Drawing Faces: Learn the Art of the Modern Portrait

1. Introduction: Hi. I'm Ann Shen and welcome to Drawing Faces, the Art of the Modern portrait. I'm an illustrator and author based in Los Angeles. I've written and illustrated four books that have been published by Chronicle Books, Bat girls throughout history, legendary Ladies. Nevertheless, she wore and Revolutionary Women. I've also illustrated my first children's book, released a global home collection with Disney and worked with companies like Facebook, Adobe, and Jenny splendid ice creams and Dolly Parton. I also love creating online classes to help people connect with their creative practice. Painting portraits has been a huge part of my career. I've illustrated hundreds of women in history that have led to other jobs, illustrating the beautiful, diverse communities we live in. Learning to draw portraits from models in real life and from reference photos has taught me so much about seeing other people. See it as an exercise in developing empathy and finding the beauty in everybody. Now it's also a meditative practice for me. I I'm warming up for a day of illustrating. I often like to open up my sketchbook and my pinters folder full of portraits and draw from there to warm up. No matter where you are in your creative journey, learning to draw faces better is going to make all your artwork better, especially if you've always wanted to add figures to your work, but find that it falls apart when you try to draw the face. People always ask me how I draw portraits of people, so I'm going to show you how I do it and the techniques I use. I'm going to teach you the foundational skills and the practices I do to help you draw faces confidently. With this class, I'm going back to basics, and we're going to be drawing from observation. We need to learn the foundation so that we can shape our own creative practice to suit our own styles. So all you need for this class are colored pencils or even a graphite pencil or a ballpoint pen if that's all you have and some paper. Learning the basic foundations and best practices for drawing portrait is the best way to get better fast as you develop your own style and move on to your mediums of choice. This class is perfect for artists of all levels from beginners to advanced artists who want to refine their craft. By the end of this class, you'll have three full portrait drawings from three different perspectives and the confidence to practice more and draw faces on your own. Let's get started. 2. Class Project: Hi, and welcome back. Let's dig into it. Today's class project is to draw a portrait with me. For those overachievers, I will also be doing draw throughs of a three quarter perspective and a side profile view, and you are very welcome to draw along with me. The more practice you get, the faster you get better. Faces are what people look at most. They're what babies recognize first in life. Faces evoke so much emotion. Just think of the face of someone you love or even loathe, and you can think of all the emotions that brings up in you. The way you, the artist creates the portrait, also says so much about how you see the world. We'll be using reference photos to draw faces with confidence. I provided a folder of reference images that we're going to be drawing from and then extra images and folders within that folder so you can practice on your own. You can find that in the resources section of this class. First, we're going to draw a portrait from the full front view, which means that the model is looking directly at the camera at you. I'll go over how to simplify the shape of the head, jaw line, and neck, break down the proportions of each face and placement guidelines. I'll even show you a trick for measuring without a ruler. Then I'm going to break down how I draw the eyes, the eyebrows, the nose, and the mouth. Finally, we'll finish off the drawing with rendering the hair, and I'll show you techniques for getting different hair textures. And then for those who like to go the extra mile, I'll do a whole draw through of the three quarter view and the profile view so that you can follow along with me. A very common perspectives in portraiture. Please make sure to share your portrait drawings in the project section of this class so that I can cheer you on, give you advice, and encourage you. By the end of this class, you'll be able to draw portraits with confidence. Now, Mimi in the next lesson to get started. 3. Materials: In this video, I'm going to go over the materials that you'll need for this class. I'm going to be using traditional materials in this class for the sake of accessibility. But if you want to use your digital programs, please feel free. All the rules and principles that I teach in this class will apply across all drawing mediums. So for this class, I'm going to be using a drawing board. This is just a piece of MDF board. There's also like drawing clipboards you can get, any type of board thin board surface that you can use. I'm going to be using one of my favorite sketchbooks, the Mixed Media Strathmore sketchbook. It's 7.75 " by 9.75 ". I really like this kind of sketchbook. I like the paper. It's smooth but thick and can hold a lot of different mediums. And as we'll be sketching with color pencil, you can see it picks it up really nicely. I also like to keep this little flap so that I can rest my hand on it when I'm drawing so that I don't smudge it with my palm. That's useful. I also like to have a piece of scratch paper that I'm going to put behind pages when I'm drawing so that the pencil doesn't transfer over. I have a extra sketchbook here. I'll show you what we'll use that for when we're doing the setup in the next video. I'll be using colored pencils, but feel free to use a number two pencil or whatever you have available to you. You'll just want to do your lay in lines lighter, and I'll indicate that in the lessons as we're going through it. But if you want to draw with me, exactly as I'm going to do it. I love using these fabricstle polychromos pencils. They have a little bit of oil in them, so then they don't smudge as easily, but give you that nice, rich texture and color. They're very smooth to use. So for me, they're really worth the money and really satisfying. I'm using the colors cinnamon. Coral, burnt sienna, and walnut brown. Since we're using pencils, we are going to need erasers. So I like a thin eraser like this so that it really gets into little tiny spaces to erase, like the whites of the eyes, et cetera. One of my favorite discoveries last year was a mechanical eraser that has a small tip because then you can really get into erasing the fine details very cleanly. Since we're using pencils, I like to use a manual pencil sharpener. It's just nice to be able to control the sharpening process. An electric pencil sharpener tends to eat up pencils a lot sometimes, so I like to be able to go low and slow. And then the final thing you'll need is your reference photos. I'm going to have it pulled up on my iPad like this. I have a folder of reference photos that I've gathered from royalty free websites like Osplash and Pexel. The folder is available in the resources section of this class, and you can either pull it up on your iPad or laptop or phone or you could print it out. You're going to want the image to be approximately this size in relation to the sketchbook because it's easier to draw from, like, about the same size, at least when we're starting out, then you can see all the details. Alright, now that you have all your materials, let's get started. 4. Proportions: In this video, I'm going to show you how to break down the proportions of a face so that you can lay in the foundation for any portrait. First, we're going to set up to draw correctly. Have you ever drawn a paper flat on the desk, only to pick it up to look at it straight on and everything looks off? That's because your perspective is skewed. Here's how we fix that. One of the biggest challenges I see when people are drawing observationally is not setting up the paper right. You want to angle the paper by using an easel or drawing board. And this is how I do this very, like, cheap and easy. I'll just take an extra sketchbf put it underneath my drawing board, so it creates a slight diagonal angle. And I put my sketchbook or drawing paper. And my reference, both on this so that I'm looking at everything on the same plane. And this angle up towards me, the slight angle up towards me, I probably would do a little bit more if I wasn't demoing a class so that it's even more directly angle towards my line of vision. But even this will help you see a little bit more correctly the proportions and the perspective. So I have the reference image pulled up on my iPad. You'll either have it printed out or pulled up on your screen somehow, too. I have it about the same size as what I'm going to draw, which is a little larger than my practice drawings because we're just going to do one portrait on this page. I'm going to start with the cinnamon pencil, which is the lightest one to start the laying. Now I'm going to show you a trick for measuring without a ruler. You take your pencil and you put one end on one side of the head and then use your finger to mark approximately where the other side of the head ends. So you start like this. You mark where that part ends. And then you use that to measure