Transcripts
1. Introduction: Hello. My name is Helena, and I'm so delighted to have you here. In this course, you will find out the basics on how to make a single pants a portrait. I will cover everything for measuring to honor To me shapes, shading and planes. I will guard you on how to apply these techniques to create a realistic portrait straight from reference, I will teach you techniques that will help you understand how to see the face as three dimensional. How to find different anatomical landmarks or even how to construct individual features. In the end, you will hopefully end up with the basic knowledge of how to approach a pencil portrait. So let's get started.
2. Supplies and how to use them: Okay, so food art supplies. I use simple HB pencil for basic sketching. Penta Penza who? More detailed sketching to be pencil four b pencil and following up with a B pencil And then I use black pencil for the darkest parts or details for erasing I use Put the razor off course were important for pencil drawings, then classic razor mono zero small eraser pencil For the smallest details. This little thing is lifesaving. Trust me, Dan, for this merging, I use classic smudging sticks. I clean them up with any sun paper to shoes and golden butts. Now, for pencil sharpening, I use a really good knife. This one is called open l and I got it from Japan. This knife is amazing. Super super sharp. I recommend using knives for sharpening because it will give you better flexibility with your pencils as you can shape it according to your grip. You can make it super sharp foreign details, and you can file it to make it better for shading larger areas. And also, once I started using a knife, my lines and drawings got way better. Trust me for the paper. I used the small Dwight cans in Bristol, then this one is my favorite threat. More droving 400 series, which is in cream color. I have recently tried this Stonehenge multicolored paper, which is also great experiment, which lots of different paper brands. It is good to invest in some good paper, as you will definitely notice the difference. Find your own paper that suits you. Okay, so when I'm shading, I don't usually work with a completely sharp pencil. Those are for the details. I work with a blunter one. I usually file it to achieve a nice 45 degrees angle and I losing up my hand and without pushing too hard, I make lines like this. Then, for smaller areas, I use circle movements like this. Also, be very careful. Do not push down to the paper too much and try to lose in your hand as much as possible. If your hand is stiff in your shake and your pencil jump everywhere when you're smudging. Also, do not push too hard and try to do it very softly. Otherwise, you will end up with ugly stains. Also, make sure you don't have any cream on your hands as you can transfer it onto the tissue changers, merging tools as often as you can to prevent stains as well. Then, if large areas, I lay my pencil flood like this and make lines using slow movement. If you want this much the smallest parts and details, you can use these smudging sticks now for the layering. Let's draw some range of values. Here I push down depends on the paper and more on the areas where I want to achieve a darker value. Now let's smudge it and drove over it with four b pencil and do the same thing. See, how is the contrast changing now? And you can still draw in a cycle rubber steak and see how nicely it raises the graphite. The Spencer is grateful highlights. Or if you want to fix something you can also erase with putting a razor. However, it is better to use it to a raise. Larger areas
3. Basic measurements and anatomical landmarks: Now we have the basic head, you know, divided into three equal parts from Chintu knows from knows, toe eyebrows, from eyebrows to the end of the forehead, the ice I line up with the nose. Then we can indicate the eye line, which is in the middle of the whole head. Please note it's in the middle off the head. People often mistake the head with hair attached to it, or they just take the stars from the start of the forehead, which is not correct with off the eyes approximately the same as the weight off the nose. The mouth starts, usually in the first middle of the I. That makes sense. The ears line out with the nose and eyebrows. You have to also consider a perspective off the face. So is I'm going to be always perfectly in line. Hair rips up around the school. But be careful and note that the Harris Wafi so you have to consider the school as well and give a little bit space on top of it for the hair. Some people finish their hair, their school finishes, and the drawing just looks a bit off. Now we have the cheekbones does start just between the eyes and nose and it goes all the way down to the chin. Your circuits are very important, as it will give the ice a proper place. It is also important to consider the our circuits and three the eyebrows and the eyes as part of it. The eye sockets go by the shape of the eyebrows down to the I please have a look at the school and you will understand more. We have a hard shape on the tip of the nose which made our character look like a mask from the festival of the dead. Oh, well, those drawings are there for reason. The hard shape is therefore called lower lateral cartridge. Then there is upper lateral cartridge and nasal bone, and we have links attached to lower cartilage. You have the important muscle that wraps around the mouth, or vehicular is forests. It gives shape to the surroundings of the mouth. The big cheekbone is called zygomatic bone. It kind of forms a line that connects to the chin, and you can use this as an important landmark. Now Jimbo is located between the zygomatic cheekbone muscles and the big side muscle, which is called the Massacre. It is really helpful to know about these muscles when you want to draw smiling people. Muscles are wrapping around the eye sockets. To knows that are up on the forehead will help you with the forehead shading.
