exactly the same because we have to follow the lines as we said in that exercise that we did of the beach ball. Now here, as we keep going lower, the curve might get a little bit more pronounced. You see that? There we go. So it's going to be our nose here. We're going to have our chin. That is going to be a, there's going to be a lot of foreshortening right here. Here we have our chin. Very good. Now that we have these things, we will do what we did at the beginning. We will try to do at this moment, the jaw, jaw, since this face is looking down, the jaw is going to be a lot higher than it was before. If you remember, when we had the face looking forward, the jaw was actually like somewhere around here. But now, since this face is looking downward, this jaw is going to be more over here. Okay, so now let's work on our features now, since this nose is looking down, we're going to see a lot more of the bridge of the nose. We're going to see a lot more of this. Okay? Instead of looking at the nostrils like we do here, so it's a different position. So this will be, actually, I think it's more like this. We will have the eyes looking down this way. We will have a much better view of the upper eyelid. There's not going to be much of a distance between the eyelids and the eyebrows, something like this. We do some eyelashes as well. You have eyebrows. Depending on how thick you want them to be, then we're going to have the mouth a lot closer to the nose because like we said, this is foreshortened. We're going to have a much better view of the hair line. I'm making this exaggerated right now. I'm not going to make long hair so you can actually see more like the shape of the face. We get a lot of the upper part of the skull. We're going to get a lot more curvature, a lot more shading around here. Now, how about the? The ears are also going to change. They're going to be almost all the way up to the hair line on the face is looking down there. We have it guys. Then here we have the neck. Actually it's not going to be a far, it's going to be actually more. It will look shorter because this person is looking down. All right guys, here we have it now we have two faces. This one is looking upward, this one is looking downward, both using the mis head method. I hope you found this lesson helpful. And in the next one we're actually going to see and discuss how we have faces looking in different three quarter views, different positions as well as using Luis method. What I would like you to do, just give this a practice as much as you can. Be mindful of where you put your lines, where you put your access and just practice from there. And the more observation you can do, the better. Thank you very much for joining me today and I will see you in our next lesson. 11. Lecture 9: How to Draw a Face Using The Loomis Method- 3/4 View: Hello everyone. Welcome back to another video and we're going to continue with the Lumis Method series in detail with some of the features and everything. This is going to be our last video of this section of this module where we will cover how to do a Lumis head looking sideways. And we're going to do just a couple of different angles. The main goal here is for you to see that once you get the system down, you can do pretty much any head you want and any angle you wish, just using the same principles that we have done before. Let's begin. We're going to do a couple of phases. The first one is going to be just our usual just three quarter view. We're going to review a couple of things and maybe pay a little bit more attention to the features. Even though that's something we will cover in further detail in the modules to come, we will begin as we always do. You probably have this completely down by now. We're going to start with a sphere and say this is going to be a phase that is going to be looking this way. Three quarter views, it's not completely profile, it's not completely forward, it's slightly three quarter views, we will circle. Remember what we explained before? You can always go back to previous modules to look again at what we're doing and the reasons why we're doing what we're doing. You mentioned you have a Plato ball or a sphere and you slice off the sides. We know that this is like a face that is looking this way. Everything will start making sense very soon. Then if you remember, the next thing we're going to do is in this section that is cut off, we will do vertical line and we're going to do our dividing line horizontal that this will be obviously creating 490 degree angles, four quarters right here in this circle. And try to make it as neatly as possible as far as like 90 degrees on each. What we're going to do next is we will draw our eyebrow line. This is something that we have done before. I'm trying to follow the same order of steps that I'm doing, regardless of what position our lumas is going to be, so we don't lose that. Once we have this done, we are going to do an estimate of where the hairline is going to be, which we will estimate that it will be over here. If you have seen previous videos, you're going to start seeing a pattern already. And this is why we follow the steps in this order because once we have this determined, we're going to know what's the distance that we need to have in between the eyebrow and the nose. Why is that? Because the same distance that we have between the hair line and the eyebrow line is going to be the same distance. That is going to be with the nose line. We will eyeball it. I would always prefer, and I would always recommend that you eyeball these things because it gets your eye trained better versus doing using a ruler or something on top of that. Remember that these are estimates. It's like estimates that we apply due to observation, based on observation of human heads. But you don't want to be super exact because it's like even though we use a lot of geometrical shapes and everything, none of this is really exact. It also depends on the face. But this is a great exercise to get you used to it, okay? Now we will do exactly the same distance for our jaw line. It's just my personal preference to do a line for all of them because it gives me a more grounded structure to build the face another. We have this done, pretty much have all the important lines that we need at this moment. We're going to draw a couple more, but let's go ahead and do this. This is going to be one side of the face. It's not completely straight, but it's not completely curved either. Just a slight curve because this will help us once we actually do the final shape of this face here, where we're going to have the chin. If you remember, this vertical line now becomes pretty important because this is what's going to give us a clue as to where the jaw is going to be. Which is going to be somewhere around here by the end of the sphere. This is where the angle will be, maybe a little bit higher, somewhere like this. And of course, this will change depending on what phase we're doing. But this is just for our dedactive and exercise purposes. We're going to do it somewhere around here. But this is the area, the general area where the curve is going to happen for our J, okay? This is the moment of decision here. This is where you're going to decide is this face looking this way, is looking that way that way. Motors. Profile motors the front. I would say that given the way we have placed everything, this is, this is going to be our center line. Remember the center line? Just to make it easier for us, I'm going to do a very small lumi head up here. I'm actually here so you can see it. If you remember when we did a lumia looking straight ahead, this is just, if we do it straight, this is what we do. We slice off the sides, right, just like here that we sliced off the side. And then we do the dividing the center line. That will be, that will, let's see, the mirror images of both sides of the face here. We're going to have the eyebrow line. This line that I'm doing here is the line here. That would be if the face was looking straight ahead. But since this face is looking this way, that's why this line is going to be positioned right here. Now that we have this, it's also important that the center line is parallel to this line over here that we have decided to do right here. Slightly curved, but not too much. Once we have this here, our next step is going to be to draw our eye line. I know I might be going a little fast, but since you have this course, this class, you can just go back to it as many times as you need. It's key, I will repeat it. Is key that the more you practice, the better you're going to get at this. I'm not perfect, even though I practice a lot and we're always improving constantly, constantly. I would totally encourage you to work on this as much as you can here. We're going to do our mouth. Somewhere around here. Again, is something that will depend on each face. But it's somewhere around here which is also matching the area where the curve for the jaw will start. Now now that we have all these important lines laid out, we're going to start working on our features. I'm going to do just like a standard looking nose here. We're going to cover a lot about noses very soon. I'm excited about that. One thing we're going to do this, since its face is not looking straight ahead. Obviously, features are going to look a little bit different because of what it starts with. Let's see if you remember that word, the foreshortening, exactly. This is why this eye is going to look different. Obviously, the shape of the eye has to be a certain way here. We're not really going to focus on it too much small to see. What I want you to see here is that once we have these basic lines done, this is one where we start refining everything. This is what I was referring to by doing, not just repeating lessons, but revisiting what we have already learned and adding to them, little by little, what have we done here? I did a few things here. I did the E in a very small, let's say even less than like a fourth of a view. If we compare it to the eye that is going to be on this side, a little bit of the eyebrow here, I just did this little curvature over here. And