approximately where the other side of the head ends. So that's the diameter of the circle, the ball of the skull. And the thing about being an artist is no one is born knowing how to draw a circle. Everyone starts by practicing with light lines, finding the circle. And everyone is making the right marks. It's that practice that helps you identify which ones are the right marks as you practice more and more. Now we're going to use that same technique with our pencil to measure from the top of the head to the bottom of the chin. So that helps you mark where her chin goes to. Okay, so once you indicate the set where the bottom of the chin is based on our measurements, then you want to lightly draw in the jaw line. Really observing the shape of the jaw line for each portrait you're drawing. But you can still keep it light and general. Now that you have the ball and the jaw line, you divide it in half, and that's where the eyeline is. Usually the curve of this will indicate which direction the head is tilted up or down. Since she's looking straightforward, it's pretty much a straight line across. And then we do the same thing vertically to indicate the middle of the face and where this would go through the middle between the eyes, the middle of the nose, and the middle of the mouth. And again, because she's looking straight on, it pretty much is just a straight line. Then you will divide this from the eyeline to the chin, divide that in half, and that will be the bottom of the nose. And then you divide the space between the bottom of the nose and the chin in half, and that is generally where the center line of the mouth is. For the eyes, generally, we're going to go in and measure the same way. And generally, eyes are about one eye apart. And then you kind of measure where it comes in from the side of the face, which is about half the eyeball length. So we do half the eyeball length, and that's one corner. And then we do the eyeball length to mark the inner corner and outer corner of the eye. But this varies on people. And so getting the proportions right on people is a huge part of getting the likeness. So paying attention to that when you're measuring for each portrait that you're drawing based on the reference or the model that you're looking at is really important. So for her, we're going to go back in and continue indicating the corners. And then we also, once we have the head and proportions of the features in the landmarks of the feature is pretty much in. I also like to just generally gesture in lightly the direction and shape of the neck. Again, the pose we're working from is pretty straight on and neutral. But a way to, like, get gesture, which is the direction or general movement of the character is to use your pencil to measure from shoulder to shoulder. And you can see there's a slight, very slight angle she's at, and we try to do the same thing. Like, we try to draw that same angle in. You can even exaggerate it a bit when you're drawing it, sometimes you tend to stiffen up. So exaggerating it exaggerating a gesture helps it really come through in art. It's just how it works. And then you can use a corner of the skull, not the hair because hair can obviously be a lot bigger or poofier or different shapes. So we usually take can kind of see the skull probably ends about here. So we take, like the corner of the skull to the shoulder to see how far the shoulder goes. So hers kind of goes right there, and then this corner here. That was about the same. And then I'll just lightly gesture in 'cause we can't really see this 'cause it's hair, so I'm just guessing here. I'm lightly gesturing in. The neck and shoulders. That just gives some placement and weight to your portrait. Now that you've learned the basic proportions of a head, you can practice the same draw over breakdown over more portrait photos. To help you really practice and understand head lay ins, I prepared a worksheet full of portraits for you to practice drawing over the foundational lines. You can follow along as I do the exercise drawing over the worksheet to make sure you really understand breaking down the proportions. You can find this worksheet in the resources section of this class, and you can either print it out and draw over it with a colored pencil or follow along digitally like I am. The more practice you have, the easier it's gonna become for you to be able to observe from a model and understand how to draw. Me mean the next lesson where we're going to go over Is. 5. Drawing the Eyes: In this lesson, I'm going to show you how to draw the eyes. The eyes are the most expressive and emotional parts of a face, so I think it's the most important part of a portrait. All eyes are structurally skin over a ball. These muscles are called the obiculars oculi muscles that open and close. So those make the eyelids the shape that they are. There's a little bit of a triangle at the end of one side and a little bit of a hollow and triangle on the other side. The eyelid is generally not a smooth half circle like I just drew here. This is for simplicity's sake. So when you are drawing an eye, one of the biggest mistakes is people just do two curves like this when really the eyelids more complicated than that, and the best way to really steady an eyelid is to look at the eye and make it find as many of the straight edge angles as you can. So for her, there's about three. There's one up, one across, and one down. But the many beautiful different shapes of eyes out there, there are so many different ways eyes can look. And so really paying attention and making the eyelids straight angles and lines. And then you can smooth it out as we draw it and really noticing how the eyelids close and interact with each other and how the corners meet, that's different on everybody will really help you get a likeness and create differences in your character's faces. Also, a lot of people have different types of eyelid creases above their eye. She has more of a tiny hooded. It's almost hooded, but it's not fully hooded. It's a little bit of a crease. So I always want to indicate that because that creates more of a shadow above the eyelid to create that double eyelid. And then you want to go in and draw the iris is the colored part of everyone's eyes. The iris also has a pupil in the middle, which is always the darkest part because that's where it's literally an open hole into your optic nerve. You want to make sure to leave a reflection because eyeballs generally have moisture in them, then that will cause a reflection. If there's no reflection, that can create a really uncanny feeling because if there's no reflection, there's no life. And then, generally, the outside, the iris is colored in the color that the person's eyes are. It's a little darker underneath the eyelid it casts, like, a slight shadow. And then usually it's a little lighter on the opposite side of the reflection because it is a ball surface. So the light kind of goes through it like that. So that's just how it works. Usually, the iris is covered by the eyelids because the size of the iris is just larger than the eyelids usually at rest. If you can see the entire iris, that usually makes someone look very again, uncanny because normally you can't see someone's entire iris, or it makes you look very surprised. Both generally never things you really want. And then as you're drawing eyelashes, you want to kind of cluster them together. You don't want to draw them like one at a time like that because it doesn't look natural. Eyelashes actually kind of grow a little bit curved, and then they're usually in little triangle clusters. And that looks just more complimentary and natural to the face. And again, these are general foundational roles. You can always break them. You can always stylize and do whatever you would like. But we're learning the roles to break the roles here. And so then above the eye, there's always the brow. And again, I'm kind of using measuring to figure out how far the brow is. It's like half the eyeball with high, and that's where it starts. So generally the eyebrow, I like to draw one hair at a time. And in the general I'll lay in the general shape. So usually the eyebrow, one third of the way above the eye, the arch goes up for this is especially true for women. Men usually have busher eyebrows that are straight. Women tend to have eyebrows that are a little thinner because they're less hairy and then go up into a little arch and then finish more into a point. And the corner usually at an angle to the corner of the corner of the eye. And so that's generally how you draw the brow above the eye. And I'm especially using her as reference. So this is how I would do it based on this reference, but the steps would be the same no matter what you're drawing. So I'm going to draw in both eyes, and you can follow along as I do it. I'm going to use the cinnamon pencil to lay it all in and then start using my darker brown pencils as I commit to the lines. I know there's always a lot of demos of the right eye asking you to draw the left eye. The approach is the same. Like, look for those angles because people's eyes are sisters, not twins, just like eyebrows. So just pay attention like her left eye that I'm looking at left eye is a little bit bigger and less of a crease than her right eye as we're looking at it. So I'm still using that same technique of