Drawing Pencil Portraits For Beginners / Sketching Realistic Faces & Heads

1. Course Trailer: Hi and welcome to this course on how to draw realistic pencil portraits for beginners. By the end of this course, you'll understand the basics of realistic shading, how to draw the basic facial features. And if you followed along with this step-by-step lessons, you will have drawn your very own realistic portrait from beginning to end. We'll start off by learning the basics of realistic shading. You'll discover how to create smooth shadows and tone and how to assemble them together to create a three-dimensional form. Then we'll apply what we learned to draw on each of the facial features. You'll see exactly how to draw and shade the eyes, nose, mouth, and hair in complete detail. Once you're comfortable with all the features, we'll put it all together in a full portrait drawing, you'll see how to easily draw an accurate laying of the face. Then we'll render each of the features until the portrait is complete. You'll be able to see the entire process unfold step-by-step and follow along with each stroke. This course was designed to make the topic of portrait drawing fun and approachable even if you're a complete beginner. So I hope you're ready to learn and I'll see you on the inside. 2. Drawing Materials: Alright, so welcome to the portrait drawing course. Before we get into the actual lessons, I'm going to go over the material that you're going to need. So I'm going to go over the things that I use and that I recommend you get, but also what each one I'm going to give in a cheaper alternative that you can use if you don't want to spend the extra money or you can't get access to them for whatever reason. Okay? Alright, so first we have the drawing paper. For this course. We're going to be using the Strathmore Bristol Smooth paper and this is 100 pounds. You can get them at any art supply store. The reason I like this type of paper is because it's, first of all, is a little bit thicker than regular paper. So you get that that sturdiness and also the smoothness of the paper really lends itself to the technique that we're going to be using in this course. You can blend and shade the, you're drawing a lot easier on this smoother paper. But if you can't get a hold of these paper, you can always use the regular copying paper. And as you can see, it's a lot thinner than the Bristol, but it works just as well. I actually, I, I like to practice on this cheaper paper. And then once I'm ready to draw our final portrait, then I'm going to use the thicker paper. Okay? These are very common. We pray to have some lying around your house somewhere. Okay, Let's see. Next you're going to need a mechanical pencil. And this one is a 0.5 lead mechanical pencil. And the 0.5 just referred to the, the size of the lead that you feed into it. The nice thing about a mechanical pencil is that the tip is always sharp. You don't need to worry about sharpening a pencil and you can make very small fine details with it. And it's also great for shading as well. If you can't get a mechanical pencil, I recommend a just a regular pencil. And you can get these anywhere. It's not. You can't make a sharp details with it as the mechanical pencil, but it works just great. You just have to sharpen it regularly. With the mechanical pencil. When you buy it is going to come default with HB lead already in there. But I recommend you replace it with some to be led. The to-be lead is just a little bit softer than the HB. And so that causes it to lend more easily to shading and you can blend it more easily. Okay, So next, we have the total arm or blending stump. And you're going to be using these to blend together the shading of your drawing. They're basically just paper that's been spiral, wound and shaped like a pencil so that you can be more precise with your blending. These are very cheap, cheap as well. You can pick them up at any art supply store. If for whatever reason. You can't get a hold of these, you can always use a regular Q-Tip and use that to blend your shading. It's not quite as effective, but it'll get the job done. And you can also even rip up a small piece of paper and use that to blend. Then next you have the kneaded eraser. And this thing is really cool because you can mold it into any shape you want. And it's great for very precise erasing on your drawing and to lift highlights. So you're going to see all the little cool things we can use it for in the main course. Well, let me show you what it can do. So you can mold it into a fine tip like that and just use it to lift, enlighten your shading in your drawing. Alright? Then you will need a regular eraser for erasing large areas where you don't need quite as much precision. Then I would recommend that you get a horsehair drafting brush. This tool isn't absolutely necessary. But as you can see, if you are going to erase a lot, you're going to leave these little eraser residue. And if you use your hand to brush it off your paper, sometimes you're going to smudge your drawing. You see how there's little graphite on my finger. You use the drafting brush. It won't. Okay. So it's a little extra bonus if you're going to do, if you're going to be doing a lot of drawing, I recommend that you pick one up. Let's see. Then you go to need a ruler to erase, excuse me, to make straight lines and to draw your grid lines as you'll learn about in the lessons. And lastly, if you are not used to drawing circles for the eyes and whatnot, I recommend you pick up a sensor template to help you draw little circles. So yeah, I think that's it for all the material you're going to need. They're not, none of these are very expensive at all. And I'm going to include a link to every one of these items so that you can pick them up through amazon.com if you don't have in our supply near you, or you can just go to my supply store and pick them up right now to begin practicing the course. And for whatever reason, if you can get these materials, don't let that stop you from drawing. Just use whatever is that you have available. Because in the end, it's going to be used at you that determine the quality of the drawing, not the material. Now they're nice to have, but they're not critical, they're not essential. So that's it. Go ahead and assemble all your materials and then I'll see you in the next lesson. 3. 5 Elements of Shading: So as you know, the number one key to listing drawing is all in the shading. That's what gives you a drawing that three-dimensional look. There's basically two parts to shading. The first is to know what the different tones are, how dark they are, and where to place them in your drawing. And the second part is the skill of being able to actually put pencil to paper and create those tones in your drawing and to do it in a smooth and gradual way as possible. And that's something we're going to cover in future lessons. But in this video, I just wanted to talk about what the different tones are and where to place them in your drawing. When it comes to shading, There's something called the five elements of shading. What they are is basically five different shadows that you use when you share your drawing. So let's go over what they are and the role that they play in making the sphere look three-dimensional. We'll go from darkest to lightest. First, we have the cast shadow. And it correspond this area right here on the sphere. It's outside of the sphere. And this over here on the second one. And that's the reason it's called a cast shadow, is because it's the shadow that the object has when light is shone on it. So in this example, the light source is right here. And when it hits the object, it casts a shadow on the opposite direction. On this one, the light source is a bit higher. So the shadow is not as long as this one is more closer to the object. This is the darkest tone you're going to have in your drawing. So you should try to make it as close to black as possible. Correspond to this square right here. On the value scale, the darkest one on the spectrum. Next, we have the shadow edge, and it's this curved crescent right there near the edge of the sphere. This is what gives the sphere it's rounded look. You notice it's the gradual transitioning between the light tone and the dark tone that create that illusion that the sphere is curving and gives it the 3D look. Ashley, the darkest shadow that's on the object itself. And the value it has this dark gray and it correspond to this box right there on the value scale. Notice by the way, that it's the furthest part of the sphere that is away from the light. So, so wherever the light is, it's sort of formed this round half circle. Where around where the light hit the object. Okay. Okay. Next we have the half tone, and it's this area right here. It's also sometime referred to as the middle tone. And it's basically the transition between the dark shadows edge and the full light area is the heart in-between. The interesting thing about the halftone is that if this was a color drawing, so if this fear were say, a blue ball, then the half tone would be the true color of that bar. Whereas the shadow's edge would be sort of a darker blue because it's cast in shadow. The halftone would be the true color, unaffected by any light or darkness. And the value it has is medium gray, and it corresponds to this box right there. Next we have the reflected light. This part is interesting. It has this rounded band of light right on the edge of the sphere. And it's created because the light from the light source hits the surface that the sphere is sitting on and then bounces back onto the sphere. So the light goes like that. Then reflect onto the sphere, creating this ring of light around it. And it's a very subtle detail, but it does a lot. To add an extra dimension to the sphere, gives it that extra bit of realism. And this is the one thing that a lot of beginners miss. They begin drawing. So make sure you include it in your drawing because it does make a big difference. The value that it has is light gray and it corresponds to this box right there. Lastly, we have the full light, and it's this area right here. That's where the light hits the object directly and it's the brightest part on the sphere. Correspond to this box right here, which is just white. You just leave it blank. Some artists like to shade in the full light and make it a tad bit gray because they don't want to show the white of the paper. That's just a matter of preference. Some people think it looks better that way. This particular sphere, I just left it white. You can play around with that and see which one you like better. The one advantage of shading in the full light area and making a little bit gray is that you have an extra level of whiteness to play with. So if there were some spot that you want it to make pop, then you could erase and let that be the white of the paper. And that's it. Those are the five elements of shading. You notice they're pretty easy to remember. You just think, okay, there's the light source. The full light is where the light hits the object directly. And as it moves out from that area, it gets gradually darker. So first you have the halftone, and then you get to the shadow edge, and then you have the reflected light. And then lastly you've got the cast shadow. If you look at any port drawing or any drawing for that matter, you'll be able to see these five elements have worked. Msd, key positions of these five different tones and their gradual blending of them together. That gives the drawing, it's realistic look. And we'll talk more about how these five different tones play in portrait drawing later on. But for now, let's just focus on what they do in the sphere. So now that you know what the tones are, your homework assignment for this lesson is to go around your house and just observe different objects and see if you can spot the five different elements of shading in those objects. See where you see if you can see where the shadow edges, so the cast shadow or the reflected light and so on. And that's going to train your brain to think in terms of these shadows. Then once you done that, I'd like you to try to create your own value scale and try to match these tones as closely as you can. That's going to train your eye to think in terms of these tones and also train your hand to shade them. One tip when you're doing this exercise, I'm going to include a picture of this gray scale below so you can print it out and have it with you when you're doing the exercise. But one tip when you're doing this exercise is to be very careful around the lighter area because that's where you need to exercise the most control. The dark area is easy. You can just press down harder or go over it multiple times to make it darker. But the light areas where you need to really lighten your touch and make sure you're not pressing down too hard. With the light gray in particular. Don't feel like you have to shade in the entire box with this one. I didn't. I simply keep my touch very light. And I just sort of put in a thin layer of graphite. I didn't shade it all the way. I just sort of half fill the box with my shading and then I use the total on to spread the graphite out and blend it together to create a smoother look less what you can do with this one, okay, We'll talk more about how to use the total line in the next video. The main point of this exercise is just to get you used to the five elements of shading and also the different tones. Okay, so go ahead and do those exercises right now. And I'll see you in the next video. 4. Gradual Blending Technique: Alright, so now that you learned about the five elements of shading and where to put the different tones on your drawing. Let's talk about the actual skill of putting the tone onto paper and making it look smooth and gradual. So with that, I'm going to introduce you to a blending or a shading technique called gradual blending. And this is what gradual blending looks like. It's when you have the different tones, but they are blended together. So gradually that you can't see where 1to1 ends and the other begins. Why does this method of shading lends itself to realistic drawing so much? Well, if you take a look at my, my hand here, you can see the five different elements of shading at work. There's the cast shadow right there on the paper, albeit this one is very light because I have a lot of lights here. But you can see it anyway, and there's the shadow's edge. And then you can see the full light and then the halftone. But you notice that these tones aren't separated with hard lines. In fact, they are just blend together very smoothly and gradually. And that's how real life. So when you want to make your portrait drawing look really realistic, you need to learn how to blend your tones together so that it mimics the look of real life. And this shading techniques is designed specifically for that. So that's, this is a big, big secret to making your portrait look realistic. A lot of artists out there, well then draw portraits. They use different other shading techniques like say, hatching, where you create these diagonal lines that you fill up your portraits or crosshatching when you add another diagonal line layer over that. And these techniques looks fine, but they're very stylized and so they don't lend themselves to a photorealistic lobe. So if you, if you would like to draw really realistic portrait, this is the one method to learn, okay, So how do you go about developing gradual blending? Well, the first, the only way actually to practice it is to create these blending bars. So let me show you how you go about creating them. First, you take your lead pencil and tried to don't hold it too low of an angle because when you apply pressure you're going to break your lead, which is hold it at a comfortable level. And we're going to start with the darker tone first. So you can apply a little bit more pressure. Just press down and make it nice and dark. Just go up and down with your pencil. Keeping your pencil strokes close together. You don't want, you don't want to be doing this kind of thing where there's too many lines between, too many whitespace between each line because then your pencil sharp we show and we don't want that. We want to avoid hard lines as much as possible. So you just got to go up and down, make it nice and dark. And then as you move down the line, you can gradually lighten the pressure a little bit. If it helps. As you're doing this exercise, you