this belongs to the eyebrow bone, the bone that is right here. If you need any further reference, go back to our video about the skull and a quick overview of the skull. Remember that we have a skull here, which is actually really cool. Because if you look at it, this actually really resembles a skull because of the protrusion here and everything. Now we're going to keep going. Before we go here, I would like to work on the mouth. This dividing line here is what's going to determine the division of the mouth where it has this little depression right here between the upper lip. We're going to do, I'm just making this up by the way. The lips not following anything in particular. Like we said before, this side of the lips is much smaller than this side. The side is like longer because this is the part that we have a best view of. The one that is exposed the most. All right, now here we have a basic looking mouth, and here we have our cheekbone. And we're going to start also refining this a little bit more so it starts to look like a more realistic face. And here I purposely try to do the features a little bit more pronounced, not a soft, so you can actually see, have a much better view of these features. Now that we have this and we have created this basic shape of the features. I like it, this person is smiling. We're going to make a more defined jaw, then we're going to do the eye, remember these lines, they follow the same, they're parallel to the center line. If we were doing something like this, it would be all straight, right here, everything is curved, if you remember from our, some of our previous lessons. The beginning of the eye. Our rule of thumb is that it starts by the end of the nostril. This is where it's going to be. This eye is also not going to be looking straight ahead. The shape is slightly different than if this eye was looking ahead. We will cover some of that as well very soon. We're going to do upper eyelid were. Then we're going to use our lines as reference in order to draw the eyebrow. I'm going to put this one a little higher as well. It'll be a shading We go, here we are, forming a phase using, again, the loomis method that I believe is awesome. What do we do here? Now, if you look at a scull, which I really would encourage you to get a little prop, something that you can use as a reference, which I think is an invaluable tool. You can get pretty amazing ones on Amazon or anywhere for $11 up. I think it is totally affordable and a very good investment. Now let's go to the ear. When we do a face in three quarter views, the ear is going to be like this. It's going to be done in the third, in the lower right quarter. This is where the ear is going to be, like we said before, is going to be between between the eyebrow line and our nose line. Ears are, in my opinion, one of the most interesting features of the face because they all have so many little turns and just interesting things to them and they're all different, like our fingerprints. Then if we want to get like really specific as far as like the shape of a skull, it's probably something like this. Then you can also going to refine it because a circle is never, like I always say, just do a fear, let it flow freely, and this is something that you can always correct and adjust as needed. Okay, then we're going to do the neck. Maybe I'm just going to probably correct this just a little bit more. That looks more like it. Something like this. All right, there we have it guys. Now we have our lumas head on a three quarter view. Our next video is going to be a Lum Sad, that is also on three quarter view but also looking down. We're starting to get more specific, but what I want to show you with that, I will tell you when the video comes, what I will show you is just that the system is always the same. It's just a matter of practice. And the more you do, the better you will get at drawing realistic looking portraits. I hope you enjoy this video and I will see you in our next lesson. 12. Lecture 10: How to Draw a Face Using The Loomis Method- Side View: Hello everyone. Welcome to another video. This is going to be our last video of this module where we study different phases and different positions using the loomis method. Where we are going to do now, we're going to do, as you can see, this is the phase that we constructed in our last video. Now I'm going to do our last phase, which is going to be another position that is going to be sideways. Looking downwards, you can see this one is sideways, but it's looking straight ahead. Now we're going to do one where the person, our model actually is going to be straight down and three quarter view type of thing. We start like we always do in a circle, a sphere, naturally as you can. Just you move your shoulder. Like I always say, what's going to be a little bit different is a circle that slices the side. In this case, the face is going to be looking in this direction, like this. The circle is going to be a little bit in a weird, weird shape. It's not going to be completely circle. It's not going to be totally rounded. It's going to be more like oval, kind of like this. Then you just looking at it, as you keep doing, as you can see this is already a difference from here, right? Because this face is straightforward, looking this way. Here we have a face that is going to be looking downwards. So we're going to have a lot going on that has to do also with foreshortening. And we will look into that as we go. We're going to do a straight line. This one is not really going to be much different from all the other lines that we have done. However, this line, since it is going to be a face looking down, will be different. This is going to be the line that will correspond to our eyebrow line. Now this is when it starts getting interesting. Something like this. Because this face will be looking down. Like I said, let's follow these lines and then move from there. The first thing we're going to do, we're going to draw the eyebrow line, which is going to go something like this. I know right now might be a little hard to follow along, but you will see what I mean. Just imagine I recommend, this is something that I haven't done. But if you can have a sphere with a Plato, that's something that I might take into account for next time. That would be cool. We can actually have that as a reference, like what we did it with the r boil leg before. But instead of doing that, we can do that with a ball, like a Plato ball. Like I said, this is going to be our eyebrow line, which is the first thing that we usually do. Then the next thing we're going to do is going to be our hair line. But let's look at this. Let's think about this, because this is not really going to be like that. Because this face is going downward. We're going to see a lot more of the top of the head and we're not going to see very much of the bottom side of the face. The hair line is going to go like this. Yeah, I did it a little too low. I'm like, yeah, that's a little too low, something like that. The part that you actually have to keep us reference over here is going to be so we don't get confused because we're going to see a lot more. And I left this one here just so we can compare. Can you see here where the hair line is? And it's like straight ahead and it's in the very top. This hair line is going to go down way more because since this is going to be looking down and sideways, this is what happens. The next thing we will do, just so we can have a much better reference, we're going to do the center line, which would be the center line that we drew right here. We're going to do it right here. Here. We want to be mindful of the curvature of the face. And if this was a sphere, remember it also has to go a little bit lower because it's going to go down at some point where the chin is going to be okay. Now that we have done, and we want to do this as even as possible so we can have some reference, The next thing we're going to do is going to be the nose line. It's going to be a lot closer because of the foreshortening that we were talking about. Then you would see it over here. Because here we have, remember that the rule that we have been following all this time is that the distance between the hair line, the eyebrow line, the nose line, and the chin is going to be the same. Well, things do change when you're doing foreshortening faces that are looking in different ways, something like this, and try to keep it. Did the line here. And we're going to go like this, something like this. There's some structure that we are following things still parallel. Let's imagine that we're going to have the chain around here. Now that we have that we can do the face going down a little bit here. We have this, sure, this would be more this way. Our face will be going like this. Something like that. We can make the chain a little bit longer. But the main idea that I wanted to show you guys here is what happens when we have Luma. This is obviously a lot more different than something like this. But just to be mindful of the things that happen when we have a face in different proportions and different positions. It's a very good practice, very good system to practice. Then obviously, once we get to this point, we start refining all the lines. Let's see if I can find my eraser. There we go. It would obviously go this way. Now, since we got to this point, we can start working a little bit on some of the features. I think I did this one a little too close, a little more this way. This nose is not going to be like pointing upward or anything because this face is looking down. This nose is going to go something like this. We're going to have them out somewhere around here, the ice over here. And then this is something that we're going to see when we focus on features of the face. The eyes are going to, looking downward, for example. They look like that. Almost like following the same things that we have touched on something like this. There's going to be a lot more, but just for our purposes right now, something like this. Then you'll see that the distance between the eyes and the eyebrows is very reduced in this case because this