finding the angles. To draw the opposite side. I'm drawing this a little darker than I would like you to draw just so that you can see it on camera. Because, again, these are the lay in lines, meaning, like, the guidelines and not the final drawing lines. Since we can't see the tail of her eyebrow there, that's where, like, no ink generally it ends there. At an angle to the eye is helpful to kind of imagine where And with the direction of the irises, remember that eyeballs look in the same direction. They move in tandem generally. And so, once again, I'm looking at how much white space there is basically and leaving that. I'm doing the same thing here. Now I'm going to go in with my burnt sienna pencil to really start committing to the actual eyes. This is where using my little guide. My little guard is helpful. And I'm not doing it here because I don't want to block the camera, but usually you want to, like, look over as close straight on as possible of your drawing. It just helps you see it more accurately. Now that I have the eye laden and I'm committing more to the final drawing, I'm smoothing out those curves a little bit. But you can see it still maintains the shape of her eye more than if it was just a half circle curve. That's the goal to get a likeness. For women, I generally like to add more eyelashes and more pronounced. It just gives more of a feminine flirty look, which is what I like stylistically in my work. And for men, generally, even though in real life, men tend to have nice long lashes and thicker lashes because they're hairier. When I'm drawing men, I don't emphasize the eyelashes as much. This is where your creative license comes into play. This is where kind of emphasizing the types of people and gender roles you want to see come into play when you're expressing yourself through your art. Like, you could choose to do the opposite in your world if that's what you want to do. You're the creator of your world. Or you can choose for it to be a part of the characterization of the person you're drawing. See, that one I started with the brow first. Like, there's really no harder set rule, but once I get into the flow of it, I like to just go to what's interesting for me. So this side has no crease, I can see as much, but there is a shadow where a crease probably is, so I make that a little darker. And usually the reflection is in the same place because the light is coming from the same direction. So here I'm kind of seeing my brow is a little bit too low on this side. So I'm gonna go in with my eraser. I races away the bottom. Generally, I don't get too dark in the corners of the eyes because it just helps to let it soften and not draw as much attention. You want the attention to be focused on the iris itself more. So some areas you can choose to just put less emphasis on by not making us dark or letting fade away. So and then I'm going to add in a couple lower lashes. It got too dark and too straight here, so I go back, erase it. I go back and erase it. And I just add a couple of outer lashes because they're the ones you can see the most. At this point, I also like to go back in with my cinnamon pencil and just shade in this kind of triangular hollow that gives shape to the eye socket, gives some dimension to the eye socket and also allows the bridge of the nose to start to come forward 'cause it's a lighter color. Cause anything that's colored in in value or darker in value recedes, anything that's lighter comes forward. Now that we've done the eyes and brows, let's move on to the nose. Meet me in the next video. 6. Drawing the Nose: In this lesson, I'm going to show you how to draw a nose, which can pose a challenge for a lot of artists because it's something that comes forward in space and involves a little bit of foreshortening. But I'm going to break it down so it's easy for you. The nose is hard to draw because it's actually more three dimensional and comes forward towards you in space. This is a side view of the face. So it's a wedge off of your face, basically. When it comes to noses, the less you do, the better, honestly. I like to start with just indicating the bottom shadow of the nose, which usually is an upside down triangle because the nose is a Think of the nose as a wedge form. This is the front view. This is the bridge. This is the front view of the nose. This is a side view of the nose or a three quarter view of the nose. So basically, it's a wedge shape that's coming forward towards you in space. These are the side nostril floors. I like to start with just indicating the bottom shadow of the nose, which will be an upside down triangle because the nose comes forward in a little triangle shape. Now, again, most of these are guidelines that can change from person to person, which is what makes people's faces unique. Once I indicate the bottom of the nose shadow as a light triangle, I like to go above the line and add in the shape of the dark nostrils. Now, you can see the shape of her nostrils here, and I try to get as close as possible to the shape there. So this is above the shadow. And then you kind of measure where the flare ends by using your pencil and measuring straight up and down. So hers kind of goes up to the a little bit past the inner corner of her eye. So I'm going to indicate it here. And here. I'm also going to use my pencil measuring method to make sure that the length of the nose is a good distance, is a correct distance, rather. So like I said, the guy line is that it's halfway between the eyes and the mouth. I'm going to use my pencil to measure this to the bottom of the nose. And so it's in a good space. Then I'm going to measure the nose, the bottom of the nose to the bottom of the eyebrows. So this actually is a little low, and I think it's I drew the face a little high. So I'm going to fix that by just moving the triangle up a little bit, and then moving the nostrils up a little bit. Okay. So we're in real time fixing things with how you're drawing it. I love this electric. I love this electric. Eraser. Okay. So now that we have the side of the nostrils and the little shadow, but penciled in. I also like to do a little bit where the ball of the nose, which is where the tip of the nose is, I like to indicate it very lightly. We don't really draw that in. This is, again, another kind of marking nose because if you do draw it in, it kind of looks clownish, but you can stylize it, so it doesn't so that's pretty much where I'll leave the nose. Sometimes I'll also add in like here there's a little bit of directional shadowing and if you squint your eyes, you can see that one side has a little bit more shadow than the other side. So what I'll do is usually indicate, like, kind of, very lightly shaded. Just to again, give the nose a little bit more of a dimension. And usually the shadows are coming in to kind of create that bridge of the nose, which is coming forward, but it comes forward because you're drawing everything around it. And now I'm going to go in with my actual committing pencil and which is the burnt sienna and actually draw in the nostrils. She has very small nostrils or, like, yeah, cute little nostrils. And so I make sure to, like, shave that down a bit when I'm doing my actual drawing, drawing the nostril holes. Hers are a little bit more horizontal. Sometimes people have ones that are more angled. And again, these little differences is what creates the likeness in a portrait. So her nose the ball of her nose is a little higher, and you can tell because this little septum part goes down a little past her nostrils. On some people, it doesn't go down because they have a flatter nose. And again, these are all things that you notice as you draw more and more people. So I'll do a light shadow because this part, this little triangle, I'll actually go in with cinnamon to do that. Okay. I'm going to go back, do the nostril. Go back in with cinnamon. I like using cinnamon to do the shading because it's not as aggressive. And it's all about value balance in making a good portrait. And you can see, like, if I use the walnut, it kind of made the shadow the same color as the nostrils, but you can see that that's not actually what's happening here. So I like to go back in with cinnamon to create the little shadow. That's the triangle, that's the bottom part of the nose wedge. Oh. This part right there of the nose wedge. And then send them in to draw the little shadow underneath the nose, as well. And then that's pretty much where I'm gonna leave the nose. Sometimes I'll shade in the bridge or not the bridge. I'll shade in the little part at the top of the nose, but she doesn't really have one. Some people have a more pronounced one, so I might just leave that there. I might erase it later. Who knows? I'm going to actually add in a little bit more shadow with my walnut brown underneath the nose. Just to create some more difference between the bottom of the nose versus the shadow on the nose. And so that's pretty much where I'm going to leave it for her nose, drawing in the nostrils, the septum, the shadow, and the side of the nostrils, and then shading in one side to give the nose a little bit more shape and placement on the portrait. I really think with noses, the less you do, the better. Now that you've learned how to draw a nose, join me in the next video to cover the mouth and ears. 7. Drawing the Mouth: In this lesson, I'm