can have your gray scale bar with you so that you can see all the tones that you need to include in it. So right now, working on the black. And so now I'm transitioning into the dark gray and then the medium gray. And then the light gray. You want to be very extra magenta. You can actually stop at the medium gray because with a light gray, we're going to use the total arm to create that tone. Then you can go back over your drawing. There's no rule that you'll, you only have to do it in one shot. You can go back and see where you need to darken certain areas. You see any white spots were white lines. You can fill that in. Then once you get to a point where you feel that it's good enough, it's time to blend it with your total line. With the before we start to get into the blending, I like to tell you about my my sorting system with the total arm. These total arms are basically spiral and pencil. And when you use them, you're going to notice that the tip gets dirty because it picks up graphite. You use your total aren't in a really dark area like this one. It's kinda pick up a lot of dark graphite when you take that same total on and shade it in a light area, it's going to make the shading a lot darker than you want. So that's not good. That's why it's really important for you to take a total of four dark area and keep it separate and use a, another tort a lot for your lighter area so that you don't ruin your drawing. The system that I use is a numbering system. I just take the total on that I use on dark graphite and I write a number four on it. And then another one that I use on a slightly lighter graphite and I use the number three on it, and then yet another one with the number two on it. And this one is very light. Number one would be basically a completely clean turn around. And number five is totally black. I find that just use having these 33 different total lines is enough. You can see the different in their darkness at the tip. You don't have to use a system, but I find that it saves me if I'm going through to many different tonal lines which can get pricey. Blending when using a tunnel on. Be sure to hold it at an angle. Because if you hold it straight up and down like this and you press it down, is going to bend the tip. Sometime there's a place for holding up and down like that when you're trying to shade a very precise area and you need that extra position of the tip. But most of the time, just hold it in an angle. You want to use very light to medium pressure. You don't want to press down too hard because that's just going to embed the graphite into the paper and then it's not going to go anywhere. It's actually going to make it harder for you to blend. Use a light to medium pressure and be patient. The blending is very subtle, so it might take you going up and down a few times before you begin to see the graphite blending. Just start at the dark area first. Then slowly work your way down. And again, as you're working your way down, lighten your touch, especially at the very light area. Okay. Then when you get, when you get to this area right here, you can actually go into the white. And by this time the total ion has picked up enough graphite that it can shade on his own. That's the cool thing about total on is that with a dark one like this, you can actually use it as a shading tool. Instead of your pencil. When you have an area that you want to shade very lightly. And it's hard to do that with a lead pencil because it has a sharp tip. You can go in with the total line and just create a base tone over it very easily. So that's a neat thing about using a total on. So yes, that's the, the whole exercise. And now for your homework, I'd like you to practice creating this blending bar. Five to ten times or whatever. However many it takes for you to feel comfortable with creating this bar and using the gradual blending technique. And go ahead and do that exercise. And I'll see you in the next video. 5. Drawing a Sphere: Now that you've learned about the five elements of shading and the gradual blending techniques, it's time to put them together and create our first 3D object. In this exercise, we're going to learn how to draw a three-dimensional sphere. Now, you might be asking, why the sphere, why are we learning how to draw the sphere when the ultimate goal is to draw realistic portraits. Well, first of all, the sphere, by drawing the sphere is going to help us learn to practice the five elements of shading and the gradual blending technique in a simplified object before we get to portrait drawing, which is more complicated. But more than that, the sphere is actually the most important shape in portrait drawing. And that's because if you look at a portrait, many parts of our face, It's actually made up of spheres. The eyeball itself is a sphere. The iris or the people is a sphere. The tip of the nose is another sphere. The cheeks or sphere or semi spheres. The chin is a sphere, and the top of the middle of the forehead is also a semi sphere. So when you learn how to draw, how to draw a sphere and shaded, well, that skill is going to help you along way in portrait drawing. Okay, so with that said, let's get to it. First. You want to create the outline of your sphere and drawing a perfect circle. It's extremely hard and even very experienced artists struggle with it. So there's no shame in using a template. Not want to use this glass here. And you want to make an outline extremely light. Don't even press down with your pencil. Let the weight of the pen so do the drawing for you. This outline is actually just a guide us. We don't want it to show up in our actual drawing. Okay. So that looks good. And Oh, okay. I guess you can't see that on camera. So I'm going to actually darken line much more than regular normally would. All right, so that's better. So the first step is to determine your light source. In this example, I'm going to put the light source right here. And so it's gonna be hitting the sphere at this area. That's where the flight is going to be. And the cast shadow will be, excuse me, the shadow edge will be around here. We're just going to mark out where the different tones are gonna be to help guide us when we shaded in. And the cast shadow will be right here. It's going to be, It's not going to be a complete circle because it's distorted. It's going to still roughly take the shape of the sphere. Okay? Alright, so now it's time to go in and shade it. I always like to start with the cache shadow. Darker is part first because that's going to help allow me to determine how dark to make the other areas. So I start off going shading the edge of the sphere and you want to be really careful. Let me zoom in so you can see more easily. So when you shade this area, you want to be very careful not to go into the sphere and ruin that really rounded edge that we created. Once you get to this area, you can share it faster, but right here you want to be extra careful. Go really slow. When you're shading comfort is everything. So if it makes you more comfortable, go ahead and turn the paper sideways like that. All right, now you can go a little faster. Again. Remember this is the cast shadow, so you wanna make it pretty dark. Press down pretty hard with your pencil. You always want to go with the contour. Of the sphere, you don't want to go up and down like that because that It's too chaotic that your penicillin is going to show. When you keep with the contour of the shape, the pencil line will blend together and it will look a lot smoother. You don't need to make the outer edge of the shadow perfect because that's not going to look as natural as if it's a little blurred. And we're actually going to create a gradual blend between the cast shadow and the rest of the surface as well. Because as you move further away from the object, the cast shadow will gradually become lighter. As light hits that area. This is just the first stage, so you don't need to worry about little bits of detail. We're gonna go back to this area after we blend it and touch it up. So you just, you just want to lay down the foundational tongue. Alright, so we're done with the cast shadow. Now for the shadow edge. One thing to notice about the shadow edges that you want to leave room for the reflected light on the outside. And because the reflected light is caused by the light from the light source bouncing off the surface and lighting up the sphere. It's only going to appear on the lower, lower half of the sphere. So when you leave room for the reflected light, it's going to be the widest when it's near the surface. And then as it goes up, it will gradually become smaller. So make sure you include that curve. You don't want to have it be the same size throughout because that's not going to look natural. Alright. So I'm just gonna put down tone where the cache shadow or excuse me, the shadow edge. Again, you want to go with the contour of the sphere. You don't have to start off super dark. I like to actually go light at first and then darken it as I as I go along. Then once you get up to this area, you can begin to lighten your pressure a little bit to create that gradual blending. You notice that this is pretty much identical to the blending bar exercise that I had you done in the last video. Except this time we're going in a curb, which makes it a little bit more challenging, but it's still very doable. Just need a little bit practice. Now I'm gonna go back over the shadow edge and make it a little bit darker, even out the tone of it. You don't want to make this area right here way too dark because you don't want a sharp edge between the shadow edge and the reflected light. You still want a gradual transition between those two tones. So I like to leave a little bit of room so that I can add little transitioning tone between the two. Okay? All right, so at this point, Let's do our first round of blending. I'm going to take my number four total on. And I'm going to start blending the cache shadow. Again. We're going to start near the edge, and I'm gonna be extra careful around the edge not to smear inside the sphere. Okay? Now, for the shadow edge, and at this point, you can actually lighten your touch and then go into the reflected light area. Because you don't want that area to be completely white. Needed it to be gray. So I'm just going to fill in that spot. And then just shade out from the tip. So you can create that gradual blending, gradual transition point. You want to take your kneaded eraser and lighten the outer edge of the sphere. Because now you don't need it as a guide anymore. Okay, I'm just going to lighten this top area right here. Again, normally when you draw this, you wouldn't make the outline quite so dark. I only did it here for the sake of the video. Alright, so now you can use your total on and use the graphite that's already on it. And start blending the halftone. Put in the half tone. Then we want to create more gradual blend. I would take my number three total on and work on this area. You go lighter and lighter as you move closer to the full life. And again, still keeping with the contour of the shape. Now, it's time to sort of refine the shrine. So it's a process. It's not one and done. You keep going back-and-forth, back-and-forth, retouching it, adding more shading here, blending it out there. The more, the more time you spend on it, the better your sphere is going to look. I'm just darkening the shadow edge to give it more contrast. 6. Hard Edges vs Soft Edges: So before we get into actual portrait drawing, I like to talk to you about a concept called hard edge versus soft edge. So what is a soft edge? A soft edge is basically where the object you're drawing begin to curb and creates a sort of a shadow edge like this one right here is the sphere begins to curve. There's an edge that's created by the shadow. But the reason it's soft is because the change in tone is very gradual. It goes from light to dark in a very gradual way. There's no hard line to it. A hard edge is this area right here. And it happens when two surfaces with differing tone either touches or overlap. So in this case, the sphere, which has a light tone around the reflected light area, overlaps with the surface that is sitting on and the cast shadow. And so the dark and the light creates this hard edge right there. And the mistake that a lot of beginners make when they draw a portrait is that whenever they encounter a hard edge, they inevitably use a very hard line to create it, rather than using the different tones to create the light. So here's what I mean. In this portrait. The area where the jaw line overlaps with the neck is a hard edge. Jaw line. The face is very light, the neck is very dark, and where it overlaps, it creates this hard edge. And what a lot of beginners do is they draw a hard line between the two tones, which makes it look fake. What you should do instead is just shade in the darker area. And let the contrast between the light area and the dark area create that hard edge. Rather than having three tone, the light area, the darker and the line itself, you should only have two tones, the light area and the dark area. Okay? And likewise, this area here is a soft edge. There's no hard line to it. It's just a gradual blend between the shadow and the lighter part of the neck. So when you shade it, make sure you don't put a hard line to it. I know it's tempting because it makes it easier to shade. If you do put a hotline to guide you, make it very light so that you can camouflage it what you're shading. So you just want to make sure you share the dark area and then do a gradual transition into the light area and use the total on to blend it together. So that's a small detail that if you just keep in mind when you're drawing, it's going to add a lot of realism to your work. 7. The Grid Method: Now that you learn about shading and you practice drawing spheres, is time to move into drive some actual portrait. Now, a lot of beginners and myself included when we first started out, really struggle with getting the proportions of the face right? We would start out drawing, say the I for instance, and it will look great. But as you begin to draw out into the other features, things begin to slowly straight out of proportion until your nose looks way too big. Ellipse isn't where it should be. And in the end you'll have a portrait that looks very weird and cartoonish. And it might look something like this. And it's nothing like the subject that you were trying to drop. So in this video, I'm going to show you a method to help you keep your portrait in proportion. And it will drastically improve the accuracy of your drawing. And it's called the grid method. And this is, here's what it looks like. It's one of those rare things that will drastically, drastically improve the quality of your portrait instantly as soon as you apply it, okay? And the reason it does that is because it breaks the portrait into a bunch of smaller details so that you can focus on it and it becomes much easier to draw rather than tackling the entire portrait head on and trying to free him the whole thing, which can be very difficult. Okay, so so let me show you how to use it. The first step is to draw a grid line on your reference photo. For this one, I just took my ruler and I created a, a 1 " by 1 " square grid line over the reference. With a reference you can draw, you can draw the lines as dark as you want. After you've done that, you go to the paper that you're going to draw on and you replicate that grid here. The cool thing about the grading is that you can use it to either enlarge a drawing or to shrink it. So if I want it to transpose this picture just the way it is, then I would simply make my grid line 1 " by 1 " just like this one. But if I want it to say double the size, then I would. Where's this is 1 " by 1 ". I would create my grid line two inch by two inch on my drawing paper. So when I draw this square onto here, it will be automatically twice as big. And likewise, if I wanted to shrink it, then I would make it half an inch by half an inch. So it's a really cool way for you to enlarge any picture that you want. It. Particularly if you're drawing from a photograph that's really small and you want to blow it up onto a bigger paper. So apparently, obviously, if you want to use the gridding method, then you need a reference photo that you can draw. Which might not always be the case. You might be drawing from a family heirloom like a family portrait photograph