4. Shapes, planes and shading: you are studying the facial planes, it can be confusing at the beginning. That's why I recommend learning about shapes at first because the head is, after all, a simple ball with shapes, touch to its first try to draw a simple Cuban and draw it rotating from many angles. This will help you to imagine different features on the head of shapes. The simplest form you can imagine ahead in is a rectangle. Then we have the actual planes. It is important to know how each plane belongs to the actual heads. There is no help in knowing to play model and not knowing what the heck each plane connects to you. That's why I will show you where you can find these planes on the actual face. I know it looks a bit intimidating, but practice joined these and ever click a great way. How to study does is to know a bit or chew about perspective. I have my pain model from the front. I will draw the one that is approximately the same uncle as our reference model, so we have some kind of guidelines. Let's then take a reference and find us planes on the photo. I recommend doing this as an exercise. It will help you tremendously. But identifying the face as three dimensional. This is the from plane off the nose. You can see that this part is the lightest. Then we have decide plane and the bottom. Blaine again studied the changing undervalues as each plane carries a different color. Try to break down the nose into smaller and smaller planes as well. Is who gets easier with practice. Also, find a central line off the nose. Then we have the eye sockets and the forehead planes again. You can easily locate those with studying the values Phil complain Mount Blaine's. Then we have the shadow under new mouth line, then decide planes. You can also call them cheap complains and the chimp lanes, if you please let me now show you where the planes are. In a reference photo plane model is a bit tilted up in our reference woman who is tilted down. It doesn't matter, as you can still locate those planes. These plane models are just for guidelines. - Let me know, demonstrate shading basics for a sphere. We have our light source coming from the top. Therefore, we indicate where the lightest area will be and then fill it out with one tone. Then we gradually at the core shadow, the darkest parts and the Castro. The lightest area is therefore called the highlight. Then we have the mid tones. Core shadow, which is the darkest area off the shadow, reflected light and a gust shadow. The reflected light is caused by the light bouncing off another object back to this fear. Remember that the reflected light is still dark, erred in the mid tone. You can have multiple light sources as well, which will cause a lot of different stuff on the object. But this is just a basic indirection. I recommend learning more about light and shadow. Then we have a cube which will look something like this. We can now shake a rectangle head friend, for example. We have the mid tones on the side planes, the core shadow and reflected light on the bottom, plain and nose. Disgusting. A shadow as well. You can find the Spartans anywhere on the face. Anybody can share this fear and a cube. Therefore, anybody can shade the head. Honestly, this is a core shadow just here on the top of the cheekbone. I'm sure you have seen these managers before on the actual face. This is how it would look like if he separate dark and light areas to show this to you. Here we have the coercion on the nose here is reflected light, and we have the cast shadow right here. And those are the Mick, Don's and highlight. If you imagine the chain as a bowl, you can see that there is a highlight. Here. We turn here. Core shadow here reflected lights. The reflected light is not much visible on this reference, but it's there and a gust. Shadow on neck Castro does. Examples are here from the upper lip and from the bottom lip. Try to notice those patterns on the actual faces.