going to show you how to draw the mouth and the ears. It's a good time to sharpen your pencil if you haven't had a chance to yet. A sharper tip makes it easier to draw. Okay, so for the mouth, we use the same pencil measuring method where we use our pencil to see one corner, the width of the mouth, and then the corner lines up pretty much with the center of her iris. So we go here and indicate one corner, the size. You can either use the center of the iris method. Or the measuring method. Now with the mouth, like I said, this line between the bottom of the nose and the bottom and chin usually is where the mouth seems. The top lip we generally draw is thinner than the bottom lip. And we lightly pencil in the top lip with a dip in the middle because she has a very pronounced cupid's bow. Some people don't have. Some people have softer ones or smoother ones. Again, another point of differentiation between different faces. The top lip is always darker because in dimension, in space, lips look like this, if this is the side view. And therefore, the top lip is usually facing down, and it's in shadow because it's facing down a little bit. So the top lip is darker, and I usually just shade that in to indicate it. Make sure the seam of the lip is pronounced the opening. And then she has a little bit of turned up corner, so I make sure to highlight that. And then with the bottom lip, you can use your pencil measuring method and see that it's double the size of the top lip or you could just use that to indicate to learn, since this is about the same size to indicate where the bottom of the lip is from the opening. And then generally, instead of drawing a harsh line which can look too harsh and cartoony, I like to just lightly shade in the bottom outline, but not like connect it completely. Because, again, it's not like one full shape. It's two moving muscle pieces that touch. And so I'll shade the outer side. And also, mouths don't actually have a hard outline unless you're wearing, like, a bold lipstick. And so that's also why I don't really use a dark outline when I'm drying a mouth. I'll use shading instead, and so I'll just color in or paint in if I'm painting. Just the outside shape. Shade in the outside shape, so I noticed there was, like, a little pronounced corner there. But I'll leave the center right here, a little lighter because that shows the fullness of the lip. That's the part that comes out right there. Or comes forward in space. So that's a little lighter and highlighted. Sometimes I'll go back in with my dark brown, which in this case, is my walnut brown. To draw in and make the line between the lips a little bit more pronounced or anywhere where it's a little darker. And then I'm actually going to take my coral, which is pinker. To really shade in the lips because it's the pinkest part of the face. But pinkness really adds some or rosiness in general, depending on how much melanin is in your skin, rosiness in general, just adds more life and warmth to the face because it indicates where blood is flowing. I might actually add in a little bit more walnut brown on the top lip. I'm using little strokes upward and outward so that it creates a little bit more direction and lip texture. Um yeah. And so now that we place the mouth, we're actually going to go in and place the ears. So you see usually ears. You can't see the top here, but ears start where the brows start, and the bottom is pretty much aligned with the bottom of the nose on her. Since we can't see the top of her ear, I'm just going to cover it with the hair that's going to come in and then draw the scoop and then indicate a little bit of the inner shell of the ear, based on what I'm observing, which is, like, a backwards three. So I don't usually pronounce the ears too much or I like to keep it a little more loose and gestural so that it's not the focus since ears are further back than the face in space, so you kind of just want to keep it loose and gestural. I'm just going in and defining the jaw line a little bit more as her face starts to take shape. I like to go in and create a little shadow underneath where the lip is sometimes. Like, hers is really pronounced. So I like to go in and just, like, indicate a little more shadow. And I can also use the eraser to create more chin because there is more space between the chin and the bottom of the lip than I had originally loosely planed in. Now that we've done the mouth and the ears, let's move on to the hair and finishing details. 8. Drawing the Hair and Finishing Touches: In this lesson, I'm going to teach you how to draw hair, which is one of my favorite parts. We're also going to go over the finishing details that really pull a portrait together, like contours, shadows, and blush. Getting the different textures of hair is where your materials can really shine through. I start the hair on a portrait by observing the overall shape, basically the silhouette of the hair. And that's what we're going to lightly lay in. So her hair parts right above basically like where her iris ends right here. And so that's where I put her apart. And then it hits about where the arch of her eyebrow is. So I make that a landmark as well for myself. And this is all stuff that's gonna become really instinctive for you when you're drawing, so you're not gonna need to use all these landmarks as the more you practice. So practice a lot. Okay. And then, let's see. Her hair, like, the height of it goes past her skull and is about the width of her eyebrow high. I'm going to lightly sketching the outline shape of her hair. This is just informational for you, so don't worry about it. Looking more stiff or anything like that. Okay, this, some of the hair goes off and covers. This is what I like in a sketchbook when you're like, just drawing over stuff. It's for me, it just looks like a working sketchbook. Okay. Okay, now that I have in the general shape, I'm going to get my darker brown color, and I'm going to get my little hand guard since I'm going over lines I read drew. And since her hair is basically straight and smooth, I like to just go in with long long even lines to indicate the texture and direction of the hair. At her part, I'm using shorter strokes to indicate the direction of the hair, giving it a little bit of volume and coming out. And you can see here there's a little bit of shine right there. And so I'm being a little lighter and letting the pencil just taper off. And then I'm going to pick it up again here and back into longer strokes to indicate leaving this area, the color of the paper to indicate that there's shine there. Since her hair is long and smooth, I'm using longer strokes to match the texture of her hair. I also am indicating here that the hair you can see is wrapping around the back. So there's a little bit of a curve like that. So I'm really observing the gesture and direction of the hair and trying to draw basically that direction in or I'm trying to draw in the direction that the hair is going because then it really captures the movement of the hair. And hair is all about movement and gesture and shape more than the face, even, because hair is very movable, obviously, unlike your features are what they are, but people can express themselves and change their look through their hair so much. That's why I also like drawing hair. It's such a personal expression. And a great way to capture the portraiture. And when you're doing a portrait, it's more than just the likeness. I mean, the likeness is one of the most important parts, but a photo could just take a portrait just as easily. So I like to think, what else am I adding to this portrait? Why am I drawing it instead of photographing it besides, you know, I like to draw. And with that is adding in the personality, the depth, the feeling of a person that you just really don't capture just by looking at someone. That's something extra you can add as an artist. Okay, so her hand is in this. We're gonna ignore that for now because that's a whole other class I'm gonna have to make to get into drawing hands. So we'll just kind of invent what the hair. How the hair ends here. And you can kind of see it gets looser and wilder towards the ends. And so I'm trying to capture that looseness in wildness, as well. And since our hair is lighter, I just kind of let it fade off and not really fully color in. I might come in with my burnt sienna, my lighter brown just to add in some more local color and texture. Just adds a little more interest. But again, this is specific to color pencils. If you're just using a pencil to draw, then maybe you're varying it based on value, which means the lightness and darkness, and you're making this part. You're just focused on the values of it. Like, this inside part is a lot darker because it's closer and behind her. And then the hair as it comes forward, you leave that and let it be lighter, as you can see there. And I'm just going to draw on the rest of the hair. Use your strokes to indicate the direction of the hair growth. Notice the fine baby hairs and how they attach and grow from the head. These baby hairs really help the hair look like it's sitting on the head versus, like, a wig when there's just, like, a really straight line. The main lesson I want you to take away from drawing hair is that you just want to draw the hair in the direction that it's flowing or going or growing because