that you don't want to ruin. Which case? I would recommend that you scan it and then print it out like this one, or take it to your local photocopy store and have them make a photograph of it. Or another way you can do it is to go to your local art supply store and pick up some very thin see-through trace paper. They should have that at pretty much any store. And you can put the grid lines on that paper and then overlay the paper on the photograph, your drawing. Okay. So let me show you how I put the grid onto my drawing paper. It's very important that you make the grid line completely square and that you keep all the lines perpendicular and straight so that it doesn't get distorted when you're drawing. And also when you're drawing your grid lines on your drawing paper, make it extremely, extremely light, just barely enough for you to see it because you're going to use it as a guide for drawing. But you don't want it to show up in your finished, your finished drawing. But for this example, because of the video, I'm going to make my grid lines much, much darker than I normally would. Okay, so the first step is I will measure out, I'm going to make the grid 1 " by 1 ". So I will take my ruler and I will measure out the all the 1 " mark. Alright, and then I'll do the same for the other side. Alright, now, I'll just connect these two. The reason I measured it out is to make sure that the lines that I draw are perfectly parallel. Because otherwise, you might have lines that are slightly skewed and that's going to mask what you're drawing. Now I'm just going to connect all the lines. Okay? So now I'm going to repeat the exact same process except going up and down. Right? And that's it. Again, make sure when you draw your grid line, make the lines extremely, extremely light. I'm just doing it darker so that you can see it on camera. And then when you, once you've done that, you simply look at your reference photo and match up with the corresponding square and begin drawing it one square at a time. And that's going to make it much, much easier for you to copy each the visual square rather than the entire portrait. Now some artists don't like gridding because they feel like it's too much of a crutch. And I completely disagree. I think it's rather elitist way of looking at things. And I think grading is an extremely valuable tool for beginning artists to develop their freehand skills. Just like a child needs to use training wheels when he's learning how to ride a bicycle. There's nothing wrong with a beginner using gridding to help them develop their skill at copying and freehand. Grading is basically free hand, but the only difference is that you're trying to free hand a much smaller area of the picture rather than the entire thing itself. So it makes it a lot easier. And like I said, is a training wheels. So once you become comfortable with drawing, you can, you can gradually challenge yourself by making your grid lines bigger. So if you use one-by-one grid and you're comfortable with that, you can start drawing your grid two inch by two inch. So instead of having these line here, they will be gone and your grid would look something like this. And that's going to make you have to freehand more area without the help of the lines, which will be a little bit more challenging. And as you become more comfortable with that, you can make the grid line even bigger, three inch by three inch or four inch by four inch, until eventually your grade will be really big or you won't even need them at all. And that's the ultimate goal. But until then, there's no shame in using these lines to help you draw N, help you get some encouragement and see some results. Because grading is very powerful, you'll see that when you apply it for the very first time, you'll get a very dramatic, dramatic improvement in your drawing. So, yeah, that's the greeting method. 8. 7 Eye Drawing Lay In: Okay, So in this section we're going to learn how to draw the eye will be working with this reference photo. So I included a file for it, but right below the video, make sure you print it out and have it with you so you can draw along to begin, place the grid line onto your reference photo, and then replicate it onto your drawing paper. After you've done that, the first step is to create the rough outline. When drawing the rough outline, I like to pick out an area on the photo where there's a hard line or more defined shapes that I can follow. And in this case, it's going to be the crease right above the eye. So we'll start with that. Make sure that you line up the drawing grid with your reference photo so that it matches. Alright, so we'll start right here. When drawing these curves, I like to notice where the curves intersect with the grid line on this end and then where it intersect on this end. And that will give me an idea of whether or not the line is curving upward or downward or just staying even, then I don't know how to draw it on my my side. So in this case is curving upward, slightly. Make a little bit darker so you can see it on camera. When you're drawing your eyes. She's still want to keep it light. And here it's beginning to curve downward a little bit. Is this part where the grid line really comes in handy because it helps you keep your line-drawing accurate. Okay, so next we'll work on the eye itself. We'll start with this curve right here. When you get to this area, just ignore the eyelashes and follow the path of the, of the eyelid. Will go back and add in the eyelashes later. But right now, you just want to create the rough outline and shape of the eye. So okay. Then we get to the tear duct area. A little bit rounded right at right at the corner here. Then the lower eyelid. Again ignore the eyelashes. And this is the outer edge of the lower eyelid. Now we'll come back and put in the upper edge. Notice how it barely touches the iris. And you just want to joins up with the upper eyelid. This part here is the eyelash, so we want to ignore that. Okay. Now let's put in the Iris. Normally I would use my template to create the circle and make it as perfectly round as I can. But this circle is a little bit too big for the template die half. So I'm just going to freehand this one. Have you have a template that big enough? Go ahead and use it. So here's crucial that you use the grid line in order to keep your circle is round as possible. Barely touches the lower eyelid. Okay. It's not perfect, but it looks pretty good. All right, Now, for the people here, I might, I do have a template that's the right size, so I'll just put it in a rough outline so I know where it is. And then we'll go back over it with the template. And then there's a catch light right there. So make sure you leave room for it. Sort of cuts into the pupil. Alright, it's a little bit light, so I hope you can see it on camera, but we'll darken it right now. And we're just trying to find the template that's the right size. That looks pretty good. Make sure you line it up properly. Okay. Okay. And that's it for the eyes so far. Now let's work on the eyebrows. So again, makes sure your squares matches up. Let's start right here. When you're drawing the beginning of the eyebrows. Might be a little tough because that's where there's not a lot of hair and so that's the shape is not as defined. You might have to just put in a few sram in the beginning until you get to the darker area where it's more defined. So it's putting a few light strands to mark out the area. Okay, so now we're at this dark area here where we can just draw it in a shape to do to represent it. And then just follow the outline and the eyebrows. When drawing the eyebrow, It's important that you get the general direction of where all the hair is heading. Accurate. But don't worry too much about these individual strands sticking out here. We're gonna go back over it and create that hair-like appearance later. For now, you just want a rough outline. Again, use the grid lines so it can guide you as to where as to how the eye brows is sloping up. Okay. And here is when it starts to turn downward. And then now it's time to do the lower part. Here, it's sorted, jumps up a little bit. Okay. So I mean darken, so you can see it on camera a little bit easier. Okay, so that's the rough outline. At this point. You don't really need the line anymore. So you want to start erasing it because you don't want it to show up in your finished work. You can use this just regular eraser instead of your kneadable eraser because you're gonna be erasing large areas. And be careful when you get it. You get to around your drawing. And that's it. So go ahead and create your rough outline. And then when you're done, you Ratio grid line. And I'll see you in the next video. 9. 8 Eye Drawing The Iris: Now that you have your rough outline filled in, it's time to start shading. While I draw the eye, I usually like to start with the darkest area first. So that's usually the pupil and the iris. With the people, it's easy because it's just jet-black. So I'm going to fill it in. As far as the five elements of shading is concerned, it's more of the cast shadow. So we're going to try to make it as close to black as possible. All right, next we'll draw in the catch light right above. And there's also another catch light right around this area, but it's not as visible. So mainly you want to get this one. So we draw that in. Okay, that's a little bit of a catch light right up here, but it's not as defined. So we'll just we'll put in a rough shape for it and we'll define it more when we shade this area. Okay. Now there's this shadow that goes across the iris, and that's the shadow cast by the eyelashes above. So we'll put that into our drawing. It's sort of intersect with the catch light a little bit. It curves down. Tiny bit. Alright. This cast shadow was probably the second darkest tone inside the iris. So this is more of a dark gray and it corresponds with the shadows edge. Will fill that in. Okay? So right here with this catch light, as I said before, it's not as defined. So we don't want to just leave this square block right there. We're going to just let the shading bleed into it a little bit and make it smaller. This bit of details a little bit tedious. So you prefer you can just shade it in. It doesn't really matter as much. It all depends on your preference and how do you tell You want to make your drawing? Alright, that looks pretty good. Next we're going to work on this iris, the outside part. You notice that the shading for the iris follows this Sunlight pattern is almost like the pupil is a sun, and there's these rays of tone that comes out from it. And it connects with the outer ring of the iris. So when you're shading, you want to keep your pencils sharp. Going out towards, from the pupil that we can create that ray-like effect. Okay. So we'll start with this area right here, would just trace out where that tone is. And then we'll go over it with this line movement. Okay? All right, so now let's use that movement and fill in the shadow. You want to make this tone a little bit lighter than this tone. It's okay if it's not perfectly even. That's the look that we're trying to go for. We'll blend it later on and that's when it's really going to come together. Okay. Now let's work on the shadow on the outer ring. Again. It, the tone is sort of going up and down like this. Very thin around the end. So we just do the same thing on our drawing paper. Can pay attention to where the rays go up so you can match it with the reference photo. Be careful when you're around the edge so that you don't go outside. You can leave a little bit of room there and then later we can go in with this motion and fill it in. Okay, so now you can go back over it with this emotion and fill in the gap between the edge of the iris and the tone that you just put in. Okay, so now we'll fill in this area in between. This, this area here is very light, so you want to keep your touch very, very light. And that's also some, some unevenness. There is some part that's a bit darker and some part that's a little bit lighter. For now, we'll just put in a somewhat even tone and then we'll go back later with this kneadable eraser and lift up some of the white spots. Okay. You still want to keep with this motion that goes from the people to the edge so that we can keep with that ray-like affect. Your touch very light. And don't feel like you had to fill in every white spot because because it's okay if it looked uneven. That's how it appears in the reference photo. When we blend. It's kinda really high and all these lines. Okay, so that looks pretty good. Now we'll take our total on. Here's my number four total on, and we'll start with the pupil. Next. We'll do this shadow up here. And now we'll do this area. And when you're blending this area. Move the tone alone in a, in the same motion that you use to draw it so that we can maintain that look. Okay, now, do the same thing with the outer edge. And you can use the circular motion again to blend the, the really outer edge without having to go outside the line. And then just take your total ionic spike it up every once in a while to create that ray like look. Okay, So now the last part is to blend this area. Just keep your touchberry light because we want to keep this area light. Not too much blending in that area. You see how there's still some little bits of white among there. That's actually a good We want to leave that in there because it matches with the reference photo more than if we just blend it all really evenly. Now, if you want to do a little retouching, you can go back and darken certain areas. I'll make this shadow heel little bit darker. Dark in the pupil in a bit more tone to this area. Okay, so now you can take your kneadable eraser and put in that catch light right there. And just sort of lighten up this area. Very gently. Brush it with your eraser. Okay. Then blend it a tiny bit. And that's it. That's pretty much the whole process of drawing the iris and the pupil. Now go ahead and go through this same process with your drawing. And I'll see you in the next video. 10. 