5. The eye: Okay, So for the parts we have the islets, the pupil, the iris, the white part that is called Escalera. We have the tear duct and water lines. When you're drawing an hour, it's important to know that the upper part has got three planes in the lower part two together, it will form a nice eye shape. The tear duct is usually lower than the corner off the I remember that the eyes both eyelids drooping around it. Try and draw the ire, Azov. Consideration off the whole eyeball pupil is in the middle of the whole iris, not the visible part of the iris. On this reference, you can observe how delay TSA wrapping nicely around the Ivo. There is a lower waterline and an upper water line as well. Make the I and the eyebrow a part of the eye socket. So d I have a proper place and doesn't look off. So remember, 12 three, and 12 A good thing to pay attention to is the water line, which is the skin between the eyelashes and the I. If you know this, they both wrapped around here. Jax like this. It is a plane off its own that can be shaded. The upper one is more in shadowed in the lower one. Usually the longer one connects to the upper one in the corner of the eye. Then we have the lashes. Um, not like this, but notice how they grow down and form a nice U shape. The upper water line is not always that visit build in the lower waterline. Here we have the upper water line, very visible. That is why it is important as well, because often times there is a lot of attention only to the lower one. A tip on when you're drawing the eyebrows. Try to observe the direction off the hair sections rather than dropping them one by one. So I constructed and I model for you. The parts that are in light are usually this part. The front line of the upper leads and water line on the need it the tear jacked. There is a bit of white on the square on the rover water line. Let's now Jodi are in more detail, So evil scheduled three planes on the top. It's on the bottom, Um, make the corner howdy I hired and it's er doctors well integrated to water lines, the lower one doesn't need to be extra visible as you can make it more visible later. The razor just indicated so you know where it is. Later on, jury upper and the lower eyelids draw the ire ace in the middle of the whole eyeball and the pupil in the middle of the iris. You can also indicate where the highlight force on the iris now join the eyebrow. Notice what lines I use in order to place the eyebrow correctly. A line from the corner of the eye to the end of the eyebrow helps a lot line everything up in the ice. Okay, when you are done with sketching the lines, draw the dark lines. Who won't lose them? My partner. Like the areas and draw the first stone around them, Smadja admitted. Issue 20 I and Eyebrows as part of a complex rather than a separate feature and shaded a such too. Don't forget to shave this Clara to it appears why it's, however, it has tones of grey as well. If you closely the upper eyelid casts a shadow on the squarer. That is why the area is darker still. Use light pencil and work your way from the lightest to darkest areas. Do not need like the water lines, afraid to use smaller smudging supplies as a cotton bath and smudging stick, especially for I More smudging Supplies are great to use as the art is usually the most details. Take a darker pencil and work your way to complete a darker areas. Take your time with this to Mori progress. The more details you can at oh , it is the darker lines around the iris. Do not overdo it as it wouldn't look natural if you notice the eyebrows are darker where they start and lighter higher up. That's because they are defined but a shape they are own. Finish off by adding the lashes. Use your pencil lightly. When you're joking. Does do not overdo it unless you're go is to draw a fantasy character in the highlights. So again, there is a highlight on the tear duct on the iris on the lower water line and the upper Islay
6. The Nose: knows is the most complex part of the whole face. Therefore, it can be a bit intimidating at the beginning. However, with these right techniques, you will be able to break the nose down easily and never have any problems with drawing noses again. Those are the basic planes off the nose. The darkest is the bottom plane. The mid stones are on the side planes and the lightest is the from plane. You can see these under photos right here. Try to see the nose as shapes or planes attached to each other. Here, you can see we build the nose just from its planes, which you can see very clearly on the photo above. Each plane carries a different value. Oh, well, I didn't do the bottom plain dark enough, But you can see my point. I would assume Let me show you the nasal anatomy. Here we have the lower lots of little cartilage, the opera, little cartilage, nasal bone and wings. I must say that the world lateral cartilage is very challenging for me. Let me try and locate juice landmarks on our reference. Here we have the lower cartilage, the wings, the upper cartilage and nasal bone. There is often a bump in the transition off upper lateral cartilage and nasal bone, some people having more visible and others try to locate those long marks on different noses. Try to break it down with the