face is smushed together. This is the part I'm going to start deleting. That's why I always say don't do lines too thick. Don't do them in a very thick way because then you're going to have to erase them. I know I did them a little bit more pronounced here just to show what we were doing. But here, for example, we can start refining some of the features. The nose over here. Then we're going to do the mouth over here. Something like that. Like we said before, the ears are comprehended between the nose line. This nose doesn't look very pretty, but you can get the gist. The nose are always going to be comprehended between the nose line and the eyebrow line. As you can see, if this face is like facing this way, obviously the ears are not going to be exactly aligned to the tip of the nose, and the limit of the eyebrows is going to be higher than the eyebrow like this. That's this little thing right here. That's why I love the system so much. Because this semicircle here, that is the part that we slice off, is such a good guide. If you have a doubt the placement of certain things, just guide yourself through that and you will be able to find a few of where the things are going to be located. I'm just erasing some of these lines just to make this person look a little bit better and not so many lines. Like we said, this is about the hair line. It's not our goal at this moment to do perfect faces all the time. These are just exercises that are very important for you to start getting used to the idea of how to draw faces in different positions. Just start slow. Start with the basic ones that we have touched on, then yeah, we're going to do something like this. We have our neck over here. You can see very clearly how this person is looking down this person in three quarter view, but it is looking ahead. This person is almost in three quarter view. Maybe going a little bit towards, like more of the center, but it is looking down. In order to do a quick recap of what we have touched on when it comes to lumia methods, I am going to show you all the faces that we have done in the past lessons of the module. If you remember the first one that we did, we have also touched on upward and downward. We have done 34 looking this way, 34 of looking that way. We have pretty much covered all the basic positions that you can think of. Just so you can have a good concept of how the system works with enough practice. This is something that you can use. The more you practice, the better it's going to be to give you knowledge of this method works to teach you how to draw face with the right proportions, the right sizes of the face, which is something that we all struggle with. But with these guidelines, you should be good. But like I said, don't forget to practice, this is very important. I will see you guys in our next lesson where we're going to focus in further detail on face features that we can complement with what we have already learned in order to build a very realistic looking portrait. Thank you for joining me and I'll see you in our next lesson. 13. Lecture 11: Basics of a Human Eye: Hello everyone. Welcome to another video. Now we're going to move on. Now that we have covered how to construct the face and the right placement of the proportions through the loomis method as well as the ovalhead method. We're going to start diving into how to do the features of the face in further depth and detail. The first one that we're going to cover is going to be the ice. A hope to cover all the basics. This is for absolute beginners. We're going to try to make it as simple as possible. Ice are like some of the most complex and full of detailed parts of the face. We're going to try to do it in a way that you can understand the basics in order to draw them in a realistic manner. The first thing we're going to do, we're going to do a circle, like we always do in all of our. But in this case we're not going to do ahead, we're going to do an eyeball. Then we're going to do another circle right in the middle. Maybe it's a little too big, but you get the gist of it. This is an eyeball, something like this. This eyeball is obviously our eyes. It's going to be inserted within the eye socket of our skull. Like I said in previous videos, it's always a good idea to have a prop for cecull. Then you can have an idea of what things will be like with what is underneath and why the things have the shape they do. This is just a generic one, if you look at it. If we divided this, you will see that this is like centered in the middle of the eyeball. The shape of an eye is so interesting. The part in the middle is called the pupil, which is basically a hole through which the light comes in. That's why when you have L goes in and it's really light, the pupil gets contracts. And then the darker it is, the more the pupil dilates the part around it, which is a part where we have the color is the iris. Irises are so interesting. Now we're going to do a little bit of a pattern that you see. You can see this more clearly when you have lighter eyes. But they have this beautiful line, this pattern that happens within the eye, that is really pretty. Something like that. But we're not really going to get into detail, very much into that detail at this moment. What's important to know about the ice, this is what we have. But many mistakes that people tend to make is making the ice like this, making them like this, making them like this, or making I shape like this. These are not realistic shapes. Let's talk a little bit about the shapes of the eye. Here we have this example that I just drew. I am going to do a very basic shape because I love to relate things to geometrical shapes is basically like a rhombus mentioned that you. I think that's rhombus, if I'm not mistaken, but it's not your regular. The one that you would have that you would do from school, for example, is something like that with four sites. If you need to practice, I would say start by doing this. As you can see, there are many angles happening here. And I completely simplified it in this case. But this is what you can do to start getting used to different shapes of the eye. Because here we have the tear drop here, we're going to have the upper eyelid, and we're going to have the lower eyelid. And that's what we're going to move on to. Next, we're going to do another circle. And I'm going to make it very light because we're going to focus mostly on the eyelid parts. We're going to do this one looking ahead. Let's imagine this is the eyeball that is going to be underneath. This is going to be an eye looking straight ahead. As you can see, I've done this enough times to know the shape a little bit, but as you can see, with more refined and more rounded edges, I am doing this oval like this. This is an eye, like I said, looking straight ahead, something like this. Where you have this side of the, the angle a little high, bigger than this one gets smaller towards this side. Try to avoid shapes like this. These are not realistic looking ice, right? If you want to do caricature or whatever. If you want to do different things. But not for an eye. Ice have like this shape when it's looking ahead. Now in order to draw the middle of the eye, something like that, usually you're going to have a little bit of the upper part of the iris is going to be covered by the, by the upper eyelid. The pupil is going to be somewhere around here. It has to be centered, always centered. And then the lower part of our iris is going to be almost or barely touching the lower eyelid. Now let's work on the eyelids a little bit. If for example we're going to do the upper one, this is a part that covers, let's say, a quite big part of the eyeball with a resting eye, right? We don't want the person to look surprised all the time. Right? In order to do that, we need to be mindful of the upper eyelid. One more thing I'm going to do. I don't know if you can see it here. There's also a space that is from where the eyelashes grow. This is not completely like a thin line. There is also a thickness over here that we're going to see again when I do the eye on the side which is going to be much more obvious, it's a part that wraps around the eye. I will show you what I mean in a moment. Also, if we want to draw a realistic looking eye, another important aspect is to remember that the eyeball is a ball, a sphere, spheres, what are they reflect light differently because there are three D objects. The white of the eye, that's a very common mistake that we make. We make the white of the eye just white, right? But it's not just white. We have to do like some shading. Then the other important thing about eyes is the lower eyelid. This is the lower area that happens right here, where we have the eyelashes coming from. As we keep getting closer to the end of the eye, the shading for the white of the eye is going to get a little more pronounced. And I forgot to say for this, listen, I'm also going to use a four pencil, which is a little bit thicker. We can actually work on our shades, the shadows a little bit more. So you can actually see that now we have constructed this, we are going to do a bit of eyelashes. Something important is the more texture you give to the eye, the more time you spend with it, the more realistic it's going to look. One thing I wanted to say about eyelashes, well maybe that doesn't really apply very much like lower eyelashes. But let's draw an eye incorrectly. Something that people would do in general, something like this, many times. This is what I used to do when I was little as well. They do something like this. It looks very childish, something. This is our first instinct, right? To do the eyelashes like this or do them like parallel to each other. Perfectly distance. But no, what do you need to do? They actually, in clumps go usually in clumps, they follow the shape of the eyeball. This means that you're going to have some going in this direction, you're going to have some going in that direction. But they're all the same, They're actually very different from each other. And now we're going to do some of the eyelashes over here. Since like I just told you before, this part of the eyelid