9 Eye Drawing Eyelashes: Okay, so now it's time to put in the eyelashes. When drawing the eyelashes, it's good to first take a look at the reference photo and just observe the general pattern that the lashes follow with this photo. And you notice that the lashes are more clumped together and I'm guessing that's because the model who took this picture was wearing a lot of mascara. So there's not a lot of individual strands. Most of the eyelashes are clumped together in bigger chunks. And also, you'll notice that the lashes go from being rather relatively thin. And as it moves to the right, it gradually become thicker and thicker and more pronounced until you get to this area where there's almost like a chunk of shading and shadow that's created by all the eyelashes. So the first thing I would do when drawing this is just create a light outline of all the major strands so that I have a general idea of what it's going to look like. And then begin going in and adding the tone and adding little bits of details to make it look more natural. So let's go ahead and do that right now. So I'm just going to look back-and-forth between the reference photo and my drawing and create these light strands here. The motion I'm going to be using is sort of a very light curved outward, shrunk like that. Okay. So if you're not very practice at making this motion, you notice how as I'm doing this, I I started off with a little bit more pressure and as I go up, I lightened my touch so that it creates this hairlike look. And if you're not used to creating this motion, go ahead and take a scratch piece of paper and just practice doing it. Oh, wow. And you'll get the hang of it pretty quickly. Okay. You want to move quickly because if you slow down the line you make won't be as natural. Alright, so let's get to the drawing part. So first, we'll add in this area the lashes sort of foam little triangle. I guess I'm not using that quick motion as much here because I still want some precision. This thing will be used later on when we're adding the finer detail. So right now I'm still going pretty slow and making sure that I have the major detail accurate. And I'm joining two pencil lines together to create that big clump. Some of the lashes sort of go in different directions. Make sure you want to capture that. And if you notice in the reference photo, the lashes starts off from the upper eyelid. So when you draw, make sure you begin your line there. Okay, and then now we're into the lower eyelashes. And here the lashes lot thinner, so it doesn't require as much detail and you don't have to be as accurate to it as when you're drawing the upper lashes. So you just have to make it look somewhat similar. You don't have to be completely dead on. I'm keeping it very light. Still using that pencil line that sort of concave into each other to form a tip at the end. Sometimes I would just leave a little light strand that mixes it up. As you move the curving up, the lashes begin to change. So right here, it's curving this way. But as you move. Towards here it begins to curve the other way. Then tort, once you get towards the end, the lashes starts to get very scarce. So it's very thin. Only want to put it in a few line there. And that's about it. Okay. So that's the rough outline, the lashes. Now let's go back in and make it a little bit thicker. Alright, so now basically we're going to look back and forth with the reference photo again and just add in the tone where you see these dark spots. Okay? And keep your pencil stroke. Go along with the contour of the lashes. Don't go like that or any other direction. You still want to keep it in that general direction. And you want to shade darker towards the root because that's where the lashes clumps together. The Titus. It's going to look the darkest. As far as tone is concerned. It's gonna be closer to black because it's pretty much a cast shadow. As there's not a lot of light getting into this area. You just using that quick movement that I showed you earlier to fill in the darkness. We'll just add little bits of tiny strands here to transition between the, each of the big clumps. Don't worry too much about the little strands for now. We're just laying in the bigger shadows. And then we'll come back again and add in little bits of sram and make it look more natural. This point, you might want to take your piece of scratch paper and rest your hand on it so that you don't smudge your drawing. A little bit. Look at the reference photo. This a little bit of transition here between this comp in this comp. So add that in there. Okay? And right here, there's a light layer of lashes that extend to this part. So you want to put that in there, but it's not. So much strands of hair. It's more of a layer of tones. So you sort of just want to shade it in and maybe add a few strand just to give it that look. Okay, Let's darken this area a little bit. Okay. Now we'll work on the lower part. And this part is not as dark. So we'll lighten no touch a tad bit. Then once you get to here is more of just individual strand rather than shading. We come back to that light flickering motion. Some of the lashes is going to intersect and go in different directions. So make sure you can add a few in there so that it looks more natural. Alright, so let's go back to the upper part. And we'll add in some little bits of random strands to make it look more natural. We'll just even this base shadow here where the lashes stems from. A little bit more smoother. When you're drawing lashes will have to be super detailed about it because hair is chaotic by nature. And obviously because we're drawing this, in this drawing, the lashes is a huge part of the drawing because we zoom in onto the eye so much. When you're drawing a portrait that comprises of the whole space, the lashes account for very little of the likeness of the portrait, even if you got the lashes completely wrong, as long as you follow basic guidelines and make it look natural, no one's going to notice. So it's up to you how detailed you want to be when you draw your lashes. Alright, so at this point, you can start your blending. Just take your total lung and lightly, very lightly because you don't want to blend so hard that you get rid of the strand, the individual hair look that we created. So you just want to blend the shadow area and make it look a little bit more smoother, but not too much. Stay close to where a lot of the shadow is. Don't really blend the tip of the strand because we don't want to smudge that area. When this part here, maybe a tiny bit on the lower eyelashes. Very lightly. You want to use this flickering motion as well. So if you whatever tone you put on there will follow that curve. Okay? And that's pretty much it for eyelashes. Obviously, you can keep going back-and-forth between the reference photo and you're drawing, keep retouching it and making it more detail. But that's pretty much the whole process. So go ahead and draw in the eyelashes for your drawing. And then we'll come back and I'll see you in the next video. 11. 10 Eye Drawing The Eyebrow: Alright, so now it's time to draw in the eyebrow. And drawing the eyebrow is actually going to be easier than drawing the eyelashes because it requires less precision. We already traced out the main form of the eyebrow. Now, our job is just to go in and fill it in with individual strands. The main challenge of drawing the eyebrow is to match the darkness value of different area. So if you look at this photo, this area right here is very thick and the eyebrows at darker. And then as you move down here, it still remains dark, but it gets gradually lighter. So we want to match that pattern as much as we can. Okay? So we will, in this area here is very light because there's only a few strands. So we'll start with the dark and work our way down this way. Now, I'm going to use a scratch piece of paper to rest my hand on so I don't smudge the work we've done so far. I'm just going to start by putting in a light base tone and then we'll come back and darken the places that we need to make darker. And just do these quick light stroke and follow the direction of the eyebrow. You can go outside of your line a little bit. Because that's how the reference photo looks. In the reference photo, you can see that the outer edge of the eyebrow, there's these little pointy strands that go upward. So just trying to recreate that in my drawing. And then here are the eyebrows week into curve downward. As we're drawing it in, you can see the outline that we put in originally begins to fade. It gets covered up with all these pencil strokes, which is what we want. You really want to get these outer strand, right or add them into your drawing because that's the part that people were really see. In the middle of the eyebrow. You're going to be shading it in. So there's not much differentiation there, but on the edge is where people will begin to notice the details. Then when you get to this area, right area right here, you want to be careful because the hair begin to. Now and so any error or inaccuracy that you create will be more visible. Take your time. No one reached the tip. Just go really lightly. Alright, so that's a pretty good base tone. Now we're going to go back and darken this area right there. Here you want to keep looking back and forth between your drawing and the reference photo. You just want to just layer on more stroke and let that filling the tone. Rather than scribbling in your shading. I'll make it look more natural. And that looks pretty good. I'm just adding a little bit more tone here. Now, we're going to take the tour line and blend it together. Again. You want to go with the direction of the hair. As you reach the tip, kinda lift up the tunnel on a little bit because you don't want us much. It you don't have to blend it too much because again, unevenness is good. That's it looks more natural that way. Now you can go back and retouch any area that you think needs to be improved. And that's it. That's the whole process of drawing eyebrows. It's pretty easy. So go ahead and add the eyebrows into your drawing. And I'll see you in the next video. 12. 11 Eye Drawing Final Shading: Okay, so now that we have all the major components of the eye are drawn in, it's time to start adding the final details and work on putting in the, the tones, the lighter tones. So we'll start with the I-bar. Now. During this phase, you're going to need to refer back and forth with your reference photo a lot. And you might not be able to see the tone very clearly on the video in this printout. So you can't see it very clearly. I suggest you open up the original source file and view it from your computer because that's going to be a lot more high definition. Okay. So like I said, let's start with the the I-bar. Now, the I-bar is similar to the sphere that we drew earlier. So there's going to be some shading around the corner as the, as the eyeball is curving away. So there's gonna be some tone right there. This area here, and around this area here. So we'll put that in. It's very light tone, so you don't actually want to use your pencil and and shade it just yet. So we're just going to use the total on and use of graphite that's already on there. And keep it very light. Then here on the shadow sort of leak onto the lower eyelid. So even though I tried to keep it very light, there's still a little unevenness that happened. So I'm just going to take my kneadable eraser and tap it on the parts that are darker than I would like to even it out. Okay. There is a hard edge around the lower eyelid. So I'm just going to put that in there. A bit of a dark shadow right here. I'm not actually drawing in a hard line, I'm just letting that, this really thin shadow create that line. Okay? Now make this shadow here a little bit more and it's fine. And it seems like it's darker than the tone that's on the eyeball. So cuddle it, will shade it in a little bit. Blended out. The lower eyelid is pretty bright around this whole area. So we'll just leave that alone. There's a little bit of a shadow on the eyeball itself. Shadow here. Then the shadow curving here. We'll just fill in this whole area. Then we'll lift whatever highlights we need with the kneadable eraser. Okay. Now let's work on the tear duct area because that spot is a little bit blank. We look at the reference photo. That's sort of a catch light right there and there. And then there's a bit of a dark shadow. Excuse me. Does this catch light right there and then there's a bit of shadow right there. Okay. So we'll fill in the shadow. Not very dark. So you don't want to overdo it and just keep it like that. Then the fan-in. Use the kneadable eraser to add in the two catch light. Okay, and there's still light. A small band of shadow coming around the lower eyelid. So I'm just going to add that in there. It's not as apparent as over here, but it's still there across the entire eye. Okay. So that looks pretty good as far as the inside of the eye is concerned. Well, let me just actually darken this area a little bit. It looks like we still need to add some darker shading here. Like it looks like there's a gradual blend between dark tone to light tone on this part of the eyeball. So adding an extra layer of town to make a little bit darker. No blend that out. Okay, That looks good. Now, let's work on the upper eyelid right there. If you look at the reference photo, the upper eyelid is pretty, pretty thick because the fold creates a little shadow right there, so well as that in the drawing. Okay. Now we're going to take the total on and shade the part that's right above the eyelid because it's a little bit darker there. And then it gradually gets lighter as it goes up to shade that area there. Careful not to smudge the other parts of your drawing. Then there's a bit of dark tone right around this area. Right around this area here. That's where the, the eye is sort of cave in against the nose bridge. So the nose is right here and this is part where it lives upward creating a shadow in this area. So we're going to add that in there to give it some 3D look. Here, we're actually going to use the pencil because that tone is darker than the total lung can make it that we want to keep it very light. Follows this curve. Here is when it starts to get lighter. Okay. That's where that little bone begins to protrude. So that part's can receive more light than the rest. Will just skip around that area. And the tone down here. Then it begins to recede right around this area. And then you notice that underneath the eye, there's this bag. And that's caused by the eyeball protruding outward and causing a shadow to form there. So we'll fill that in a little bit. Still want to keep it light. All right, So now let's blend that in. So we have a little base tone going. Be careful around this area. So that's a lot of graphite around the eyelashes. I already kinda smudged it a little bit. So I'll take the kneadable eraser, left that out. Alright. And we also wanted to put in some time underneath the fall. Here. Again, the the eyeball is causing this part to be protruding out the most. And so that part receives the most light and therefore will be the lightest. So there will be sort of a full light going here, and then it gets gradually darker as you move down. Now just sort of a little very lightly, barely touching it. And then move to the next side. Again. Be very careful because there's so much dark graphite in this area that you can easily smudge it. All right? No, just put a little bit of tone right here. And have you look at the reference photo that's a little bell, a foot light right there. So I'm just going to use a kneadable eraser to put that in there. And then I'll follow a little bit down here to form nose bridge, the contour of the nose bridge. Okay. Now let's, let's sort of draw in the little subtle crease that's in this area of the eye. They're really subtle so you don't want to make them too dark. Just one layer in the graph, right? A little bit, and then use the total on to blend. Adding a little bit more nice. Blend that out. Let's add a little bit of dark shadow here. I just noticed that the reference photo, the more detail you make, the shading, the more three-dimensional, unrealistic your drawing is going to look. At this point. It's just a matter of time. How much time you want to spend on it. You can keep sitting here and going back-and-forth, back-and-forth from the reference photo to your drive for hours. And the more detail you add to it or convincing is kinda look. I'm going to try to make that crease a little bit darker. Since I noticed that it's quite dark in the reference photo. Let's blend that in. And that's it. And that's the whole process of drawing a realistic I. So go ahead and go through that shading process with your drawing. And then I'll see you in the next section. 13. 12 Nose Drawing Lay In: Okay, it's time to draw the nodes. In this section, we're going to be working with this reference photo. I included a file for it right below this video. So make sure you print it out so you can have it with you and draw along. Okay, so first thing is to put down the 1 " by 1 " grid on your reference photos and also to replicate that on your drawing paper. Then after you've done that, it's time to create a rough outline to help guide you when you're shading. The tricky thing about drawing the nose is that the whole thing is made up almost entirely of just shadow and gradual blending. There's very little hard lines for you to follow. So that can be a little bit tricky. The important thing to remember is that when you're creating the outline, you don't have to be super accurate. I mean, you want to be as accurate as you can, but because you're not drawing actual hard line, you just want little bits of you just wanted to be able to mark out where the major shadow goes so it can guide you while you're shading. When I draw the nose, I always like to start with the nostril area first because that's where all the hard lines are and it makes it easier for you to draw it. So make sure you match the square on the reference photo with the one on your drawing paper and just go light. Okay, I'm gonna go a little bit darker so you can see it better on video. But when you're drawing your, your actual drawing, just make it light. Because again, you want to avoid that hard line. The nostril is probably one of the only place where it's okay for you to press down really hard. I'll still keep it light. And I'm just tracing out that dark cast shadow. And then the nostril. Definitely keep these area pretty light. And then next time I'll probably start with the eyebrows because those are easier. Just wanted to put in a rough outline. No need to be super detailed. And that's this part right here. That's where his hand cuts off his eyebrows. But you want to put a line right there. And the other eyebrows. Again, nothing too crazy. Just a rough outline. And let's see NX the eye. This isn't an eye tutorial, so we won't spend too much time on the I just want to put it in there so that it fills up the drawing. Catch and put in a few lines for the crease of the eye. And then this, we're going to attack with this area. This is pretty much the main part of the nose right here. That's where the majority of its form and shape is going to take place. So we just want to trace the curve of this shadow. Again, don't make it too dark because we're going to have to blend over this. When we start shading. This is just a guide us. Okay? So the shadow goes from the eyebrow and curved downward. And then it sort of point out like this. That's where the bridge of his nose, sort of how it's formed. And then a little bit down is when his the tip of his nose begin to form. So there's this area right here that's just sort of know heart-shaped to it. Okay. So just do that. And then continue down here. Mark out the nostril, the ILO bit darker. And then, and then the last part is this left eye. We can't see too much of that one, so we'll just do a really rough placeholder for it. Okay, so that's it. That's the basic outline. Very simple. You just want to sort of just do a marker. So go ahead and print out the reference photo, place your grid and create your rough outline. And then the next video we're going to begin laying out the tones. Okay. 14. 