planes as well. Study Deanna to me as much as you can. Google Find books exit dra. Let's now draw the nose in more detail. People start joining the nose with two circles to indicate the size of doing and the tip. If you have the second wing visible, use three. But in this case we can only see one wing and the tip industrial is placed in the middle of redder Circle school Next. Then we draw a line following the three circles and observing the nose on the reference. Now we draw in the plains of the nose. Indicate Deanna Tomi and try to break it down accordingly. You can see that there's local lateral cultural, each very well visible under nose, and it's also very helpful to find a central line of their nose drawing the gas shadows. Well, we'll take a darker pencil and go over the line so we won't lose them with the first stone on the side planes bottom Blaine and the gas shadows well, now defined the shadows more. Notice the dark shadows around the wings and the core shadow on the tip of the nose. When you have the bass tone done. Smadja visit issue. We also aware of the reflected light around the nostrils. - Build your layers and gradually work your way up to the darkest stones and values. Notice details and highlights. Duel over cartilage. Let the shapes around the nostrils be defined by the custard or not by the lines. - Okay , I'm good things to mention and to remember. Notice the core shadow here and a reflected light just here. Look at the lateral cartilage. Her nose. Is it nicely visible? Then the plane would look something like this with the bottom plane, side plane and the front plane.
7. The Lips: Let me now take it to the parts off the lips. This is Cupid's bow. This part is called the Filter Room. This is a very 1,000,000 border, and those are Orel commissioners. Let's just call them the corners of the mouth to make it easier for ourselves. This have age shape. Part is defined by these muscles called or vehicular is porous. Okay, so this is my lip model. This part is usually in life, this part in shadow, light shadow. It's basically like stairs. The area around the filled room and the corners off the mouth are highlighted as well as the bottom lip in the middle. No, it is the volume of the lips. It's curling down the mouth. Put it Blaine's. This one is to from Blaine and the site planes and the singles on the bottom. Now, with the middle plane off the Bottomley being highlighted, the two side planes are in a bit of shadow as well. If they're going away from lights, for example, you can have a light source from a different direction and have the right point of the bottom lip in light eggs. Edra. Now this part about the lips kind of girls away from the upper lip and is darker needed corners. Those muscles are usually in a bit of shadow with this part in lights, and the corners are, of course, dark. There's also a bit of shadow in the filled room. The easiest and the simplest way to draw lips is to start with the line between the upper lip and lower lip and then observed a perspective. Make a central line and then draw in the Blaine's using circles. You can also use two planes on the bottom lip because you kind of have to pillows in there . Whatever feels easier for you, then just connect those circles and voila! You have the lips and the same goes drawing the lips from a different site. Just wrote a vertical line in the centre off the lips, drawing the circus according to sizes off the planes. And there you have it. You will be able to draw lives from any angle. Now, easy half. I will now take it through, drawing the lips in detail. We will start drawing the mouth by creating a line between the upper lip and the lower lip . Then we will observe the perspective and make a central line with dose. We now can create two circles for a cupid bow in two circles connecting each side of the mouth. Draw the circles according to the sizes of each plane. Then we create a circle for from plane off the lower lip and two circles for the site planes. Then we create lines following the circles. Now the shoot form our lip shape. We share the upper lip, as it is usually in shadow. Observe closely the values and carried him to the paper. Your lower lips left plane is darker because it is going away from the life in the front plate is in light and the right plane a bit darker as well. Then we draw in the surroundings. Leave out a big white space around the filter room, and the Cupid bow, as it is usually highlighted, joined the muscles underneath the lip. That is, the half age shape part under the corners of the lips is usually very light as well. The lower lip is casting a shadow. When you have the basic tone done, go ahead and smudge it with a tissue, then you can continue adding layers with darker pencils. By observing the reference image closely, you can now enhance the highlights just to repeat around a cupid bow and filter, um, under the corners of the lips on the front plane off the bottom lip. And don't forget there is a reflected light at the bottom of the lower lip. Sometimes I really like to exaggerate highlights. It gives a whole new likeness to your drawing. However, this is entirely up to you as you are the artist. After all, there is also a bit of flight on the up early.