wraps around the eye, The eyelashes actually come from down here. They don't start over here, they come from down. But before we jump into that, I'd like to do a little bit of shading or a little bit darker values with this pencil. If you remember from our previous lessons, when we have the eye socket is basically like a hole in the skull, is why this is usually a part that you're going to see that is a lot in faces because you have a depression going on here. Here. We are also going to have a bit of shade going on under the lower eyelid, something like this. Let me go ahead and if I can find my other, I'm just going to erase this so we don't get confused right here. Just signaling a little bit of the eyeball. It's important when we do shading. Just do it lightly like this. We're going to touch a little bit of shading in this course, but I am going to work on another course where we're going to do nothing but shading. One of my favorite things ever, if you look at different groups or the things that I do, I'm all about shading. I love that. Now, when it comes to the ice and making life like ice, the shading and the contrast are important. Extremly important, It's probably the least flat part of the face. It's so full of. Aspects, complexity things also. Another thing that probably deserves a course in itself is the whole reflection on the eyes. Things like that. Because there are a lot of things to take into account, which are the different parts of the eye. We're going to cover some of that. When we get to the side view of the eye, this one is just like I said, front view. We're going to do some light reflection over here. Let's imagine that the light source is coming from this direction. We're going to do some nice textures for the eyes, which usually means like the edges of the iris are darker. And then it gets a little bit lighter as you keep going inward. Obviously, we'll have to do with how the light works, how light the colors are as well, how light the eyes are. Now what I'm doing, making the eyes a little bit darker, this is the part that goes deeper within the eye socket, so it's going to be the darkest around here. A lot of wonderful and mysterious looking shading going on. Just fascinating to draw eyes. What I'm doing here guys, what I'm showing you right now is what we're doing is the shape of the eye. The importance of the eye lids. Okay. This is important for you like to start working on at this moment. And I'm not going to get into like specific tools or anything, anything fancy. But I think this is very important in order to get started with how to draw realistic looking eyes. You see what I'm saying about eyelashes. Started going this way, and now they're starting to go this way because we are working with a sphere. Three D object. Very good. Now we have this eye looking straight ahead. We have the eyelashes here. It's important to notice lower eyelid. Upper eyelid, just like this little part right here. And the shape of the eye is something like this. It's not like a goldfish type of thing or I don't know, diamond, I don't know how to call this the hictus like you would see from people like their bumper stickers is not like that. It's much more complex than that. A lot of things to take into account and something that requires some practice. Maybe I'm going to barely race right here. Just so you can see. Okay. You can see what a basic eye looking straight ahead looks like. Of course this will come together. I will look a lot more put together once we do also eyebrows. But in the next video, I'm also going to show you different positions of the eyes depending on whether the eye is looking sideways, is looking downwards, looking upward. While we do that, we're going to keep looking at all the concepts that I introduced in this video. As far as how the eyelids work upper and lower. How all these different depressions and different little wrinkles and things work together to make realistic looking eyes. Thank you very much for joining me today. I would recommend also for practicing these lessons I have to do with eyes. Just get your two HB pencil that you have been using so far. I also recommend, in this case I have a four B, but you can do like 35, anything that is more saturated in graphite than just your regular two HB. Thank you so much for joining me today and I will see you all in our next video. 14. Lecture 12: How to Draw Eyes in Different Positions: Hello everyone. Welcome back to another video. This is going to be the last video belonging to module six that has to do with features of the face, in this case, eyes. This is going to be our last video and we're going to focus on eyebrows. As you can see, I have already drawn two ice. We're going to consider this one to be a male's eye and this one to be a female's eye. Because eyebrows are not all created equal. If we're talking about a male, a male is going to have features that a female's eyebrows is not going to have. Let's begin if we want to draw a male's eyebrow. And this is obviously as a general rule, obviously they're different. But you're going to notice that males eyebrows are usually thicker, wider, and not as much curvature as their female counterparts. We begin by just doing a very rough shape of what the eyebrow would be. It's always good to start with geometrical shapes, like I said, like you've seen me doing before, right? In this case we're doing someone whose eyebrows are close to the eye. There's not much of a curve, there's not a lot of space. Yeah, this is an important thing that I believe that you can use for your advantage as well. When you're beginning to draw, start with geometrical shapes. It will make everything so much easier the more you practice and the more you repeat it through repetition, things are going to start coming naturally here. What I did was trapezoid. Would it be, oh my goodness, I'm so sorry, I'm terrible with these things, but more like a rectangle over here. And then we have this triangle on the end. This is what we can do. I'm just going to do a smaller here and smaller. This would be the basic shape. We have this rectangle moving this way with angle 45 degree, and then we have the triangle. This is how we create a male's outer shape for an eyebrow. Once we have the shape, what do we do next? It's important to start noticing. This observation is always a great alley for you, the direction of the hairs when you start with the eyebrows at the beginning, these hairs are usually going to have this upward direction and motion going this way. Then as you keep going this way, you're going to notice that the hairs start pointing towards. What would this be? Northeast, if you will. In this case, they're just pointing north. I like that. I like the reference of cardinal points. Actually that might help us during the course of the hairs going all along this lower part of the rectangle, they're going to be pointing towards Northeast. Just like. So of course we're talking about the bottom ones, right? We're not talking about the top ones. Remember that have not touched this part. As far as hairs go, I'm still on the bottom. It's always a good idea to start with a very sharpened graphite pencil. This case I'm using our usual two H B super cheap. Wherever you can get it, you can get it anywhere type of pencil. All right, once we get here to the area where the curvature is going to happen, this is when things slightly start to change. These hairs that have the same root, they also start around here. They're going to start going downward like this. Let's start with that. Like this, you see that motion and it's curved. No hairs at all are going to be shape like arrows. They're all going to be curve. As we get towards the end, you get the little hairs that are very slight like this. Maybe those are going to be a little more straight, but they all follow a curvature. Let's recap real quick. The ones at the beginning of the eye go north, even a little bit Northwest. For the little ones that are from the moment that the eyebrow starts then they go north and then they slightly are going to be inclining themselves towards the right side, which would be Northeast. It's very interesting. It gives it a lot of character and depth to the composition. If you draw the little ones, 80 bitty hairs that are usually here, that are almost imperceptible. But there are there, especially for men, because men usually don't plug their bras as much as women would right. Now, we're going to start with the top. The top is a little bit different because hairs grow upward. Do they go from up, down? But the transition is very delicate. You don't want to be like super obvious when you do this. For our purposes right now, I'm just going to erase this line that I did at the beginning for our orientation and point of reference. There we go. I am going to go really light. I'm not going to press the pencil too hard on this, okay? Because we want it to be subtle. We want this transition to be subtle. We don't want a big block of a black or dark, just block of pencil. We want something like this in order for it to look realistic, because that's what we want, right? This course is about realistic looking portraits. That's what we have to do. You see this movement that I'm doing? I'm going back and forth, back and forth. Still not losing track of what I'm doing. I don't want to get too excited and go. And before I know, it's like what in the world have I done? Be mindful of what you're doing. I would encourage you to look at magazines or any type of anatomy books and just get your references from there as well. As we go down, you're going to see that everything starts to fade very much until a point that is almost imperceptible. Now that we have this already done, this basic structure of the eyebrows, we can move on to a thicker type of pencil. In this case, I will move on to four pencil. We're still with graphite. We're not going to any other pencil. What I'm going to do, I'm going to go back and start like doing the same thing I did but a little bit darker and this important. We don't want to fill in all the empty ******. We still want to give it that nice natural effect of eyebrows. Because you rarely see