that just makes it look more natural. The hair also comes in as negative space. To create negative space is the space around the space of the object. The object being her lovely portrait, her lovely face and body. Notice the shape of the negative space. It's like, curved here, straight along her neck, sloped, little bit of curve, and then straight back up in the her ear. And that also helps shape your portrait into the likeness. Drawing is constantly measuring and looking at the relationship of lines and shapes next to each other. And that's how you can learn and grow faster in your observational drawing practice, learning how to really see something or someone. So I'm going to do a couple more loose hairs here because she has more loose hairs, it adds some nice movement and dimension. Now that the hair shape is basically in, I'm also gonna go in and do more of the finishing touches, which is adding a shadow underneath her chin, which I'm going to start with a cinnamon pencil, actually, I want to make sure it looks right before I fully commit with a darker pencil. Put this here. I'll indicate usually there's two neck muscles that come down, you can kind of see hers. They get highlighted because they come forward, so I'm just putting the marks there to indicate where they are. So when I'm shading it, I can keep that in mind. Now the shadows being cast by the chin because your head comes forward over your neck. And depending on the direction of the light, her light is pretty much straight on kind of coming from this side direction a little bit. So it's a little bit to the left, the shadow. And then there's some shadow where her hair is in front of her neck. And then it comes down to where this hollow is. And then you can see a little bit right here a shadow for her cloud. I'm gonna use my dark pencil just to loosely gesture in the top. We're not gonna get into drying clothes too much in this. But again, all this stuff is loose information, so I'll just leave it like this very loose. But this is all information that, again, can be a stylistic choice of how you want to finish the clothes, or you can I have to make a class about drawing clothes on people in all types of fashion illustration. But that kind of gives you a gesture and a feeling for the whole portrait. And now I'm going back and looking over all my proportions, it helps to look over like, have it look directly more tilted towards you straight on because this is where you could see where maybe areas of perspective are skewed because of the way you're looking at it. And I can see because I'm having it more flat so that I can film it for a class, I can see that her hair is not big enough up here, so I'm just adding more volume. Hair is a place where you can add more volume or exaggerate what's already there, because it just looks Honestly, it just looks better a lot of the time if there's a lot of hair. If it matches the portrait of your person, like, she has a lot of hair, so adding more hair is not taking away from the overall expression of her portrait. So I actually think it looks more like her now with the hair being bigger. Okay, and then the final touch I like to add in besides adding in a little bit more of the shadows. Okay, so I like to take my walnut brown and go back in to some of the darker shadows. And you can pick that up when you swing your eyes and you can see the colors kind of simplify more and separate into their value groupings. And so you can see it's a little darker along the side of her nose here, little darker just underneath her nose. And then emphasize this. I'm actually going to indicate the shadow on the inner shell of her ear. And then the final finishing touch is adding in all the little rosy touches of blush on her. So I take my oral pencil and I just lightly I do light curvy strokes because I'm going along the contour of her cheek. It's darker along the edges and wider, and then it gets more narrow, like the shape gets more narrow because you could see the front part of her cheek here is fully lid, so it's not it doesn't have that rosy shadow on it. And then I do the same on the other side. And this creates volume and depth for your character or for your portrait. And again, this is another area you can stylize, but we're learning the foundations and basics in this class, so we're learning the anatomy and structure of what we're working with while making a modern portrait. And I'm gonna go back in. I think her lips could be a little darker. So if you're drawing this with just a pencil, you could just press harder. Since I'm using some colors, I'm going in with my next darker shade. And I'm trying to color in in the direction of the lips or not the direction of the lips, but the direction of the lip, the skin on the lips, which is up and down. I also feel like I made her bottom lip a little too large. So I'm going to go back in and I'm gonna go back in and shave it down a little with my electric eraser. Okay. Okay. And then I'm going to just double check again. I feel like I placed her eyes a little bit too high, which happens. That's why you practice a lot more. So I'm gonna just add in a little bit more of the shadow underneath her eye to help bring the eye down a little bit more without actually having to erase and redraw. Yeah, I think I like the way that it's emphasizing her eyes more. I'm going to go in and add a little bit more shadow here too, just to add more depth. Don't ray it to sharpen your pencils as they're dulling down so that you can have a little more control over it. Since her eyes are darker brown, I'm going to go in, actually, with my walnut brown, my darkest brown color to emphasize and create some more value difference and depth. So I added it to the pupil where it would be the darkest. And then I'm adding it to the lash line because that also would be the darkest and drawing over some lashes. Pulling out some lashes. In the color in the dark color, not actually pulling out lashes, but pulling out lashes. Alright. I'm also going to shade in the iris a little bit. I'm using a light touch with this so that it's not darker than the pupil, but I like the way it just adds a little more. Wait to your drawing. Wherever there's most contrast between light and dark is usually where the eye is drawn, and the eyes are the best place to emphasize on a portrait, so I like to make sure that's the part that has the most contrast in a portrait always. Congratulations. You've completed your first portrait from top to bottom. Join me in the next couple of lessons where we try different perspectives on the portrait to deepen your portrait practice. 9. Three-Quarter View: Now that you're comfortable drawing portraits face forward, we're going to do a three quarter angle. Different perspectives can set different moods for portraits. A three quarter angle can be more dynamic or romantic, depending on the expression of the face you're drawing. The perspective from which you draw a portrait is a creative choice in your expression. I'm going to demo by drawing through this three quarter portrait reference. It's in the resources section of this class so that you can follow along. And I'm gonna talk through it, but I'm just going to draw through the whole thing now that you know all the breakdown of how to draw all the different parts. And then I'll talk you through it as we do this together. Alright. I always start with my littus cinnamon, pencil for lays. I like to indicate the corner of the draw line here, and then the ear conducts to the corner. So just indicating that lightly. Since her hair is a big part of the overall silhouette of her, I'm also just gesturing that in lately right now just to make sure I keep the proportions of everything else in relationship. Okay. I just want to make sure it's the right height and width overall. Now, you start with the eyes on the eyeline. It's really where the middle of the eye goes through. And so, usually the toplet is above it. Iris is right centered on it. See a little curve of the eyeball there. You can do the lower lid. When it's at a three quarter angle. You don't see the full length of that eye. So you want to make sure you measure how far away that eyeball is. So it's about the same as the perspective you're seeing width of that eyeball. So then I made a mark here for where the corner of the next eye starts. Remember, we're drawing looking for the angles in the eyelids. Irises are always looking in the same direction. I'm gonna leave that for a no for the now I'm gonna go to the nose next. Now, from the three quarter angle, you can really see how the nose is a wedge. I'm just simplifying the shape of hers right now. But you can see the bottom, like that. You see that side since it's covered. So then we go in the ball of her nose is more pronounced. Oh, wait. So we draw on the line of the eyes. Make sure to divide it in half for the base of the nose and divide it in half again for where the mouth. The line of the mouth is. So that's where you know where to end your nose. Again, the more you practice this, the more it becomes intuitive, and then like me, you don't really do it when you're drawing a portrait as much, but it really helps, especially when you're inventing characters. So to practice a lot using photo reference or drawing from life really puts this information into your brain, so it becomes autopilot when you're drawing and