8. Drawing from the reference pt 1: okay, so I will take a stick and measure size on her face, which is the size of the whole schtick. Then I will try to compare the thirds off the face, which you can see are not the same. In this case, The chin to nose is a bit shorter than the two of those other thirds, which are the same. Know that even if you're transferring the actual sizes from the reference with the stick, always learn and think about the proportions. Ask a lot of questions. Us. Why it is this size eggs Eldora. Then you'll find out in mind the because the head might be tilted down and other stuff. You don't just take sizes and copy from the reference. Try to analyze as well. Now, Once you know the 3/3 proportions, find it top of the eyebrows as well as the bottom off the eyebrows and draw our other lines to everything. Now draw the center line drug a nose with three circles, indicating the size of the wings and the tip again. Try to see whether you get the size correctly and then check it with the measuring stick or a pencil. Once you go get better, you will be able to rely on the steak less unless now I can see I've done a good job at measuring the nose. Draw the shape of the nose following the circles. Always double check everything and now say the nose up to the eyebrows and then draw the I'm rows. Using the lines measure their D. I starts using the nose as a guideline measure board with and height. Measure the uncle of the eye line and transfer it to the paper, then double checked the line. Start taking down the eye socket lines and complete eyebrows. Now measure uncle from the tear jacks to the corner of the eye, then company drawing the whole I and always remember to double check the measurements. When you are transferring information from reference to your paper. Always consider individual shapes along with the lines as well. The Anglo from the start of the nose will tell you where the left eye starts. You can just draw it to the reference Now I found out that the width of the right eye is a little smaller than the left eye. Now continue drawing the second I and always double check whether you haven't done any mistakes when you are double checking. Always tried to check variations of lens, for example, from nose to the eyebrow from chin to the corn off the I eggs. Edra. Sometimes the measurement is a little off, so I still have a chance to find out why. Checking all the different measurements is really good as you are constantly making sure everything is in the right place. Now draw a line from the right part of the mouth to the right. I So you know where the mouth starts. We found out that the left part of the mouth stars just where the left part of the nose starts. Take the stick and measure, wear them out, displaced no down the lines and draw the remaining parts as well. Don't forget to measure the uncle of the mouth as well. Please know that this demonstration is just showing how I did and measure this particular reference according to my style. Everyone likes to do things differently. Therefore, I want you to analyze everything and approaches by how you feel the most comfortable. However, don't forget to challenge yourself and train your eye as well. Now draw the surroundings and the hair by trying and using your eyes. Only you can always double check later when you are done sketching lightly erased everything with Pootie a razor just so you can still see all the lines and draw pretty lines over it with a pencil. This time, pay attention to the details. If you see some bars off the face, are you still have a chance to correct it? Pay close attention to everything. Double measure and double check India and Section two hair as well. We are taking our sketch and we'll break it down into planes. I'm breaking down the nose by closely studying the reference. You can also double check by measuring where the actual plane start. As you can see, the nose is approximately this model, which you have seen many times already in this course. But I think it's never enough. Then work on the eyes and more detail. Don't forget the three and two planes we were talking about earlier and also do not neglect the water lines. Try to also see where the eye socket iss then draw in the chimp line. If you get the reference you concede by studying the colors. In this case, it is quite visibly light. Now put down the other planes by studying the reference closely decide. Cheek complains are here. Those planes are just here. Uh, the nasal Blaine is quite obvious. The middle part with me I circuits and the actual I so kids, the forehead planes, the chin and the mouth.