13 Nose Drawing Base Tone: So now that you have your rough outline is time to fill in the different tones. So the first step is to take a look at your reference photo and just notice where all the different shadows are. Where the tone is, where it's darker and whereas lighter. And this is a skill and it can be tough at first if you haven't done this a lot. So one thing that really helps is to just get your reference photo, get your pencil, and just shade over it. Go dark where ever the dark areas are. Tracing the tone by using the reference photo instead of your drawing paper. You have the, the tone of the of the reference photo to help guide you, which makes it a lot easier. And then there's something about adding in this drawing motion that really helps your eye to distinguish the tones are. And as you're doing this, you'll be able to tell like, okay, this, that's the dark area. There's the light area. And then you can recognize where all the five elements of shadings are. So here's a dark area. Okay? That's the cast shadow. There's another one. And then it's dark right here. Around the edge of the nostril. It's dark down here. And then this is area right there where it's in shadow. And then there's a reflected light area right there around the edge of the shadow. I mean the edge of the nostrils. And that's a little bit of a full light right here. Okay. And there's another foot light right there. And there's not much shading in down the this part of the nose is, this whole part is more or less full light. And since the light source is coming from this side, this area of the nose is a lot lighter. And you can see a little bit, you can see a little bit of tone on this side of the national. So I'm fill that in. And here you can see that the same curve in his nose bridge, duplicate it over here, but this time it's much lighter. And then it falls downward. Okay, so let's do that exercise and that should really help you to distinguish where the tones are. Alright, so let's put it onto our drawing. I'm using this diagonal line movement. You can also go with the contour, but I prefer this look roughly filling and don't make it too dark. Again, this is just sort of a guide for to help us when we start shading. So you can get a sense of what the picks the whole picture is going to look like. Keep looking back and forth between your drawing and the reference photo to make sure that you get you match the shadow accurately. And you just want to focus on the major shadow. I mean, if you really look at the reference photo, you can see that there's all sorts of different changes in lighting and stuff, so it can get really complicated. The main thing you want to focus on is this big shadow here, this shadow here, this area right there, the reflected light national, the full light. You just want to focus on the main things that gives the nose it's formed. And then we're going to fill in the nostril. Make a little bit darker. Be sure to leave this area. Why? Because that's the reflected light. And you want to keep your pencil touch light so you don't put down too many hard lines. Because we still need to blend it together. As the full light area, they wanna go around it. Okay. That's this dark band above the eye. Fill in the pupil. Shading here for the eyelashes. You can fill in the eyebrows too. Slim thing over here. We want to keep, make your pencil stroke in the direction on the eyebrow so that it looks like hair will cover that more in the how to draw eyes section. And still a little bit for this eye here. And then you want to lay in a light layer of shading to give mark out the shape of the nose. Alright, so that looks, Let's make this part little bit darker. Okay, so that's the rough ER the rough outline of where the shadow is. Go. So go ahead and do that to your drawing. And in the next video, we're going to go in and add even more shading. 15. 14 Nose Drawing Final Shading: Alright, so welcome back. Now it's time to really lay down the tones and give this drawing some definition. So I always like to start with the darkest part, which is the cast shadow of the nostril. Which going to fill that in. Make it really dark. And do the same for the other nostril. Okay? Then take your dark Tertullian and just blend it gently. And you can take the graphite from the dark area and sort of blended into the surrounding part. And just let the tone that we laid down in the last section guide you as you're shading. This is the part where the total I'm really comes into play. You're going to do the majority of the shading using the total line. And then just going in with your pencil to darken any area that needs more graphite. And always look back-and-forth. Refer back to your reference photo that you want to make sure that you're shading is accurate at this point. And we just want to blend in the shade, the tone we put down to the last section and keep it light. We can always go back and retouch it and make any area that needs to be dark, darker later on. Right now you just want to keep it light. You want to blend with the contour of the nose and be careful around the full light area. Okay. And do the same for the other nostril. And just let that graphite go outside a little bit. Go with the contour. This area right here. Merge these two areas together. Then you can blend in the eyebrows too. The people, we're not going to focus too much on the eye right now. So even though it differs a little bit from the reference photo, will cover how to draw eyes more in the how to draw eyes section. Just want to use as a placeholder for now. And then there's this curve right here that gives the the bulging effect to the eye area. You make sure you put that in there and do the other eyebrow. And the other doesn't really look like much this one. But anyway, Alright, so that, that really gives the drawing. It's farm. So now at this point, we're just going to go back and forth between the total on the left-hand side. Keep retouching and refining the drawing until it looks really good. Now I'm going to add some dark graphite to this area to make it more contrast. You still want to keep your touch pretty light. Just add on layer of graphite slowly and see how it looks and then, you know, make it darker if you need to. You don't wanna go too dark right from the get-go. Okay. And it in and then blend it, see how it looks. Now I'm creating this area right there where this part connects with this part. And it looks like this area right here is darker in the reference photo. So we're going to add some more shading to that and then blend it. At this point, you wanted to take a blank piece of paper and lay it down onto your drawing so you can rest your arm on it. You don't want your hand to be smudging graphite. Okay, So this part here is a little bit darker because it's tucked underneath the Nashville. So we're going to darken that and then blend it. And there's a little bit of darkness here going up and down. So that to this part here is a little bit darker. It looks like this whole area right there in general is pretty dark, so more shading there. You want to make this part darker so that it, this part seems lighter in contrast. It looks like we put a little bit too much shading in that area. So you take your kneadable eraser and just sort of tap it to pick up some of the graphite. But let's take a bigger one and use that. That's better shape in here. So at this point we're going to be using the total line for the majority of the shading. You want to create that gradual blend between the dark and the light area. And fill in the reflected light area too, but lightened the total on so that it's not too dark. You don't want it to be full white because that's going to look weird. But you do want to keep it lighter than all the other area. But the full light you can keep completely white. And I'm just going to go blend this area, make it follow the contour of the nose. Make sure to leave the bridge down the middle. White. Let's add some detail to the eyes. Splendor and then add some shadow there. Little bit of shading underneath the eyelid. Then there's this white area here that we want to leave. Leave blank. Some darkness to the eyebrows. Okay, Now it's time to sort of go into the these lighter tones so we can fill it in and make it look more natural. Again, keep the touch or your Twitter long, very light. You got this reflected light around the edge of the nostril. We want to darken the area around that in order to highlight that area. Make it seem like it's lighter. Sort of a shadow right there. Make the nostril little bit darker. And that's pretty much the whole process. So at this point, I'm just going to go back and forth between my reference photo and the drawing and adding in tone wherever I feel that it needs to be darker. And then blending it and then keep retouching it back-and-forth until I'm happy with how it looks. Okay. I'm putting in a transition tone so that it's a gradual blend between the dark area onto the top of the nose bridge. Okay, so that's it. Go ahead and try to draw this yourself and refer back to the video whenever you need some help, okay. 16. 15 Mouth Drawing Lay In: Alright, welcome to the how to draw lips section. In this section, we're going to be working with this reference photo. As always, I've included a file right below. It prints out. We're going to begin by placing the grid line onto the reference photos and then replicating it on your drawing paper. Okay, so let's start by creating a rough outline of the lips and teeth. I'm going to start with this corner of the lips right here. Makes sure your grid line lineup that you're drawing will fit on your drawing paper. And we'll just start with that line right there. When you're drawing your outline, make sure you keep the light, the lines very light. I'll try to make it darker than normal so that you can see easier on camera. And you can tell that this lip sort of have a bunch of subtle curves to it. And so pay attention to that because it really makes a difference in how it looks. This is where you're really going to use the grid line to help guide you. Sometimes when you're making your when you're trying to copy from the reference photo, it might help for you to look at the negative space of your drawing. So what is the negative space? Well, in this square, right here, the negative space would be this shape that's created by the square and this line here. Okay? And by looking at that shape, I find it sometimes to be helpful because it gives me a better sense of how this line is curving when you follow, when you just tried to follow it with your eye and using these two lines as a guide, it can be challenging sometimes to really get the accuracy right. So if you factor in this shape here, it can give you a better idea, okay, Just a little tip that could help you when you're drawing. So let's get back to copying the outline. Right now. I'm copying the inside of the lips okay. Ends right there. We'll just continue downward. This area right here. You can actually see that the teeth is overlapping the lips. We'll worry about that later when we draw the teeth. For now, I'm just going to keep tracing where that lips would be. Alright. Now let's draw the outside line of slip. Start right here. And it sort of go out towards here. It curves back down. It might look a little weird when you just have the outline in. But once we put in the shading, It's kinda look just fine. Okay, now let's draw the teeth. I'll start with the middle one. This, this part is where the teeth sort of overlaps with the lips. I'll take my eraser and erase this area of the limb. Alright, so let's work on this side. This is where it overlaps with the lips again, sound erase that. And here's another point where it overlaps. Right here the teeth is being hidden by the lips. There's a little little spot right there. I don't know what that is, but when draw that in. Okay. So that's pretty much it for your rough outline. Again, for the sake of the video, I made the line a little bit extra dark. But when you draw yours, be sure to keep your pencil stroke very light. Now, the next step is to erase all the grid lines. And so go ahead and draw in your rough outline and then erase the grid line. And I'll see you in the next video. 17. 16 Mouth Drawing Upper Lip: Welcome back. Now that you've got your rough outline, is time to start shading your drawing. Well, in this video we're going to start by shading the upper lips. Now, I actually think the lips are the most difficult parts to draw on a face because there's so many details on the lips. In order to make it look realistic. I really struggled with it for a long time until I discovered the process, the procedure for creating that realistic texture on the lips. So I'll show you that in this video. Again, the key to making your lips look realistic is to create that texture that you see. Little creases and lines and unevenness in darkness and light tone. So I'll show you how to do that right now. First step is to create a light base tone over the entire lips. So we're just going to take the pencil, hold it very lightly, and go and use this horizontal motion across the lips. Just to add in a light gray tone to it. You don't have to be super detailed about making the tone even. We actually want some unevenness because that's going to make them make it look more natural. So I'm just going to be a little careful about it. Just be careful about not going outside into the teeth. Okay, So now, so now that you have your rough layer of tone drawn in, we're going to take your total on and blend that in, smooth it out. Okay, so now that you have your base tone put in, it's time to add some details to the lips. If you look at the reference photo, the lips has a lot of these up and down pattern creases and tones in it. So that's what we want to replicate in our drawing. When we put it in the bass home, we were using these horizontal motion. But now when we put it on second layer, we're going to be using the up and down motion. Start with a corner here. I'm going to find a piece of scrap paper. So unless mine. And the point here is that you don't want to make your up and down stroke perfectly even. We're trying to create a texture. So we actually want it to be uneven. And I'm not really even filling it in all the way. I'm just sort of putting in lines here and there. While you're doing this, it's good to observe your reference photo and sort of noticed where you see a lot of darker tones. In the photo here. I see a lot of these white speck and also darker lines in this area. So I'm going to try to match that in my drawing. And also there's a dark spot area right here. You don't have to be perfectly done on. Just try to approximate it as best you can. Don't go crazy, spot every little detail. That's not what we're trying to do. If you just come close to approximating it, it will look great in the finished product. Don't worry, this is just the first round. We're gonna go back over it several times in order to create that texture. So right now we're just laying in the vertical tone