inventing characters, where you don't have reference, which is ultimately, I think, what a lot of illustrators want to do, be able to draw people in your illustrations that tell a story, and you may not always have the reference you need to do that. And now we're gonna move on to the mouth. She has much a much more pronounced upper lip. And then the corner of the mouth goes up a little bit past the corner of the eye. So I'm going to indicate it there with a mark. Again, softly shading it in in the direction of the lines on the mouth. Her bottom lip breaks the line of the side of her face from this angle. So we go a little bit of that. Her mouth is very, very slightly open, so I'm just going to indicate and you look at the shape of it. It's a little like that. Then we're doing the same thing where we coloring the outside softly of the lip. And then we check to make sure that the chin is in a good relationship in shape. So we're always looking for the shapes to the mouth. No Then we go to the brow, which is a little bit above the eye. Hers is in a neutral position. Browse and eyes are where a lot of the expression comes through, and I'm going to teach another class on getting expressions and portraits, but I really want you to get the foundations of portraiture in this class. And now I'm just going to also just lay in roughly how the hair is coming out of that. So her ears mostly covered. Let me just go do that. And I'm moving it in the shape and texture of her hair, which is a little more well, which is a lot more curly than the last portrait reference we were using. Think of the lane basically as the underdrawing before you go in with the darker lines of your final drawing. It's where you're doing all the observational work. I'm going to go in with my burn sienna to further finalize the lines. This is where I'm finding. So with your cinnamon, lighter pencil, you're finding your way to the general shape and gesture of the drawing. And now with this medium brown color, I'm committing to what I think are the right lines, unquote, for my drawing. So it's not as sketchy anymore as I'm committing to the lines in the drawing. And there's no real, like, rhyme or reason or order it needs to go in. I really like to draw intuitively from what feels right in the flow and what's catching my attention. Like, I was trying to get into the eyelashes, and then I was like, Okay, I want to come back down to the iris to make sure I'm placing it right, and she's feeling really grounded in this. Then I'll go back to the eyelashes, or I'll go back to making sure that eyelid crease is there, 'cause everything is also in relative to each other, so the more you slowly build in everything. The more you slowly sketch in everything and start to commit to lines, the more relationships you can see, which will kind of show you where everything really is supposed to go. It kind of is a puzzle that comes together. You just see the tiny side of the nostril on her the left side that we're looking at. Now the shape of her nostril, I'm really looking at the overall silhouette shape, and then the outside of the flare. And then I see that there's a shadow where the opicular oculi muscle is. Lightly, lightly, lightly. Shading these in. And drawing her brows. Another really good way to figure out brow placement is using the side of the nose. If you use the side of the nose and have a line straight up through using the corner of the eye as another point, that's where the eyebrow should start. Then you use the side of the nose, go through the middle of the iris, and that's where the arch should be. And then you go through the corner of the nose to the corner of the eye as two points, and then you go further up, and that's where the tail of the eyebrow should end. Again, general guideline for drawing eyebrows or how I draw eyebrows. There are 1 million different ways you could do that or measure that, but that is a measuring trick for you. Now, this one we only see a tiny bit of. So that's what I should try. Okay, since we're doing the lips and hers are quite rosy, I'm actually going to use the pink. I'm just going to jump to the pink instead of using the brown as the base, and then the brown will come in again. But I just want to lay the underneath as this rosy undercolor. And then come in with this to really comment. So I can see the shape. I did the angle wrong on her lip there. It doesn't go out like this. It's more like that instead of like that. Just to show you what I was seeing. So I'm doing more and fixing that. Simplify everything you're seeing, even though it's on different planes. The planes help you see where shadows and structure should be. But the actual shape itself helps you create the likeness and translate what you see into what you draw. I'm always going back and adjusting everything. 'Cause everything is related to each other. So going back and adjusting everything as, like, the lips came into form, now I'm like, Okay, the nose, I can see this triangle of shadow there with a little highlight in the middle, so I want to, like, just kind of shade that in. I might go to my cinnamon again just to make sure to make it lighter before I fully commit to a darker shade or a darker shadow, rather. You can see she's lit from the her left side or her right side, left side that we're looking at, because you can see the nose highlights are right there. So I'm going to leave that. Now that I have the features pretty much locked in, I'm just gonna use Bern Sienna to come in and do the outer outline of her face. Notice really things like the space with how the eye comes out, how it's related. So the eyeball actually is a little bit more inside. The eyelid wraps around the eyeball and the corner of the cheek comes out like that. The right here, there's a tiny space between where you can still see the side of cheek before the bottom lip breaks that line, and then you come back in again to where the bottom of the cheek is. See, the bottom of the nose aligns with the bottom of the corner that you can see of her ear. I'm going to also commit in the placement of the neck. So you can see the neck is actually this wide. Okay, so you got a good placement. Because it connects to the back of the skull, not just the face. And that's why it's not like over here or something. So notice the placement of the neck. So the skulls actually much bigger like that. I'm going to leave the shirt for now, and we're gonna get into her hair. I'm going to use a darker brown. So since she has much more textured curly hair than our last portrait, this is a great opportunity to show you how to do different textures in hair. So you basically just want to draw it. The same thing that I mentioned in the hair lesson, you want to draw hair in the direction that it's growing. And when it's curly like this, you're doing a lot of little circles, basically, depending on the tightness of the curls in the texture. But for her, it's very tight curls. The girl we had before had straight hair, and so we were doing long strokes like this. And so you can see the difference between the way your pencil marks can create texture. And so, again, we're looking at the overall silhouette. I'm refining it. Since the hair is very curly instead of refining it with straight lines now, which I had done with the layan pencil, I'm refining it with little curls. Make sure you're noticing, Okay, there's a deper which kind of correlates to right above the brow. So I want to make sure I'm getting that shape. And then it ends pretty much with the bottom of the noses. So doing that. There are areas where it's going to be denser, and I'm still using the same coloring technique. But the circles are overlapping, so it's denser. But it still gives you that illusion of the texture because of the way I'm laying down the pencil marks. And I'm using more force so that I get more dark values like you would if you were using a normal regular number two pencil. Then when I get to the edges, I get a little lighter and looser with a light touch of those curls. And then I also look at the general shape of the shadows and the lights. So the way she's lit, the hair in this general shape is all very dark, and then this is looser and has a little more shine and reflection. So I just want to make sure to note that when I'm doing the texture of the hair. Oh. It's a good practice to stretch your hands frequently when you're drying, just to keep your muscles limber. I'm adding in medium value browns here just to make it blend together the hair. Hair is a big characteristic feature in this portrait for this lovely model. And so I'm really taking my time to make sure I get the expression right for. Since I'm shading in a lot, it's okay to have a duller pencil. It actually helps you do more coverage. Because the point isn't as narrow as if it was a short pencil. I'm adding in all the details and the texture details on the on the outside because it isn't a solid shape. It is hair that is moving and alive and growing in all different directions. And you just want to make sure to capture the life and spirit of that. I'm just gonna go back in and just add more shading in the parts that I know are in shadow more. Like, you can see that it's turning and it's curved when there's a shadow part and then a lighter part. It's kind of hard to tell what part of her hair is in shadow and what part is the shadow her hair is