eyebrows that are completely areas that are completely packed with hair from beginning to end. Right. You're going to have areas that are going to have more hair, but you're going to have other areas that have empty ****** where you just see the skin. It's been my experience through observation that usually this area right here, this is where most of the hairs converge. This is going to be your darkest area of the eyebrow. For me, it's usually a little simpler. It's complex, to be honest, but they tend to have like thicker eyebrows from beginning to end. All we're going to do now is just combine all these hairs from up from the top to the bottom, leaving little traces of hairs untouched on the bottom. And on the top, that is what's going to create eyebrows that are going to look realistic, go darker in central areas, but don't go darker on the edges as I'm doing like that. You see that? Very good. Now, I think then we can go a little bit darker over here perhaps because like I said, this is the area where most hairs converge and just meet together. Here we have a basic guys, this is basically how you create an eyebrow with on a male shape, on a male face. I'm going to do just a few more like rebel hairs going around here. Our next eye is going to be a female's eye. Female eyes are different. The eyebrows are different because they're going to be thinner for the most part, right? Like I always repeat, these are general guidelines. They're going to be curverceay from the eye socket. This angle that happens right here for women is usually higher. Therefore, you're going to have a more pronounced over here, the same way we did with the male. I'm just going to sharpen my pencil. Remember, for eyebrows is a very good idea to have sharpened pencils. And we will begin the same way we did before. We're going to start which is simple geometrical shapes. Let me just, you can obviously have eyebrows that are not, that don't follow these guidelines. But it's all about observation and just about getting our eyes used to different shapes. What I'm doing now is a Zeppelin. Then we're going to do another triangle that is a little bit more elongated than this one. In this case we have this rectangle trapezoid with a thicker triangle here. But in this case is what we're going to do, something like that, like a long tier drop and then we're going to do a longer looking angle. This is basically what you want to do. You want to start like practicing like that. What we're going to do now, we're going to follow the same procedure that we did here in order to draw individual hairs. We're going to keep this for now, but soon I'm going to erase our points of reference, the lines that serve as point of reference. What am I doing now? I'm starting from the bottom right again. What are these hairs doing? Where are they pointing towards? You got it? Northeast. I'm trying not to press on the pencil too much. I'm actually going to erase this, so you can actually see what I'm doing and how it looks as you do. And you can also play the other way around. But since the, since the hair start growing, the root is here. If you do this, you will create a weird looking effect, like looking like the hairs are actually growing from somewhere else. And you don't want that. Now, I'm going to go a little faster because now we know the direction of where the hairs are going to go. Again, they're, the hairs are growing from the same place, but they're going to start pointing downward. Just like, okay, we're going to do a few flyaway hairs here, like little ones just escaping the main mass, the conglomeration of hairs, which makes it really nice. I like that effect. All right, now that we have the bottom already done, I'm going to erase this line that served as our guideline. You can still leave a little bit like I can see. I don't know if you can see, but you can still see the line even though it's been erased. So we can help us guide ourselves. These hairs. Yeah, this is a little long, You want them to be shorter? There you go, Almost imperceptible. These hairs on the top are going to do the same thing that our male eyebrows did, but they're going to be a little smaller. Because remember, usually female eyebrows are not as thick. Yeah, they're finer, but it still follows the same rule and principle. Be mindful of how high you go, how long you make the hairs you wanted to keep that same shape. You can always go back and correct, but give yourself some freedom without really going too crazy. They usually go a little thicker over here. You can start small and then keep adding. But don't go big too quickly. Might have to start all over again. Now these hairs are going to start going down. I'm going to erase this reference line as well. Then our hairs are going to start pointing downward, all of them. As we get to this point, I just find the whole thing of like the way hair grows and all of that so interesting. It's such an interesting thing. Okay, now that we have the shape basically done, we will go with, again, with our four B pencil. See, I'm trying to keep it simple when you begin, because this is a lot of information to take if you have never drawn an eyebrow this way. I want to make it as simple as possible when it comes to materials. I don't want to overwhelm you or anything. We will have time for that. I'm not talking about this course in particular, but I am working already on the idea, of course is going to be have a lot of shading and textures. And that would be, once you're done with this, you need to have enough practice of this like a more easy and natural visual library. And just practice itself right now as you can see what I'm doing. I'm just going over everything that I've already done. Filling in without filling in all our empty ******. We want to have empty ****** because that's what gives it that realistic look to the eyebrows. Don't fill them all out completely. Like I said, the center of any eyebrow are usually the areas where most hair is conglomerate. And that's why they're darker because the hair is darker, but because more hair is conglomerate, just like this, always with a nice fluid movement of tracing. Don't press too hard. Less is better here. You can always go back and add, but then removing will perhaps imply starting from scratching over again. Be patient with this. All right, I think we got it guys. Maybe I'm just going to do a little bit darker over here to give it further depth. But there you have it. Now we learn how to draw a male eyebrow straight thicker, not as angled. And then a female's eyebrow is more arched higher, not as thick, has more of a curvature. Practice doing it, starting from geometrical shapes and then keep moving on and following the directions of how the hair grows. You can always, I would suggest do it together with drawing eyes. I drew these two eyes just using a charcoal pencil that I have not introduced until now just to give it further depth. But don't worry about that right now. Just stick to the materials that we have used because you want to take a look at it from context. You want to have the whole eye together. Because an eyebrow by itself, an eye by itself, something is missing. I would strongly suggest practice what we have learned in the previous videos of this module as far as eyes and then do it together with the eyebrows. So thank you very much for joining me today and I will see you in our next lesson. 15. Lecture 13: How to Draw Straight Hair: Hello everyone. Welcome back to another video and we are getting towards the end of our course. In this module, we're going to cover how to draw realistic looking hair beginning by straight hair, and then we will move on to curly hair as well as wavy hair. What I'm doing right now, I'm just doing a regular face. I will teach you how to create realistic hair texture for straight. In this lesson in particular, then we're going to move on to wavy and curly. We're going to do it with long hair right now. The first thing you need to know when drawing hair is that it's up to you whether you want to do it super detail or you want to do it more loosely. But in this case, we're going to try to apply some of the details, some details here for straight hair. One of the things that you need to take into account, first, we're going to do the overall outline, okay, of what we imagine, what the hair will be like. It's up to you whether you want to make it long, you want to make it shorter. We're going to start with long hair, then we're probably going to view a little bit of how it's done for shorter hair, but it's the same, just shorter here. You can go back to the first lessons where we were talking about the different proportions of the face here. To be honest, I haven't really calculator very much. But remember that the hair line is not where the face starts. The face actually starts a little bit further up, which is the top of the head. Here I'm doing someone that is looking down a little bit, as far as the rules of proportion and the foreshortening goes, this is going to look big longer than if it was like straight, looking ahead. It will be someone that will be looking like this, if you will. Just so we can see a little bit more of how this works. One of the things you want to do first, like I said, let's just start with, with parallel shapes like this. But remember to keep it nice and dynamic and flowy. You don't want hair to be like this or stuff like this because it's not going to look realistic. Make sure you do it with just to give it some rhythm flavor. I don't know how to explain it, but you get my gist here. We can do going like this if you observe these shapes that I'm doing resemble like bananas. If we wanted to compare them to the type of shape they are, making them very flow. Like fa facet type of thing? No, not really. Just now three types of shapes of the hair then this one is just going to be parallel. Okay, now we have a nice overall shape. If you're wondering how did this very light touch of the pencil, not really going too crazy. Then the other thing we're going to do once we have the overall shape is start doing lines. The lines where the hair will be. Always remember to keep a very light hand, very