to give it that up and down look. And when one side you start getting to the center, I begin to slant my pencil a little bit to match the the curve of the lips. So if you look at the reference photo, once you get to the center, the line appears to be more horizontal rather than vertical. I'm just going to turn my pencil and began making horizontal lines. We actually want it to look a little chaotic. You don't want it too perfect or to even. Okay, so now that we're past the middle, go back to the vertical lines. And I'm keeping these strokes pretty light. You don't wanna go too dark. We can always layer on more tone, but it's hard to take it away. They'll go light first and darken as you see fit. Okay. Now, take your total on and blend that layer of Tony just put it in after the blending, you can see that it's starting to look a little bit more realistic. There's a lot more unevenness in the tone and that's giving the lip some texture. Okay, So at this point, I will look at the reference photo and sort of try to see me zoom out so you can see a little bit easier. I'm going to try to spot any white light area that is on the lips. And then this photo, since the light is hitting right down the center of the face, you can see there's this light area right there, right at the center of the lip. We're going to take our kneadable eraser. I'm just going to tear off a piece from this one. You don't want to be working with this big chunk. This is harder to maneuver. Flatten, flatten it out into a fine tip like that. And I'll just use it to lift some of that highlight right in the center. I'm taking the racer and using this flicking motion to take off some of the graphite and lighten that area. Okay. Just a little bit. Okay. Now, I'm going to look back-and-forth between my drawing and the reference photo and try to replicate this pattern is best I can look for the areas that are dark. And I'll add that into my drawing. Again, you don't have to be perfect here. Just try to approximate it as best you can. At this point, creating the texture of the lips is a process. We're going to be going back-and-forth, back-and-forth. And each time it's going to add more dimension to the lips. Make it look more realistic. Alright, so I'll take my total on and blend that out. I always like to use a horizontal motion when blending the lips. At this stage anyway. Sometimes I will turn it and go this way. Okay, be careful when you get to the library. We don't want to make it too dark and sort of undo what we put in. When I'm blending this area, I will go all the way across at certain points. Because in the reference photo, the shadow that goes all the way across and this foot light in the middle. So I want to match that. But you don't want to take the whole total on and just mush, that whole area. Looks pretty good. Okay. So that's good enough for that area right now. Now let's work on this side of the lips. Now you want to really look at your reference photo and mark out the dark areas. It might be hard for you to see on this photo in the video. So if it helps open up the original file that I included and refer to that one instead, you might be able to see the tone a lot more clearly. If you're drawing from a photo where it's really difficult for you to see. It's okay to just sort of put in random tones here and there, these random dark lines. I'm just going up and down and putting in these dark lines. Almost like a snake. These are the vertical creases in the lip. You want to be a little bit chaotic with them. Don't make them too neat. So I'm just going to make them a little crazy. How we want it. You can put some that goes down from the top as well. Let me zoom in so you can see what I'm doing a little bit easier. Okay, so once you put in these pencils, show it's time to blend it out just to underline. Okay. Now, we're going to add some highlights to this area. So take your kneadable eraser and hold it vertically like this. And we're going to just flick up and down the lips creating these in order to create these white highlights. And you want to vary them up, have been going in different directions. Very them in thickness. Just make them a little chaotic. But you do want them to be going up and down. You can change the direction a little bit, okay? And now just take your total on and blend that so that it looks more natural. Now, we're going to add a little bit more tone. So I'm just going to find the dark areas and make it a little bit darker. At the same time avoiding the highlights that we just put in. There is so on the reference photo is a shadow there against the edge of the lip. So I'll put that in here as well. You want to add these dark lines, soda right next to the highlights so that it emphasized them. This part is little bit tedious, so you gotta be patient. Okay, so now let's blend it one more time. All right, now let's do the same thing to the other side. Putting that shadow near the edge. Okay, so let's blend that. Take our kneadable eraser, put in the highlights and that together. Not too hard. You want to go a little bit lighter on the total on, on this round. Okay? Then add in some dark tone. Okay? And at this point I like to go up and down with my total on that. It creates that vertical crease look. That also goes side to side. You can see I'm sort of blending into the edge of the lip that I drew earlier because we don't want to have that hard line showing up. We want to blend it in. Because if you look on the lips itself, it, the lips merge very smoothly with the skin on the outside. And a mistake that a lot of beginners make is that they draw in a very hard line right there, which really killed the Realism. Okay? So that's pretty much the whole process. Now it's just a matter of retouching and going back-and-forth, back-and-forth. And keep doing the same thing until you get that texture and consistency that you want. Let me zoom out and just go through that process multiple times so you can see how, what effect it has on the drawing. Okay, so that's pretty much the whole process of shading the lips. Go ahead and do that on your drawing, and I'll see you in the next video. 18. 17 Mouth Drawing Teeth: Alright, so now it's time to draw in the teeth. I find that the teeth is actually the easiest part of the, of this trying to do. But it does the most to really bring your picture together and make it look professional. When you draw your eyes, you'll find that when you put it in the teeth, that's when you picture it really comes together. So the first thing I like to do is to shade in the gum and all the dark cracks that is between the teeth. So in the reference photo, the gums are right here. And these dark cracks right in between the teeth are sporadic throughout. They're going to be our cast shadow, so we'll shave them as close to black because we can start with that. Okay. I'll start over here. And this is just basic shading, nothing fancy. Just make them dark. And we're going to use this, the darkness of these areas to define the shape of the teeth more so once you fill in them, once you fill in these dark area, the teeth will become more defined. Okay, so now that we got the cracks filled in, let's work on shading in the government. The gum is more or less even tone because it's very smooth, but there is some variation in darkness. So there are some areas that is darker than others. We'll try to capture that in our shading. And also you'll notice that as the gum is moving to the side of the mouth, it gradually gets darker because the front of the mouth is where the light is hitting it. So we'll try to capture that in our shading as well. But for the most part, shedding the gummies easy. We'll try to make the tone a little bit lighter than that of the lip. Let's start with the one in the middle. So we'll try to make it a little bit uneven by making some part darker than others. That will usually just happen naturally as you're shading and so you don't have to worry too much about it. Then once we blend it in, oh, look really great. Alright. Again, we're using the shading from the gum to try to define the edge of the teeth. Once you put it into the gum, the teeth will look a lot more defined. All right, Now let's get our total on and start blending it. Okay, so now it's time to start shading the teeth. Again. When you look at your reference photo, you'll notice that the light is hitting the front teeth full-on. So those spot will be the brightest. And as it moves outward towards the side of the mouth, it will get darker and there'll be a shadow, a darker shadow on this side of the teeth over here. And then on the other side, on this other side of the mouth. You'll notice that shading the teeth is very similar to shading the sphere. So if you've been practicing how to shade the sphere, we're going to find this part very easy. Most of the teeth will be shaded in only the only area that will leave white are these small bright spots right there. Okay. So we're going to do the majority of the shading of the teeth with the torn a lot. Alright, so let's start from this side. This little white spot over here. We'll just fill in. Most of the teeth on this side of the mouth will be shaded in. This one is pretty dark. We're still going to create that dark shadow on the side of the teeth. Let me zoom in so you can see. So it's okay. We make these darker. Then lighten. You're touched when you get to the other side of the teeth. And this one here is when we start to need to lighten that hutch and add in the catch light. I'll start by adding the shadow on the side. Slowly. Light, touch, create that gradual blend. Then go ahead and fill it in. Then we'll lift the highlights using the nib or kneadable eraser. Then take your knee boy racer and molded into a very fine point. Get a clean point. So they can pick up more graphite more easily. Then find that catch light. So we're gonna get this one right here. It's gonna be tough to get that exact shape right away. So we're going to take off a larger area and then use the total on and shape. Shape that that catch light. You can even make it a little bit bigger than, than is shown in the reference photo so that we can see it more easily because it is difficult to make it show up because it's so small. If you had an electric eraser that can allow you to erase very small area very easily, then it will make this job a lot easier. But for now, we'll just make do with our kneadable eraser. All right. Now onto the next teeth. You can sort of borrow some of the dark graphite from the dark area, use it to shade the teeth. Just be careful. It's going to get very light over here. Take the eraser. Next spot, then shape it. In the front teeth. On these front teeth is the shadow should have followed this pattern here. And then this area is a lot lighter. Almost white, will follow that pattern. She didn't hear. Then take our eraser. And then we'll just repeat the same pattern for all the rest of the teeth on this one. But it's really dark area right here, I guess because it's being hidden by this other teeth. We'll add that in there. Not every teeth is going to be uniform. So let's kinda me little variations here and there, and you need to pay attention to that. So you can add that extra details here. And drawing. Some teeth will be tucked behind others and some will be protruding out more. And you can really show that in your shading. Okay, so now we're, at this point, we are more or less done. Now. It's just a matter of going back and touching up any areas that you think needs a little extra work. So I would go back and try to make the catch light more visible in certain areas. You can also take your pencil and make the edge of the teeth a little bit more defined. Now, you got to be careful here because you don't want to press down too hard. Because that's going to make it look very unrealistic. But if you look at the reference photo, there is a tiny shadow against the edge of each of the teeth. So you can put that in there. The distinction here, I guess, is that you're using shadows to create a line rather than drawing a hard line itself. Okay. So and also in the front teeth, make the line and make your shadows shadow lighter because that's where the light is hitting it. And you'll see more, you'll see the shadow darker sort of between the gum and the crack, not so much in between the teeth. Severity shadow detail. You can actually leave this part alone if you want to, but depending on how detailed you want to be, you can make your picture look a little bit better. Then you can add a little extra shading to some parts that you feel like needs to be darker. Just be very, very careful with this because you don't want to make your teeth too dark. You definitely want to keep a lighter than all the other tones on the picture. All right, that's enough. Then blend that in. By adding a little bit more contrast, you'd give your teeth more dimensions. It looks more 3D. Add a thin line or a little bit of shading on the edge of the gum and the teeth to separate them a little bit. Not too dark. And also maybe a little bit of tone between the teeth and the lip. Okay. And that's pretty much it. That's the whole process of drawing the teeth. So go ahead and do the same for your drawing. And I'll see you here in the next video. 19. 18 Mouth Drawing Lower Lip: Welcome back. Now it's time to draw the lower lip. The lower lip, the process is pretty much the same as the upper limb. The only exception is that there's going to be this white full light spot right there where the light is hitting the lower lip. And I'll show you how to draw, put that in later on. But the first step is the same. And we're going to put in a light base tone throughout the whole cell, will start using this diagonal motion to put it in the bass tone. Nothing fancy, just back-and-forth, back-and-forth. And it's okay if you make an uneven, That's how we add texture to the left. Okay, so now I'm going to take our total on and blend in the town. Okay, So next, we'll add in a second layer using up and down motion to mimic the crinkles in the lip. And we'll just do that. Starting with this side. Here, you can look back and forth between the reference photo and try to add in areas where you think it should be darker. This is where you create the texture of blood. Okay, let me zoom in so you can see it more closely. Then once you get to around this area here, you want to slow it down a bit. Here we're going to add in this white bright spot. As you can see from the photo, it's sort of range from about a little bit in from the left front teeth. And then it spans a little past the other end of the second front. So we're going to start it right here and end it right about here, right in the middle of the list. So we'll take our kneadable eraser and erase that part. Doesn't have to be perfect. Just need to clear out an area for the full light. Okay. Now we'll just add in the little creases. Again, refer to the reference photo. When you add in the crease, you want to use sort of light brushing motion. You don't want to just put in a hard line because that won't look natural. Mci make it as uneven and Crockett as you can. And these lines were just sort of be the base tone. We're going to keep going back and erasing and blending and refining it. To make it look better. You don't have to follow perfectly close to the reference photo just as long as you mimic it, mimic it as closely as you can. I'm going to add in some sort of light lines. Make it appear a little chaotic. Okay. Then I'll do a whole up and down thing. Up here. There's a bit of a dark shadow right there. So add that in bit of darker tone in this area of the lip. And then just continue with the up and down motion onto the other side of the lip. Again, make note of where the dark areas are and add them in. I should have went into the teeth. They're a little bit. So you want to be careful that you just lift it out with a kneadable eraser. Okay, so now that you put in the second base tone sound to blend it again. So take your total on prior to keep the white area white so that stays brighter than the rest. So we just blend in-between the lines. We're going to reattach this area later. Right now, I just want to put it in the tone for the rest of the list. Alright, now we're just going to go back and forth and keep layering on tone until we get that consistency. So just look at the reference photo and see where the dark areas are. Add in an extra layer of tone. On top of that. There seemed to be quite a bit of dark