casting. So I'm just doing my best to guess to me. I actually, I think I pulled her hair forward too much there you can clearly see a line where her forehead is So the hair is coming forward from there, but the forehead still is in front of the hair at that point. Okay, now that we've done the hair, since this model has a lot of melanin in her skin, I'm gonna go in and do the shadows instead of in cinnamon in the burnt sienna. And I'm shading and all the patches of shadow I can see. Going in the direction of the plane of the face. So this is a little bit angled this way towards us. This is a little darker here as well. So we lightly draw in the shape of the shadows that we see and then fill them in, mostly in the direction of the plane. Okay. Now that I've gestured in some of the shadows, I'm actually going back in with my walnut brown pencil to then bring the eyebrows into the same value shade as the hair, which is a much darker brown. So these are my final lines that I'm going in with. I'm also redoing the eye with the final lines. You can even save the eyelashes for this part. You don't need to even lay those in. Noticing the way the corner of her eye I think she has more of a straight. I add a couple eyelashes here. I go in and also darken the nostrils cause that is also one of the darkest parts on her face. The one we can see is much darker than the one. We can't see as much, so we emphasize that one. I also when I squib my eyes, I can see that the opening of the mouth is a little darker portion as well. Then I went too hard, sows go back and race. Going back in and making some of the shadows darker. Especially in the neck since it's below, there's not as much difference because of the way she's lit between the jaw line and the neck because, again, of the way she's lit, but you can still see the shape of the shadow, and it's much darker right underneath the jaw line. I'm gonna go back in and shade this darker as well. So I'm doing an overall I'm doing an overall light wash of the sienna Burnt Sienna over her because, again, she has more melanin in her skin than I last. Portrait. I want to leave any highlight areas, actually, just white or the color of the paper. You can go with your eraser to carve out some of those. Like the tip of the nose, a little bridge of the nose area. A little bit on the flare of the nostril. Definitely a shine on the lips. M. Now, this side is darker. So I'm doing the shadow of the nose in that little triangle we talked about. But it's a little angled because obviously the nose is a little angled. Leaving, again, the shapes of the highlights. We're always looking for shapes as guidelines. Okay, and now I'm going in and darkening the areas that have shadows under the eyes, the side cheek, where the hair is, casting a shadow. You don't even have to get into this much shading if you don't want to when you're doing just pencil drawings. But I just thought I'd show you how I do this. If you did want to, have it be a part of your practice. So now that I did that, the darks don't look as dark, so I'm going in with the dark brown to once again add more pigment. And create more contrast around the eyes where it's more expressive, the corner of the ear. I'm using Burnt CNA my medium brown for the shadows because the hair is the darkest part of this portrait. And so I don't want to pull it out except for areas that I really want to emphasize, like, the eyes and the eyeline. And then I'll blend it in for things like the eyebrows. Really use it for the nostril, blend it in for, like, the mouth. Since the shirt is black, also a good place to use the darkest brown, then it looks black in contrast. However, I'm not gonna colour in the shirt. I'm just gonna just draw in all the shape so that you get the impression of the shirt. W. Okay. Now I'm taking a look back at the overall picture and thinking about areas where I can create more value contrast. And clarity where there's not clarity on what's happening there. If I want it to have more clarity. Sometimes you just want things to be very gestural, like, the shirt is very gestural. But I want more shading back here to create more depth and dimension with the hair. So I'm going in and adding that, adding more color. Okay, I'm just going to add a little more touch here on the nose. The eyes. Want to. So you don't really see a shine on this eye because of where it is, but I'm gonna add it anyway because it just adds a little more life to your drawings. And photographs, it's capture life better than drawings, so you always want to use every tool you can to capture more life into your drawing. Alright. With that, we did a three quarter portrait. Now that you've drawn a three quarter angle with me, practice with more portraits. Along with the folder of reference images, I gathered for you in the resources section of this class. I also put together a Pintresbard full of portraits for you to practice from. For our last lesson, we're going to draw a side profile together. Join me. 10. Side Profile View: Now that you're comfortable drawing portraits face forward and in three quarter view, we're going to practice another common perspective, which is the side profile view. This is a common perspective in storytelling because in side profile, characters can be interacting with each other and is one of my favorites to use. So we're going to pull up the reference image that's in the reference folder in the resources section of this class, and you're going to draw along with me. We're going to start with this model the same way we started all the other portraits by drawing the ball of the head that makes up the round base of the skull. So her skull kind of goes to about there, and that's where Okay. So actually, I want it to be a little bigger. Great. When you draw in longer lines, it's easier to draw circle than to try and do a sketchy little line one. Try using your whole arm to draw instead of just your wrists where you can get kind of tight and it's just easier to draw smooth gestural lines with your whole arm. Okay, and now we're measuring from her chin to the top of her head. It's about there. So we're not going to worry about all the different landmarks yet. We're just doing a smooth general line down to indicate where the top of the head curves in the face, the general curve of the face. So we're using straight lines as much as possible. That always helps. And then we're going to draw the line where the middle of all this. We don't see the back of her neck, so I'm just going to do this. But so her eyes are pretty much horizontal. They're not curving up or down in terms of the way the head is directional. It's just looking pretty much straightforward. Now, the vertical line is this, basically, the one going straight up and down. And then we're gonna divide this in half, and that's where the bottom of the nose is and divide this in half, and that's where the middle of the mouth is. We're also going to look diagonally. Oh, sorry. We're gonna look horizontally across and see that her eyeline is actually where the top of her ear is, and her ear is about This far in. Hmm. This far in from the side of her face over here. So we're just gonna lightly mark that in. We see that her ear. So when you're drawing older people, because ears and noses are made of cartilage, that actually continues to grow a little bit as you get older, so ears and noses tend to be a little bigger on older models. And will one day happen to you. So now I'm going to go in and look at all I'm going to simplify all these curves into straight lines as much as possible. So you can see, like, the brow comes out here, and then it dips back in for the eye, and then the nose comes out, but further than the brow and also at this angle. So that kind of helps me figure out where the tip of the nose is. And then the I think it's called the fulcrum above the lips right there. Lips get a little thinner as you lose some volume as you get older. So you can really see the angle of the lips here, where the top lip angles down, and then the bottom lip angles up. And then you see it. I love this little dip underneath the mouth and then the protrusion of the chin here. So now you're really getting the profile, right? Like, you can simplify this into angles. And then as we're refining it, really observe the way the nose curves, and then comes back in and connects with the face. And then I notice actually her front the fulcrum of her lip is at an angle comes further out than where her eye, the bridge of her nose is. So I'm actually going to pull it forward. And then the lips kind of stay in the same spot. The lips are pretty much aligned with the way the corner of the cheek is. If you look the corner of the nose, the corner of the lip is that angle. So we're doing that. Of course, the bottom lip also comes out. Making her mouth much bigger than originally. I had originally drawn. And then, again, that curve underneath the mouth and then going straight out, and then back in again for the chin. Go back in with your eraser. So you're constantly measuring things against each other and at angles with each other to make sure you're checking your proportions and everything looks good. I'm also going to gesture in her hair, her long silver hair. You can see the shape here is what you want to draw. You see her hair comes up a little bit from the base of the skull. And then I'm going to