flow movement. Don't press on the pencil too much. As you can see, we're still working with the same good, a two HB pencil, our most basic pencil. Because remember, one of the premises about this course is that we're not going to go to sophisticated tools, not yet. The main focus is getting you used to visually. And as far as your hand goes and how this works here we're doing like a back and forth motion with the pencil barely touching it as well. The more free range movements you do while still keeping the parallel effect to the strengths of hair, the better results you're going to achieve. Okay, here we go. We're still doing this. We will get to a point very soon where we will start talking about the light source. That is what's going to also help us determine where the lightest parts of the hair will be and where the darkest part of the hair will be. Okay? Okay. Now that we have done this, I think it's a good time to move on to our next pencil, next more saturated darker pencil, which is four B graphite pencil. If you have observed and if you remember from all our other lessons that we have done, I always just alternate between these pencils. I don't want to make it too complex yet for you guys. In order of darkness, we go from two H B, our most normal regular and easier found pencil 4.6 they're all graphite. Now we're going to go to the next one as far as saturation goes, which is going to be our four B. Now I'm starting to darken the area of the roots. Imagine that the light source that we have comes from somewhere around here perhaps. And then a little bit more over here just to make it even you see the arrows? Okay, good. Now we can keep moving a little bit. As you can see, I'm never really pressing on the pencil in a way to leave like a very cut and dry lines. Never you want this to be very soft, very flowy. Because if your goal is to achieve a realistic looking result, make sure you don't press on the pencil in a way that is going to leave very thick marks. Always make sure to go soft if you feel like you need some more depth later when you're done, you can always go back and a more depth. That's totally fine, but don't go super dark from the get go. Now as you can see, I am repeating the same process all along the hair. Why are the ends starting to get a darker? Because we're starting to get further and further away from the light source as strands of hair start overlapping. That's another thing to observe and to pay attention to. As strands of hair start overlapping with each other, those little areas are going to be darker. Can we see that right here? I already did. A little bit dark over there. A little bit darker just is going to be over here too. A little bit darker. Not too much yet. Very good then. It's always nice, but this is going to be towards the end to do flyaway hairs. That's always a beautiful effect of realism. As you can see, I'm being more selective with where I'm actually doing the tracing in certain areas. Like to make it darker, not everywhere, because now I really want the highlights to start appearing slowly but surely. Okay. Now we can see how beautifully the light reflects on her hair. That's probably going to go a little bit more this way. I wanted to look natural, too. Perfect. Okay. Now, this area right here that it gets closer and closer to the back of the neck will be our darkest area. Why? Because this is the area that is the furthest from the light source. There's a lot of cast shadow on top of that because the face here, all of that. All right. Now that I completed this with the four B, we will move on with the six pencil and we are going to actually make things a little bit darker where they're supposed to go darker. As you can see, if you follow these steps starting from general to specific, respecting the reflection of the light source, not going too dark from the get go. You see how before you know it, you're going to start achieving really cool, realistic looking results. Now, over here, we are going to start being, applying a bit, something a little bit different. Because the hair is not just one layer of hair that is the same. There are areas of the hair that lift up a little bit. Some other areas stay flatter. That's why we're going to have little areas like what I'm doing right now that are going to be a little bit darker than others. Even though they're like in the same layer, if you will. Let's say that the there's like a little space here with no hair and that's why we're going to have that darkness happening as well as here. This is not exactly by the light source, it's going to be a little bit darker. Good. Here is important that you're tracing is not too hard. Keep a light hand, you see that. So that the hair looks like it's blowing in the wind. That nice effect here. We're going to do a little bit darker because this is an area that comes from under this strand of hair. Very good. This is going to start getting a little bit darker as we go to the ends And look at this motion, guys, like I said before, this is the motion that I'm doing. I am not doing anything to pressing on the pencil too hard, any straight lines. We want it to be a nice flowing natural result for that. That's what we need to do. Also with our hand and with our wrist from your wrist. Don't move too much from your fingers. Just like disgraceful type of thing. Okay. Now I'm just going back to the places that I know are going to be darker than the rest. Okay, here we have it. What we will do now, I'm going to finish just over here and then I am going to do this side on fast forward. Okay. Just let me, first of all, I'm going to finish this. Just complete some of this, these strands of hair. So very good. Now that this side is complete, I'm going to move on to the side. Okay. I'm going to repeat the same process. All right everyone. Here we have it. These are the tips that I wanted to teach you as far as like how to draw realistic looking straight hair. Obviously, I did it with long hair, so you can see it in a much broader perspective. But the rules apply for shorter hair as well. Go like this. Make sure they follow the shape of the face, the lines, and they go this way, if you want to make it even straight, go like this. But again, remember that the hair always has a little curve where it ends at some point. Then just go parallel to the enclosing lines between the strands of hair. And then you go darker or lighter, depending on where the source of light is going to be. I hope you enjoy this lesson and I will see you guys in our next lesson. 16. Lecture 14: How to Draw Wavy Hair: Hello everyone. Welcome back to another lesson today. Since last time we saw how to draw straight hair, today we're going to learn how to draw wavy hair. Of course, we're going to do it with pencils. I'm just going to use our number two HB pencil as well as four B, then we're also going to use B. These are all graphite. The only other tool we're going to use is going to be just a regular Q tip. Because I want to keep it as simple as possible. I don't want to get too deep into like sophisticated items, just things that you have handy. Let's begin what we're going to do. You're going to see a lot of similarities with how to draw straight hair, but there are a few things that are going to be different. In this case, wavy hair is not quite as complex as curly hair, but it's going to be similar, something in between. What I'm going to start doing right now, we have just this face. It doesn't really matter just to do features of the face. We want to focus on the hair. If you can look at what I'm doing at this moment, I am doing the strands in a curved manner, in different directions. This one is not like this one. They're slightly a little bit different. I'm the paper a little bit down and I'm going to keep going also in fun shapes and forms. It all depends on how long you want this hair to be. You can have as much fun as you want with this. It depends on how it's almost going to be like when we go a little bit more curly hair. But the difference is that it is going to be a little bit less involved. There's going to be lighter curls. Lighter strands of hair as far as the curls are concerned. Okay. That's a good view right there. As you can see, I'm going in different directions. You know, we want just to give it a nice natural effect and we're going to do the same thing on this side. We'll do something like that. Don't get too concerned about having it to look exactly the same. Because the fun about like curly hair, wavy hair is that it's very random. The shapes of the hair random. However, it still has to make sense. It still has to follow some pattern, if you will. That's why we make it like that. But then I make something that is goes in the other direction. All right, so you get the idea. Just play with it. Especially if you're just starting. There's no problem in using as many reference pictures as you might want just to make it a little bit better. All right, so what we're going to do now, we will start giving this a little bit of depth. Okay, Now that we have these trends already formed, we want to start giving them a little bit of shape. Move the page a little like that. So you can see over here, I think I'm still going to move with this. Always make sure that these pencils are properly sharpened. What we're going to do now, we have to decide where our light source is going to come from. Let's say that it's coming from here. Let's do an arrow. Let's like this way. Okay, so this side is going to be a little bit darker because it's not as close as the other side is going to be. Let's move ahead and go to our next darker pencil, which is going to be four B from previous lessons. You probably know the higher the number the number, the more saturated or the darker the graphite is going to be. We're doing now, we're imagining that these are individual hairs that are all coming together. Keeping in mind where light source is going to come from, probably a little bit higher than this. I want it to be like over here somewhere. Let's get started doing this. We're going to repeat that with all of these different strands. And this is why it's important to do the strengths