9. Drawing from the reference pt 2: first, I would like to apologize and excuse my hair constantly showing up in the video. I think I just woke up that day and, ah, few noted hairs decided they wanted to be in the shoot. It's only for a little bit, I promise. We will start by mapping out a few more areas that are in light, other than the ones we did before with planes like next to write part of her nose between the I and the eyebrow and also around the filled room. Then we take a to B pencil later, but flutter and start gently filling out the darker areas. This is something like a foundation to set a tone separate dark areas from light. So we have something to work with. As you can notice, he broke down the face using planes. It should be now clear which areas are dark and which ones are like, for example, be mapped out the chin play in, which means we also mapped out the area. It is lit with light. The same goes for cheeks, as we did him into. Where did she complains are? We were left with a white area above the cheekbones and under the eyes, which is lead with light. Those planes we did are just simple. Each plane and we learn, is broken down into smaller planes. However, having a general knowledge of shapes and planes will help you cities for yourself and the Moria practicing to face as three dimensional the better you'll be able to see it for what it is. A bunch of shapes put together with light falling on them. You can go over the dark line so you won't lose the shapes. When you are done with the first stone, work on the darker areas with the to be pencil and give darkening up. Leave out any major details at this stage. Make sure you have an idea of where the darker and lighter areas are. Also noticed. The cast shadow under the nose and on the right side of the nose. You can now take it issue and smudge it nicely. Then I usually start working on the eyes as I like to have them defined sooner as they require the most important part of a portrait. Don't forget to change your smudging tissue off, and you want to be left out with ugly pencil stains. Take a time and go over the I still with a cheapie pencil. Notice everything we have talked about earlier. Mark the water line. So we're gonna work with it later on. Then work on the rest of the face. Still with you. B pencil. As I said before, think about this stage as a setting stone. A foundation. Have a feel with all of the features. No wonder lights and shadows are use a pencil drawing a section smudged with its issue and repeat built layers This way. Now we take a four b pencil and work more on the details. Make sure you get higher contrast between darker and lighter values and achieve more death . You can get back to to be or edge weapon sort of work on the light about uses well, - well in these surroundings with the darker pencil, you can kind of leave out the hair or you can draw them in. However, make sure this black spaces drawn in as ever make a Facebook. No, it is the core shadow on the cheekbone. Right here. You can see that the face is starting to look good. At this point, you will achieve this stage by closely rendering from the photograph. You have to also be very patient with the whole process and building up layer by layer. Use your pencil softly, go from light to dark. Please be aware that this is my style of doing things. However, some people even defined the darkest Don't at first, and they kind of go from there. I like to start with lights, pencils and build layers to darker stones. Now for the hair. I have seen a lot of people doing it with charcoal or charcoal pencil, or they fill out a space with dark tone. First, I usually started to be pencil and separate the dark and light areas from each section as the Harris section. I work with each section separately and will not end up having confusing shading and light in the hair. Be aware that the hair is messy, so it doesn't have to be perfect. Nobody will pay that much attention to that globally line. So again, notice which part of the hair is lighter and which part is darker and defined that now and smudge it off course to achieve smoothness. Now it's time to take a B pencil and go even deeper. But our values this time you can get to the details as well, so feel free to come back to lighter pencils to work on lighter areas. Be patient with this process and notice details. You find the darkest shadows as well. There are also very dark areas you can enhance with a dark pencil. As this lash line on the eyes line at the end of the nose around nostrils and the line between the upper lip and lower early. Those are usually darkest on the face. No days how the I raise hope about more If you take yourself and drawing the dark line on the edges. It also has a cast shadow from the eyelids on the top. Now go over the hair to deepen their values as well.