tones here. On the edge of the left. A blanket against here you can blend in this area a tiny bit. Okay? So at this point, I'm going to take my kneadable eraser and again, reshape it into an edge. And we're going to use it to add little highlights to the lower lip. So we're gonna go up and down in this motion and adding little shrieks of highlight. You want to make them as random as you can. Do it here too. You can start. Make sure it goes through the edge of the lip. Okay. Because stats That's how it appears in the reference photo, might not be able to see it very one in the video, but the creases sort of merge from the lip to the surrounding skin. Then make sure you add some to the top area, the lip as well. Having gone every which way. You can see that it's starting to add a little bit more texture to the lip. Your eraser gets dirty. You might afford it over so that you can use a cleanup part. Alright? And now after you've done that, you're going to blend it in one more time. This time blend very lightly so that you don't undo the highlights you just put in. You just want to blur it a little bit. Make it more subtle. So K that the edge, the outer edge of your lip is not very clean. Because in the reference photo, the lips sort of blend in very gradually with the surrounding skin so you don't want, you don't want to harm them an edge around the list. Okay? That's starting to look pretty good if you like. Now the last part is just to work on this area here. If you look at the reference photo, it sort of goes full light. A little bit of a lighter tone, and then lastly a darker tone. So there's a gradual blend between the full light area and the surrounding darkness. So we'll try to add that into our drawing. Take your kneadable eraser and just put in lightly put in some of the white area, trying to make it as gradual as you can. And I'm targeting, I'm targeting the spots where where it's really white in the reference photo. I'm not erasing all of it. I'm using this tapping swiping motion so as to give it more of a blurred look. We want a little bit of chaos. And then we'll take the eraser and lightly, very lightly blend a little bit. Sort of get rid of the harsh pencil mark or excuse me, the harsh eraser mark that caused by the kneadable eraser. Okay, so let's zoom out so we can take a look at the whole picture. Alright, that looks really good. Now it's just a matter of retouching and refining. So just look over your drawing and find any details that you want to retouch. Like for instance, the edge between the lips and the teeth. I could add a little bit of pencil tone in there to make it more defined. Not too much because you don't want to, again kill that realistic look, but that is there is a very thin shadow between the teeth and the lip. So that in there to give it more definition, it's sort of a hard edge where the teeth overlap with the lower lip. Hello, no tone to your lip, if you like. Alright, and so that's the whole process of drawing realistic lips and teeth. Go ahead and shade in the lower lips on your drawing. And I'll see you in the next lesson. 20. 19 Hair Drawing Lay In: Okay, so now is time to start drawing the hair. As always, we'll start by putting the grid on the reference photo and putting it onto your drawing paper. Before creating the outline, I like to survey the reference photo and just sort of notice all the major details of the hair that I wanted to put down. So looking at this picture, we have the middle line where the Harris split in two. And there's this section of the hair here, this, this little strand here where the hair split off that we want to capture that. And then there's the outline of the hair and little shrimps on the side. So it's not all that complicated. We mainly just want to put in and outline so we can have a guide when we start shading, okay, I'll start by drawing the outline of the face so that we have a reference point to draw around. For this tutorial, we'll just focus solely on the hair and we'll leave the facial feature blank. Alright, I'll start with the outline of the face and use the grid line to guide you that you your drawing is accurate. And then the hair sort of cut off the face right there. There's a little bit of branching off here. Some of the hair. You can see the earring right there. So we'll add that in. It's very faint. Okay. That's enough detail for that area. And then I will draw the hair that curtains the face up here. Then you will draw the the air with a hair split. And then here we got a little fold of the hair. This part gets a little bit chaotic, so just do your best to match it. And we'll add in the little detail in the shading. Just sort of ignore the little tiny strands of hair for now. Focus on the big clumps. All right. Now for this part, it's not as quite as even so. We want to capture that sort of lopsidedness. Again, when drawing here, you don't need to get hung up on all the little details. And then one of the cool part of drawing hair is that you have a lot more freedom in how you want to make it look rather than having to stick really rigidly to the reference photo. Then at this point the hair starts to fray out. So we'll just create these little sharp edges. There's a lot of them in the reference photo, so we'll just approximate it for now. And here you don't really want to match the reference photo exactly because that's just a little bit too tedious. So just make these little thin strands almost like a Christmas tree. Alright. And well, the inner part, we'll just put in the earring. Now. Then, maybe a little line here to separate the dark part from the light part. Okay, So that's pretty much it for the outline. Now I'm just going to erase the grid lines and then we'll move on to the shading section. So go ahead and create the outline for your drawing and then I'll see you next video. 21. 20 Hair Shading 1: Okay, so now it's time to start shading the hair. Now, the number one key to drawing realistic hair is to match the different tone of the hair. Okay, So if you look at this reference photo, you can see that it basically is consisted of three different tones. First you have the dark tone. So that would be this area right here. Little bits of dark throughout this area right here. Then there's the gray tone, which would be this area right here and little bit right there and it's scattered throughout. And then lastly, there's the light tone or the full light. So that would be this spot right here where the light is hitting the hair. And then you also have little specks of it throughout your tasks as an artist when drawing hair is to match these tone onto your drawing as closely as possible. This can be a very time consuming and tedious task because as you can see, hair, the different tone is blended in with each other, rather, in a rather complicated way. So there's this dark tone here, and then next to it, right next to it is a little bit of gray. And then right next to that is a little bit of white tone, and then you go right back to black again. So it's all scattered throughout and really mixed together. Okay. So because of that, drawing hair can be a very time-consuming process. Sometimes it might take you, um, as long or even longer than the time it took to draw the rest of the portrait. So it's kinda take a little time. Don't be discouraged when you had to put it in a little bit more effort into it. But if you follow the steps, I'm going to show you by matching the tone and then blending and using your pencil stroke in the right way, you're going to be able to create this realistic effect where it looks like you constructed the hair from thousands of little pencil stroke and strand when all you really did was lay down the tone and blended them. So let me show you exactly what I mean. Okay, So in this video, we're going to focus on drawing this portion of the hair right here that I've sort of circle out and hold it till when an arrow. And I'll use it to show you the concept and then will extrapolate that to the rest of the drawing. Okay, so when starting out, I always like to begin with the darkest area. Then that's going to be my, my reference point. And from there I'll work out and then fill in the rest of the tone. So we'll start with this, with this dark spot right here. Okay? So when drawing, when you're laying down their tone, Always keep your pencil stroke moving along the direction of the hair. So when I'm drawing and you're going to see me doing this the entire time. I'm never going to go diagonally or any other direction because you want to, you want to create that strand like effect. So just observe your reference photo carefully and then lay down wherever you see the dark tone is. So right here this dark tones would go down a little bit and into a bit of a line. Then over here. The cool thing about drawing hair is that you do get a little bit of freedom. You can deviate from the reference photo or tad bit without and still have your drawing looking pretty good. So what I always like to stay as close as I can. This is the dark tone, but I mean, I'm not going super dark just yet. This is a process, so we're going to go back-and-forth and lay, put on more tone and shading and making different parts darker as we need to right now, I'm just putting on a preliminary layer. And if you look at the reference photo, you'll see that not all the hair up long in the same direction. This part here is sort of flowing downward. This here is curving a little bit. And then there's some area where you're going almost horizontally. So I tried to match that with my pencil stroke. As much as I can. So like I said, it can be a rather time-consuming process. So I'm just going to let you see how I go through this process and maybe even speed up the video a little bit. Okay, so now that we've basically map out all the dark spots on the hair, It's time to put in the gray tone. So basically, that's all the other area that isn't dark. So I'm just going to lighten my touch and draw in these light strands and fill in the rest of the whitespace. And as you're getting to the edge of the hair, you want to sort of overlap with it a tad bit because we want to get rid of that. This hard outline here that we put in. You don't want to have this line around your hair because that will look artificial. So we're just going to overlap it slightly to get rid of that line and create that ran like effect. Because in real hair there's going to be little bits of hair that falls out of the outline. Up in this area here, there's a lot of dark tone and gray tone peppered in to each other, so it's very hard to discern where they are. So I'm just going to add random dark tone here and there to mimic that effect. Okay, so now that you have your gray tone, edit in this, take your Twitter lawn and blend the entire area. Again, still keeping with the direction of the airflow when you're blending. Okay. So now that you blended it in, at this point is just a process of going back-and-forth, adding, and refining. So what I'm gonna do is again, looking at my reference photo, retouched the dark tone. So I'll be adding tone where I feel like it should be darker and making sure that it's more accurate to the reference photo. Some of the line that I put it in previously got blended out. So I'm going to reinforce them and make them even darker this time. Now you notice that when you're drawing with your mechanical pencil, sometimes the lead as your shading, it will become sharpen to a tip. And that's, that's very handy when you're drawing hair because you can just turn your pencil and use that sharp tip to put in these really fine dark lines. And they really lends itself to making the hair look more realistic. Because in the reference photo you can see that there's even among the gray tones, There's tiny, tiny lines of dark running through them. So you want to mimic that with your pencil. Lead pencil really lends itself to that. Split in randomly. You know, when you get to this top area here where the hair split into, even though we put in a dividing line to guide us, that line isn't actually in the reference photo. So again, we're going to use our pencil stroke to sort of hide that line in the hair. Okay, And this, this split area here, if you look at the reference photo, it has this little white patch there. And I sort of cover that up in my drawing. Don't worry if you did that as well because we're going to go over this area with a kneadable eraser and I'll put it in that light, light patch. So the process is not complete yet. Alright, so that, that looks pretty good. Now we're going to blend it one more time. Okay? And so you can pretty much go back-and-forth over this process as many times as you like? Usually I might go over, you know. One or two more times, but for this video, I think it looks pretty good for now. I'm going to go to the next step, which is to take your kneadable eraser. And we're going to, we're going to use this to add in little bits of highlights in the hair. Because like I said, with the reference photo, you have your gray tone, your dark tone, and then little speck of light tone scattered throughout. So we want to add in, add that effect to our drawing. So take your kneadable eraser and just let me reverse it so I can show you how I did it. I just take a kneadable eraser and then just mold it into a thin edge like that. And then we're going to take that. And again, going with the flow of the hair, just look at the reference photo and notice where you see the light tone and they usually follow a pattern. So just don't put them randomly tried to put them within the vicinity of where they belong. And just scrape it against your drawing. Put in those highlights. So in the reference drawing, it seems like most of the highlights up here in the middle area. And you'll notice that after just a few shock is kind of like become black and then it will pick up any more graphite, in which case you would just have the folded over and get a clean edge and do it again. All right. There's a little bit of light right there. So that is okay. Then I'll try to add in this area here. Okay? So that looks pretty funky. But we're going to take our total on and blended in so that it's not as harsh. The white lines are sort of faded in, but you can still tell that it's lighter than the rest of the area, which gives the hair more texture. Adds to the realism. This blended lightly because we don't want to make it too dark. Okay? And you can see that that little bit of highlighting did and some texture to the hair. And you can just keep taking it and going over it again with that whole process until you're happy with the way they look. Blended in. And you can go back once again with your pencil and adding more, more dark strands of hair. Just to give it more contrast. And keep retouching it until you are happy. Alright, so that's pretty much the whole process of drawing realistic hair. Go ahead and draw in this section of your drawing. And then I'll see you in the next video. 22. 