first, to do the outlines. Because by doing that you're, it's going to give you a reference on in what direction to draw these lines that the illusion is the hair right? This will be hair, you will see more. What I mean when I move to the one here on the bottom. Let's take a look at this. You see that since this one is moving this way, curving towards this way, this is the direction we're doing the pencil with. In this case, since it's going downward, that's the direction our pencil marks are going to go towards. We want to keep this constant and we want to be mindful of the direction they're going. And that's how we're going to effectively and successfully create the effect we're talking about. Right now this is what we're doing. We will repeat that in all of these trends. And I will go ahead and we will fast forward this video. While I do all of that and all those trends are present over here and then we will come right back. All right everyone. Now that we have this uniform layer of strands that we have already work on, as far as they all make sense in themselves, with the direction they go and everything, we are going to switch to our B pencil. I'm still on four B. I'm just doing last touches and even though it looks nice, it's still a little flat. So we want to give it some nice depth. Okay, In order to do that, we're going to switch to our HB pencil. And I'm going to press harder now with the pencil. Okay? Because I want my goal right now, our goal to create more texture. To create that three D effect that we want to achieve in order to make something look realistic. As you can see, the hair is not something flat. It's going to have moments that is going to open a little bit talking about hair strands, like there's like an opening, stuff like that. But we still want to keep, when you go back and do those things to make this type of effect. Right here, there's a little opening and the hair opens a little bit on the background. You still want to not really undo all the work that you have already done to create that realistic looking effect. Be always mindful of the light source as well. That's where the reflection is going to be. Just imagine you have like a sphere or an object. And how would things look by having the light reflecting on one side and then another side wouldn't. Something like that is always good things to think about. This is the area right here, closer to the face that is going to be the darkest because this is where we're going to have the light source the furthest as well as here. Because the deeper we get, the more we're getting away from the light source. That's why we want to do darker effects. Over here, I want to show you this right here. Let me just pull this up a little bit. Can you see this is where you create beautiful effects. There is like the curl. We're going to see this much more when we do curly hair, but other we're doing wavy. It's a very turn, a little curve or curl that it does. This gets a little bit darker because there is the cast shadow from this strand of hair. Plus the fact that it is hidden from the light source here is going to go like this. But then gradually it starts going a little bit lighter as well. As you keep going down, you see like that. That is really a nice effect if I may say so it's fun to play with. This is our beginner class, so be patient with yourself. Experiment. I really would encourage you, I want to keep it as budget friendly as possible, but I think it's very important that you invest in at least a set of graphite pencils for these exercises. If you can do up to 12, that would be ideal. But most of them you're going to get six B or up to eight. Those you can get like anywhere. But I would suggest that you also try Amazon or something like that. You can get yourself a really nice set of graphite pencils to work this. Okay? As you can see, that's what I'm doing. I'm here, since this is a little bit too dark, I'm just going to use this no zero eraser. This is something that I have, a wonderful tool. Of course, you're going to see all of this in the descriptions and everything. It's like an eraser. But a micro eraser, it's a really neat little gadget that I have been using for years, and years and years. Another thing that I would recommend, but don't worry about it right now. Just keep it simple. Like I said, don't get overwhelmed. Okay, here we're forming this side. As you can see, this is starting to happen, this nice wavy effect. What I will do right now, I am going to fast forward, I will. Do the other side. Okay? All right, thank everyone. Here we go again. And this is pretty much finished. You can pretty much keep working on this as much as you want. Another nice thing once you're getting done is just to flyaway hairs. Those don't go too crazy on it, but they can actually be go in different directions. They don't have to follow the same pattern or kind. But then you can see from a gust of wind and things like that. And you can see that it gives it a really nice dynamic look to it. Just little flyware, not too many. It's like she just came from like a hurricane or something. Then the other thing, the last tool that I wanted to present to you, if you want to use it, is just a regular Q tip. If you want to just give the hair a little bit more of a softness to this effect. I don't know if you can see that, but we're going to do it over here as well. I don't know if you can see the difference right there. Everything becomes a lot smoother. The reflection of the hair? Yeah, it's really, really nice. It gives a really, really nice thing If by any chance you d little bit the reflection of the light, you can always go back to the mano eraser that I just showed you or you can just use a regular eraser that you have or a needed eraser that also helps. I randomly going to different places just to get rid of that sharp edge of the pencil instead, just replace it by a nice soft transition of values. Okay? Something like this. Like you can go back to this, to this pen, this little tool that is absolutely wonderful for things like this. There we go. Or you can simply just an eraser, regular eraser, not even like needed. And just make sure you tap it really lightly to create those highlights. Again, I want to thank you very much for joining me today. Yes, keep practicing all these tips. You can keep going back like I'm doing right now. You can keep going pretty much forever and ever to be honest, until you're satisfied. But these are the techniques, these are the tools. I'm looking forward to seeing you in our next video. Make sure let me know if you have any questions or any observations. Thank you everyone and see you in our next lesson. 17. Lecture 15: How to Draw Curly Hair: Hello everyone. Welcome back to another lesson. And this is actually going to be our lesson of module eight, where we're going to cover how to draw realistic looking curly hair. And we're going to draw this in two different ways and making sure we have highlights, shading, and contrast. Let's begin with the first way that I will show you how to draw realistic looking curly lock. What we're going to do is a whole series of S shaped, yeah, shapes, S shape strands, if you will. And they're going to kind of like snake down this way, you know, one after another and they go in different directions. And that's how we create that realistic looking look. And they're kind of linked together by this little beautiful fold that we see happening in hair. So this is one way that you can do it if you dare to do free handed. But then if this seems to be a little too daunting, I have another option for you. And we're going to use a ruler. You know, I'm not a huge fan of rulers when it comes to like organic drawing, but in this case, I think it's a great technique for you to get familiar with this style of hair. So let's begin. So we do two parallel lines, just like. So the next thing we're going to do, we're going to do diagonal lines. Two parallel lines just like this, creating like 45 degree angle with each other. There you go, pair of diagonal lines, and then we keep going down creating shapes Very good. As you can see, I'm using, of course, an HB pencil. It might not look like the ones I always use, but okay, now what we're going to do, our next step, is going to be softening the angles just like this. We're going to create shapes way because our purpose here is starting to soften the angles just like we did with the other features of the face. If you go back to any of them, you're going to see that we started everything which is regular geometrical shapes and then we moved on to the more organic shapes. Here we're just doing this with every single angle, just rounding them. Don't stress too much about any type of sophisticated curvature yet. Next thing we're going to do is erase our assisting beginning lines. I always remember that when we first begin, you want to make traces that are as soft as possible. Since this is a shape we're pretty much going to work with. I did press on the pencil a little bit more in this second version. What we're going to do now is this. We're going to start adding the three D effect details. This is a folding thing that follows the same direction as the line above it. Okay? The line above it is going in that direction, therefore we're going to copy it. And then it's going to go down in another S shape, just like we have in our version on the left. All right, so now we're going to compare and same thing with this line right here. We're going to create another, the curvature going down. And here we already did it in our first version. Very good. So here we are. This is our first stage with our first few steps. Next we're going to move on to start building up on some texture. Let's pay attention to this, to the curvature that it makes. Now, since these lines are way too straight, what we're going to do now is give it a more natural look. And by doing that, we are going to give it a more realistic impression to it. So there's still that curve and we are following the ones in osmo, but they're not as precise anymore. They're not as symmetrical. You know, they all follow the same flow. But always remember, and I think I did say