10. Drawing from the reference pt 3: Let's now sharpened our pencil very well so we can achieve a nice day n dark lines. You can now define the eyebrows as it has a few her bits as well. Jungle wild as you can. Observe that the eyebrows dark only in the first part, and it goes much lighter. Don't spend too much time drawing the single hair off the brow. Take it as a whole and only do a little bit of hair around for the effect. Get to the luscious with soft strokes. Sometimes the portrait even looks good if you substitute luscious for thick black lines. That's because when you see the whole face of a person from a bit of a distance, it looks like a black line. Get to the highlights. Use your rubber or rubber stick very softly. It's on the tip of the nose and higher up two to nose around a Cupid's bow and the filled room. Next, three nos on the right side, on the chin, under the corners, off the mouth in the iris, a little over a water line that's here, jacked next to the eyes, down, following the ice. Okay, usually there is a highlight above the eyebrows because of a bone called the Brow Ridge. Don't forget about that. You do these highlights very softly. Otherwise it will not look natural. We will come back to the highlights later on. - When we are getting to the finish line, we can work on the clothes. I usually don't like to put too much detail on that as I want the attention to the face, However, some artists are doing those super realistic Ritu. It's entirely up to you. - Start slowly wrapping things up and see what needs to be finished out it eggs Edra See which will use needs to be darker, and you can also use the rubber to light. In some areas. Out, the hair is casting a shadow on the face. Jodi's shadows us. It will made a Facebook more. Sometimes I like to put her, but they are not. It makes the finished drawing looks nice, and here we are almost at the finish line. You can now enhance the highlights. Again. Known is the highlights on the hair as well, and you can also rubber in a few small hairs in the darker areas. If you please polish up your drawing by erasing order. There depends is much is around. I like to fluff the hair a bit more. I don't like to follow the reference at this stage in just use lines allowed to exaggerate his bit. You can also smudge them to appear softer and smudgy, edges off her hair to smooth things out. Now, to find the layer of highlights, I love to exaggerate highlights as it will make the face look great. Now this is our finished drawing. I didn't use Buck pencil. However, feel free to go even deeper. Vigil values don't just stick to the rules all the time and be illegal, creative as well. Values don't have to be as dark as they are on the photo on the lights can be a bit lighter . You can also use white pains if you have a bit darker paper to make it even more. Don't go Peter Reference. Analyze it. My friends
11. Excersises: I have a few exercises which will help you to get better. Firstborn is drawing a cue from many angles. Animated. I've got this technique from Glenville Pose book called Drawing Manual, which are recommends so much as the book is a pure gold. This will help you imagine the face in many angles. In the beginning, you can take any Cuba confined at home or just make one from paper obs early perspective and draw to keep from many angles. Then you can drop. Look you and just imagine it rotating in your head and drove it on the paper like an animation. It's just a simple que but I struggled with this at the beginning. Do not underestimate this. Look at the newspapers and magazines for face reference or prince amount and raging down into three D forms using the head planes. You can get really creative in this as you go. This is a great way on how to understand the face as three dimensional, and it will help you break it down into smaller shapes. If you really struggled with this just for the general head planes, you can go go them they're everywhere or buy a book on drumming Heads by Andrew Loomis. Next is Naser Honor to me again. Find some noses and Jordi Anna to me over them as we did find the cardiologists wings and nasal bones observe different noses and see what shapes is it forming.
12. Conclusion: to be successful. There is one thing that you need to have Skull men. Can you please tell them Oh, well, it's fun, I suppose. Yes, yes. You need to have fun. Have fun in your experiment. Find your own style. Supplies eggs. Edra. That suits you. Do you know why are is so popular? Because it's fun. We supposed to enjoy ours in heels and makes us better people. London tools will also have your own mind and try to write in your knowledge anywhere you can. Together, it will form your unique style personality. Do you think your art is in perfect? Guess what it always will be. You will never get rid of this imperfection. So why not just enjoy your doodles you are making now? If you really want to be good, you will meet a lot of frustration on the way. However, with great patients and lots off track days, you'll be a great artist one day. I know that. I hope you like this lesson. If I didn't have so much fun with it, I wouldn't make it for you. After all, I want to make more adolescents for you guys in the future. please find me on Instagram, YouTube and Facebook to stay connected and see more of my art. I also take any suggestions on how to make my next lessons even better. Thank you so much. And happy out making by
Helena Artbook, Artist and Illustrator