use lines again in the direction of the hair grow to draw in the interior shape. I'm going to do reverse C for the ear, then the hair goes behind it. Like that. And I just want to measure from the mouth to where the hair starts to make sure I'm good. Yeah. So, her hair is very, very straight. So trying to use long lines when I can. Again, you want to draw with your whole arm, not just your wrist, where you can get shorter strokes, but with your whole arm, you can get the longer strokes. So her jaw line is a little less pronounced. It's a little looser. So it's about like that. And now I'm going to start blocking in where the eyes are. So this is actually the bridge of the nose, and then dimensionally, the eye starts, you can see about here. And this is the eye socket. And the eyeball is inside this socket. And then you have the eyelids and really observe again using simplifying it into angles like I taught you. The eyeball curve and then the bottom of the bottom eyelid. So the top eyelid closes a little bit over the bottom eyelid on her. And this is the angle up and open. And then the eyelid, the bottom eyelid curves and wraps around there. And then the iris, you see just partially pupil even less. I'm only like that for now, since she has very light eyes, I'm going to leave that. I drew a line indicating where her top crease is right there, but it also comes down. Her brow is right here, and her hair is very light. And as you get older, you do your brows thin, and she has light colored hair. So it's a very light brow. It's in foreshortened perspective, so it's not like the brow we see even from the three quarter angle. And just notice it pretty much ends at the corner of the eye. So now that the eye is in, I notice the bridge of the nose goes about the length of the eye comes in out, I mean, and then you can see one nostril. Again, we're looking at the shape of it. It's a little curved triangle. Her cheek protrudes in front of the corner of her nose. So we're going to draw that line in. Again, this is drawing an older face. Some things are in a different placement. The muscles are in a different place than on a younger face, for example. So her cheek is more pronounced and has drooped down a little bit more. And so we emphasize that just so we can make sure we capture her age and leance. There are more lines on a face and older face, so I want to make sure we're not drawing every single one, but we're gesturing in some just to give her that gravitas that she deserves. And also, it just helps indicate age and diversity in your drawings. I'm gonna gesture in just her collar to give her more grounding. They say the nose is only mark to see how far out the arms go? No. Now we're going to draw. This is a really nice reference for how to draw an ear. You have the outer top curve, which is usually bigger, and then a lower bottom curve. So it's a backward C. And then you draw the inner shell of the ear. I less is more with ears, but that's up to you. I draw the inner shell outline here. And then just draw another one, which is this line. And I go back to refining that hairline. Now that everything's laid in, I'm gonna go in with my burnt sienna and start committing to the final lines. Since she has much less melanin than our last model, I'm really just gonna use burnt sienna as the darkest color for her. But again, everything is relative. Everything is relative to what you're drawing. So make your own choices on that. Maybe you just want to leave it with the cinnamon and go back in with a heavier hand. Maybe you just want to use the burnt sienna on things like the darkest parts like the nostril, the top eyeline. Since I'm keeping in this color palette, I'm not getting the blue out to do her eye, but you can if you want to. Gonna use the burnt sienna just to drin where the crease is darkest. I'm actually gonna use it to go into here for the ear. Okay. And then I'm going to use a little bit here for the bottom of the neck. Just use again, when I squint my eyes, that part is darkest to me. I'm gonna use a little bit right here with the seam of the lips. Finish off the chin. And then I'm actually going to bring my coral in my pinky coral in to do the lips. Even though it's not the color of her lipstick, it's within the color of my world, so I'm going to use the cinnamon to add in a little bit of the shadow under the nose that plane of the nose is facing down, which is really prominent in the side profile vio. I'm also going to shade in a little bit of the eye socket because you can see that it's going. There's a shadow shape there being created. I'm also using cinnamon to add in the laugh lines and wrinkles on this model, because the lines are soft. They're not harsh lines as we get older. They're just lines that we earn for living a good life. And it's a badge of honor and privilege to get old. So, it helps to squint, too, to, like, really just pick up on the lines that are emphasized and unique to this person because they'll be the darkest ones that jump out at you when you're looking. There's usually lines around the eyes and around the mouth cause those are the parts of our faces we move the most. And then I'm gonna go in and just erase my I'm gonna go in and erase my guideline there just so I can see it more clearly. I'm also going to erase back. This brown guideline. And now I'm going to just use the burnt sienna to darken her brow a bit, but very, very lightly because, again, she has a very light brow. If you have a gray pencil or using a traditional pencil like this, it'd be great for doing gray hair. So for the sake of this, I'm going to go back to a pencil and use a pencil with you for the people who are using it. So most of her hair is white, but you look for the shapes of the patches that are dark, and that's what we're going to draw in. Like right here, And since her hair is long and straight and smooth, we're mostly working in long Smooth, straight lines. And the shaded in parts just help indicate the direction, shape, and movement. But since our hair is so silver, we really don't have to do a lot in terms of shading it in. So I'm actually going to go back to my Burnt sienna because it works better for the color story of my sketches. But you can see how that was easily done with a graphite pencil. And I like that the graphite is adding a bit of a cooler tone to my burnt sienna. 'Cause Burnt sienna is a warmer broom. Always making sure that the proportions are accurate. So I made her hair to full back here. You can see it's a little darker back here than forward, so that's why I'm using. More color and more strokes back here. And you'll notice when I'm drawing, I'm always moving my entire arm, never just my wrist and settling in a place unless I'm perhaps coloring in something. That's how you get the smoothest, most confident lines. Alright. So I think we're at a good stopping point for her. Actually, I might add in a little bit more brow, shadow here, pronounce the lower eyelid a bit more with her, since her overall color is so much paler, there's not as much color we need to use on her face. Since she does have a spot of pink right there, I'm going to bring that in. When you're coloring in something that's more of a toned area instead of a line indicating something, just use a really light touch. And I'm almost doing, like, big ovals over each other to create a really smooth, blended area with the paper. And then since I put the pink there, I'm gonna put a little pink in her ear, too, I see some in the tips of the ears. I see that the pink is kind of going. Maybe a little bit over here as well. I'm adding that rosiness just adds a little bit more. Light into your painting. I actually think actually think this front plane right here is not as pink as I made it, so I'm gonna take it back a bit. You can also lightly erase with your manual eraser so that it also blends into the paper more, but, like, picks up some of the color. Alright. And with that, we have our profile view. I hope you enjoy drawing along, and we'll practice a lot more on your own with a lot of the reference photos I gathered for you. We did it. We drew through three different perspectives of portraits, and I hope it gave you the confidence for drawing portraits going forward. Join me in the last video for last Thoughts and tips and tricks to take with you into the future. 11. Final Notes & Thank You!: Congratulations. You made it. You've learned the foundation of drawing faces. You drew faces from different angles. You learned how to measure without using a ruler. I really hope that you take what you learn in this class and practice, practice, practice. Remember that you can always practice just different parts of the face in isolation until you feel like you really nailed it. I hope you have the confidence now to draw any portrait you desire, and I hope that you learn the rules so that you can break the rules and find your own style in portraying people. Please remember to share your drawings in the class projects. I love to see it and cheer you on. If you enjoy this class, please make sure to leave a review so that other people can help find it, and it encourages me to keep making more classes. Thank you so much for joining me in my drawing faces class, practicing the art of modern portrait. I hope to see you again soon. Back. Okay, Duchess, what do you think of portraits? What do you think of portraits?