this in previous lessons. You want everything to look natural, you know, like with a flow that makes sense. But no, like perfect straight lines, no perfect angles because, yeah, that's just not how anything in the human body works. All right, now that we have created a softer and more organic type of curvature, we will start creating the illusion of hair. And look at this, I want you to see a couple of things. I am not pressing on the pencil too hard, I'm still doing it very, very lightly. I am still with the HB pencil, our regular pencil. The important thing here is for you to create the effect of realistic looking hair, and also observe that I am following the same direction of the curves on the sides. Can we see that I am not going in different directions here. What I'm pointing at is how the light source is going to hit. Let's imagine the light source is coming from that area that I pointed. That's also another thing we need to take into account the high light in this first trend of hair. In this first fold, I left that area white because that's where the light is going to reflect. Now we're going to move on to the second one. We're going to do the same thing we did in the first one. As far as the direction of the hair following the same curvature as we can see. Let's always take into account where the light source is coming from. We don't want them all to look the same, They have to make sense according to our imaginary lights and darks sources. Now we're going to move on to the one below it in a second. All right, there we go. Now we're going to do the same thing as we did before. We're going to do the hairs following the same direction as the lines on the sides, the same type of curvature. It has to make sense. Let me erase this a little bit because that one is a little thick and we want to create that new flowy effect. And how the lines go down towards the lower corner as we keep going, just keep working on the more organic look. If you see something that is too straight, always making it more flowy and curved, and now we're doing these hairs as well, following the same direction as the lines, the same curves. And finally, the last fold that we have in this example. I also, I also want to remind you, I was doing an HB, Now I'm moving on to another pencil, to a B pencil. H, B and B are different, B is a little bit thicker, and here we have the four B as well. But let's go in order. I know I said at the beginning three versions of graphite pencils, but the more you can get, the better to achieve different depths and darks, and lights. In contrast. Now we were talking about the light source before. And this part right here that I am darkening, it is the part that is going to be covered the most from the light source. That's the reason why this is going to be dark. Because the light source is hitting the strand on top of it, the section on top of it. But this part is literally hidden from the light source. It's going to cast a very nice and dark shadow right there. But again, at the same time, I am following the same method that I did before. I am following the same direction. Look at how my pencil is going. It's not going vertical, it's not going horizontal. It's following the same direction as the hair. Now we're developing that a little bit. As you can see, the pencil is very different from the regular HB pencil, but also you start by doing light pressing. Unless you do like I'm doing right now, the hairs like they have little ****** that let the light in or little cavities, let's say where the light goes in or the hair gets separated. It is important to add details like that to also contribute to that realistic effect we're looking for. Here we're following the curvature of this section of the hair, again, making sure we cast the proper shadow. The parts that are folding, especially the ones that are closest to the foldings, are going to be our darkest ones. And we need to make sure that shows, because this is all about tricks and observation and paying attention and remembering where the light source is coming from, that will determine where our shadows and lights and highlights are going to be. Now we're moving on, keep going down, always with the same B pencil so we can keep it consistent as we keep working. Instead of jumping around with a whole bunch of pencil al at once because that would be confusing. Make it easy on yourself, especially in these stages. Go little by little with one pencil at a time and assess your progress as you are doing it. Here we are, as I said, just going in the same direction, getting to the end of our hair strand. Lightly pressing as I'm getting further away from the sharpest fold. As you can see, I'm applying more pressure on the pencil. Right there, right there as well, because those are the faults. That's where we're going to have our contrast. All right guys, I think now we're going to change. That's what we were using before. It's always important to keep your pencils sharpened. That's what I just did. You know it's important, especially if you're doing something like this, you want a very fine point. So that nice, beautiful effect of the thin hairs following the strands is realistic and it's noticeable. Right now, we're just developing a little bit more on these lines. And I can see like how it moves down, how it starts to get this flowy effect. How the darks and how the lights are starting to complement each other in this twisty This twisty shape. It's all about the little tricks of illusion that contribute to the lights and darks. And now we have the last hairs right there going up. Always remember to give everything a nice organic look. Now we're going to move on to our six B pencil. This one. Remember, the higher you go in the S, the darker and the more saturated the pigment is going to be. Here we are adding even more contrast to the hair strands from time of time. As you can see, I'm also applying to some of the finer lines, a little bit thicker lines, That also adds to the overall realistic effect. Like I mentioned before, we always remember to, you have your sharpener handy. The more sharpen the pencil, the better. Now here we're just working on creating. Even though we have the area of the high light, it's important to also have little bits of lines there, not too many, because you still want to keep that area light. But at the same time you also want to keep that realistic Look, this is a tool that is not listed in what we use, but it's called totilian or a stump that you can get online or you can get at art stores, is very, very affordable. And what it does, it actually aids us with the overall smooth shading of what we're doing. It works amazing with graphite, works amazing with charcoal. And you can probably see the effect right now. And it's immediate how nicely it smooths out whatever surface we're working with. However, be careful not to go overboard with this because you're going to, you run the risk of just disappear like all the progress you have done with the different like hairs. You want the hairs to be noticeable still, Just apply it, just like I'm doing very lightly. All over the thing. Not all over the place, but just in certain areas. Very lightly. See, we still have now we're going to use our eraser just to make the highlights a little bit more accentuated, make them pop a little bit more with our eraser here we have a much, much lighter highlight. We're obviously going to apply them in the areas where we have the light source. I have used this eraser for a long time, but the finer the point of the eraser, the better of course. Then the next thing we will do, we're just going to go back to a very sharpened pencil and go back and just do a couple of lines here and there to make sure that we don't lose that natural effect of hair because we don't want it to be completely white. Let's just do a couple of those lines. Very light leaves in a very light hand of course, and that gives it a really, really beautiful effect. Just going back there to add a little bit more contrast where necessary last detail flyaway hairs. Don't forget about your flyaway hairs because unless you have your hair with gel, you will have some flowy hairs that are all over the place. And that's a very, very nice touch. It makes everything look so much more natural, something that usually we tend to overlook here. I'm erasing the lines that assisted us to begin with. There we have it guys. This is our realistic looking hair strand with curly hair with all our highlights and contrast using graphite pencils. Then we are done. This is actually our last lesson of the modules. And in our next video, we're going to do a hyperlapse of everything that we have learned. We are going to do one with the oval shaped method and one with the loomis head method using all the features, all the tricks we have learned in the entire course. I look forward to seeing you then. I hope you enjoy this lesson here in our next video. 18. Conclusion of Course: Summary of Concepts Learned: My dear artist, you have made it to the end of the course. You're in module nine and you have gotten to the end. So congratulations for finishing this entire course and all the lessons. So what we're going to see in this module is going to be a sum up of everything that we have learned in the entire class. What we're going to do, we're going to see two videos that are going to be on hyperlapse or we're going to cover our oval shaped method and lumos method in order to construct a phase using all the techniques and the things that we have learned with the features and the shading of the face. I'll see you right after. All right my friend, I hope you have enjoyed these two videos. And this is exactly what you will be able to do with enough practice, enough patience, and applying all the techniques that I have taught you in the entire course. Please do not forget. If you have enjoyed this course, please do not forget to leave me a good review and any, any comments or questions that you may have that will definitely help me become a better teacher in future lessons and future courses. Thank you again from the bottom of my heart, and I hope to see you my next course. Bye bye now.