21 Hair Shading 2: Alright, welcome back. In this video, we're going to cover how to shade this area of the hair. So the process will be pretty much the same as the last video. First, I'm going to begin by marking out the dark tone on the, on the on the paper. So right here we have a dark tone where the hair connects. Here we have another dark tone. Then I'll be sure to leave the bright area where the Harris thinner. Then this area here is a bit tricky because there's a little bit of dark tone peppered throughout as gray tone. Then there's also a band of light tone, sort of curve, curve this direction. And that's, that's created because the head is rounded and the light curves as the head turns. So you wanna make sure you leave a lot of whitespace to capture that. Because that's that point, right? There is really important in giving the head a three-dimensional look. I'm just going to put in little strands of darkness here and there. This part here is actually mostly re time. Let me zoom in so you can see a little bit better than this little strands of dark tone. Then right here we have the shadow that's cast by this little strain of hair. So we'll put that in there. It does follow a definite shape, so you wanna make sure catch that. For this one, you want to fill it in as thoroughly as you can because it's a shadow. And then it's sort of rays out from there. And then here's the shadow where the urine again, we'll fill that in. Then what Dr. down here. Then here's the shadow that's cast by the jar. And then there's the shadow that's cast by the hair onto the face. That's right there. Okay, So now that you mapped out the dark tone is time to layer in the gray tone. I'm just going to use again the same direction of pencil stroke. And a right around this area. I'm going to be very aware of where the full light area is and just thin out the shading so that I leave room for that. Again, we're going to go back over it with a kneadable eraser. But I do want to make I'll do want to make my job as easy as possible by leaving a lot of room. That making it too dark. So the tone sort of gets a little bit darker around this area here. So it's sort of follow a dark and light and then dark pattern. Then it gets lighter again. In this area. Once again, I'm going to go outside the lines a little bit trying to hide that outline that we put in. Then this area here starts to get dark. We can. So I'll put a little bit more pressure onto my pencil. Right here is where the that strand of hair intersect and overlap with the other hair. And you'll see that the tone that is behind the Shan is a little bit darker and that's what makes it stand out. So I am going to shade this area here darker so that we can make that srand pop out instead of having it blend in and become invisible. And then the tip of that srand seem to be getting some for light hitting it. So we'll leave that area blank. Little bit chaotic right now, but we'll reattach it. Okay, so now that we put in our first layer is time to take the photo lawn and blend the entire thing. When you're around the light area, you want to make sure to barely touch it with your tone alone. Because you don't want to smear too much graphite into that area. Alright, so now that you blended it, it's once again time to go over it and retouch any tone that needs to be darker. And fill in more detail. Alright, and then take your total on and blend it one more time. Then add more tone. Okay, so now it's time to take you on kneadable eraser and put in the highlight. So this time I'm going to break off a new piece, clean piece that doesn't have so much graphite on it. More into a thin edge. Then I'm going to work on this area right here and trying to put in that little speck of light. Now you can see we already did a pretty good job of leaving this area lighter than the rest. So this should make this part a little bit easier. In this highlight right there. Let me zoom in so you can see it a little easier. Folded over to get a clean edge. Okay. Let's see. We'll go down here to see if this any spot we need to. I like this highlight in this speck of light left there on the tip of that hair strand. So this will have two more, the, the eraser into a little bit flimsy. Want to roll into a triangle or a cone rather. Okay. So that we have a pointy tip. And I'm going to lift that tip like that. Almost dry with the kneadable eraser. Okay, So then I'm going to take the total on and then blend it out again so that it highlight that we did. Doesn't look so harsh, but make sure you keep the touch very light, okay. We just want to liberate a little bit. We don't want to counteract all the things we did down here as well. Very likely. Then I'm going to take my eraser and add more tone because in the reference photo, usually around the light tone is there's going to be a speck of dark. Contrast each other. It makes them pop out. So I'm gonna go in there and put in those dark tones. And I see near the light area sort of interwoven into each other. And then we'll take the total ion and blend it out. And so that's pretty much the whole process. Let's see. Actually there's little tiny strands of hair that goes out and they reflect the light. So you can see a little bit of strands of Fulbright across the hair. So we can actually capture that as well with the kneadable eraser. I'm going to make the tip very thin. And I'm just going to with them very quickly across the drawing to create this little, little tiny strands of light. Highlight. That one is a little bit too big. Then you know what, whichever one you don't like, you can simply blend it in. I will blend all of them in a tiny bit because at first they're going to be a little bit too light. So when you just put your total on over it a tad bit, makes it a little bit more subtle and it looks even better. Okay. So yeah, that's pretty much the whole process. Again. You can go back and forth, back and forth many times we touching it. And the longer the more time you spend on it, the better and more realistic it's going to look. But now this looks pretty good, so I'm going to leave it at that. Anymore work you do on it is up to you. But that's pretty much the whole process. So go ahead and fill in this area of your head drawing. And then I'll see you in the next video. 23. 22 Hair Shading 3: Okay, so now it's time to draw in the final section of the hair. And that would be this area right here. This part is consisted mainly of dark and gray tone. There's not a lot of highlights in this area. So again, we're going to use the same process and I'll begin by filling in the dark section. Now because this area here is pretty dark, It's okay for you to deviate from the one direction, pencils sharp. You can go back and forth in order to make the shading a little bit easier. So I'm just kinda fill in this big block of dark tone. You can see. And then right here I want to go around and leave leave this metal earring hoop light because it seems to be that way in the reference photo. And then it seems like the dark tones going to go into the urine and type it. Shed that dark. Okay. And then it gets a little bit lighter. This is pretty much like shedding the sphere. Okay? So I'll just add a little tone right here. And then for this area, I'll just leave that so that we can shade it using the toilet. Not just fill in the dark tone down here. Alright, so now we're going to start working on transitioning into the gray tone. And the border between the dark tone and the gray tone is sort of messy. It's it's kinda the hair is going in a bunch of different directions and this kind of frizzy. So I'll just try to create that effect with my pencil. So we won't keep it all uniform, will make it a little chaotic. Will still try to match the reference photos best we can. And it looks really messy right now, but it's gonna look a lot better once she blended in. Alright, so now we'll put in the gray tone. So here I want to go back to keeping with the direction of the hair flow. But the the thing about this area of the hair is that the hair is going in a bunch of different directions. So keep that in mind when you're drawing it. So now let's take our total on and blend it together. Lighten the touch for the E-ring so we can create that gradual blend. Then there's a little bit of reflected light right at the edge. So I'll be careful to put that in. All right, Now let's go back and retouch it some more. Even in the gray tone area, there's a lot of unevenness, little bit dark tone mixed up in there. So I'm going to go back and add in areas that I feel should be darker. Blend that in. Alright, so now we'll look at the rest of our drawing and then tried to look for any areas that need to be retouch, maybe darken, and put the finishing touches on it. So looking at this area here, it looks like solute a bit light compared to the rest of the drawing. And I've noticed that I didn't put enough dark tone around this area, so I'm gonna go in and fill that. Now that dark areas down here, it looks really light. And this area here, use a little bit more tone, will blend that in. So that looks pretty good. Now, you could just take your kneadable eraser and clean up any dirty spots where you might have. Smash the graphite little bit. Retouch tiny details. And that's pretty much it for the whole process of drawing hair. So go ahead and draw in the final area of your hair, and then I'll see you in the next lesson. 24. 23 Full Portrait Lay In: Okay, so welcome back and congratulations on completing all the previous module on how to draw the individual features. In this module, we're going to be focusing on how to draw a complete portrait from start to finish. So we're going to put together everything that we've learned so far and do an entire portrait. So hopefully I'll be able to cover a lot of the subtle and little details about how to rob Hartford that I wasn't able to talk about in the previous video. So we're going to be working with this reference photo. I included a file below, so print it out so you can draw along if you'd like to. If you'd like to print out a photo of your own choosing and work with that. That's okay too. And so, alright, let's get started. First thing first, we put the grid line on both the reference and the drawing paper. And then I'll just begin by creating a rough outline. I'll start by drawing the outline of the face. And here with this reference photo, drawing the outline can be a little bit tricky because the face is, first of all, I said, the face is at an angle and the subject and the picture is smiling. So that's sort of her face is contorted in odd ways. Is not like a frontal. Look at a face where you can pretty much draw straight lines. That's a lot of subtle curves in the phase. Okay? You definitely want to pay attention to that because it doesn't make a difference in how the portrait looks. So let's go slow, take your time. Keep looking back and forth to the reference photo a lot. And if it helps you look at the negative space. So when drawing this section right here, I would notice the line, the area of a face, but also the negative space That's farm with the grid line and the empty space. And that will help you judge where to put your drawing line. Don't be afraid to erase and redraw on any area that you feel might be a little off. Okay. So she has sort of a crease here in the side of her face where she's smiling. Make that a little darker so you can see on camera. Now, draw the ear, then the neck. Okay. Now we'll do the top of the hair. Here. There's a lot of different strands for you to look at. So just pick one that's most prominent and then follow that. And then just forget about the rest because we'll fill those detailed in when we begin shading and drawing the hair. You just want a rough outline here to guide you. Okay. So that's pretty much it for the outside of the face. Now it's time to draw in the different facial features. And here you really want to take your time because this is, you know, obviously this is where the whiteness reside. So take your time, try to make the line drawing is as accurate as possible. I usually like to start with the nose because that's just my preference. I feel like it's centers the face and makes the rest of it easier to draw. And also because I feel like it's one of the easiest part on the face to draw. So make sure you really play. Pay close attention to the subtle curve of the nostril because it seems simple, but it's a very easy party get wrong. Then what I like to do is look at the reference photo and compare. So if you notice that the two nostrils are not exactly parallel with each other and then they're not in a straight line. This sort of tilted. So this left nostril here is a bit higher than the right nostril. So use the grid line and also use different landmarks in the reference photo to help guide you so that you know where to place every little detail. Okay. Then we'll put in that line on her face that's created by the smile. And then the lips. Again, really use the grid line because it's very tricky and it's easy to get it wrong. If you're having trouble making your line drawing accurate. You could even draw in, divide the grid line into smaller sections and then do the same on the reference photo. And that way, you will have more lines to guide you. If you're new at this and you need a little bit of extra help, that's one way to do it. The more you practice, the better you're going to get. Keep your line drawing at a light efforts so that you can erase it if you need to. Then the inner loop, the inner edge of the lip. So it doesn't know exactly, go in a straight line and sort of curved down a little bit. Then it curves upward. So this is really a lot of tiny subtle shifts in the curvature of the lens. So something to pay attention to. Right now, the teeth I like to sort of let the teeth form by using little hard line is I can hear you definitely want to keep be careful and make sure that everything stays proportional because it's really easy to make a one teeth bigger than the other. And then pretty soon you'll entire mouth begins to look really off. So you gotta be careful to keep keep everything as close to the reference photo as you can when it comes to the teeth. And then There's a little bit of her town showing. That's that. We'll we'll we'll fill in more. When we start shading. We can't really do much with the tongue just with line drawing alone. Put in a little bit of her lower teeth. Alright, and then finally, we'll get to the eye. I'll start by trying to lower part of the eyebrow. Then. This part is really tricky. I think this is probably the hardest part on the face, is getting the shape of the eye. Just right. Because it's such an important part of the portrait. You might, it might take you a bunch of different tries before you get it right. Just play really close attention. You know, use the grid line and Use the different landmarks on the reference photo to try to guide you people. Okay. Then you look at the reference photo. That's this, the I, and then there's this dark layer, this layer of dark tone that that's the eyelashes. So I'll also add that in here. And we'll just put it in that dark layer. We won't draw the eyelashes just yet. The thinner layer with the lower eyelashes, the lower eyelid. Then there's decrease in UI and the little bags underneath the eye. Okay. Then the other eye. Again, you know, compare the reference photo. So here this eyebrow is a little bit lower than the other one. And so is the I. So make sure you reflect that in your drawing. And that sort of curves up here. Then tapers off. What worry about the details for now? Okay. And the eyelash layer. Okay. Then that's this little wrinkle in the eye that's created when she's smiling. Put that in there. The lower eyelid. Okay. Then the fold in the eye. All right. So that's pretty much it for drawing the outline of the portrait. Now, all you need to do is erase the grid line. So go ahead and draw this outline for your drawing and then erased the grid line. And then I'll see you in the next video. 25. 24 Full Portrait Eyes: All right, So welcome back. Now that we have our outline completed, it's time to start filling in and shading are portrait. So the way this is going to work is I'm going to go through each of the features separately until we have our whole portrait completed. And in this video, we're going to focus on how to draw the eyes. So let me zoom in so you can see it more easily. Okay? When drawing the eyes, I like to always start with the parts that I find the easiest. And so for me, that's going to be the eyebrows and the pupil. So let's begin with the eyebrow first. We already created the outline for it. So now we just need to go in with little hair-like strokes and fill it in. I usually like to go in and just draw in a base tone first. So we'll just keep it light and then we'll come back and darken any area depending on the reference photo. Okay. Then when drawing the eyebrows, I like to go outside the lines that I made with the initial outlay so that it looks more realistic because that's how real eyebrows are. So we're just gonna go outside the line of tablet to create that natural hair like appearance. And then we'll add a little bit of thin, shrank the hair here. Alright, so at this point, I'll take a look at the reference photo and notice where the dark tones are. And add that in. Because usually the eyebrow will not be perfectly even throughout, is going to be some area that that is thicker than others and whatnot. This one is relatively straight forward. Okay, so now, once we got the tone late in, we'll take our total on and then blend it. Fill in the white spots. Alright, so next we're going to draw the pupil. And I'll start by putting in the excuse me, it will draw the iris. And then I'll draw my, I'll start by putting in the pupil. And you've got to make sure you leave room for the catch light. So we'll put that square in there. That part, we will not shade the iris around that or excuse me, the people fill that in. Make it as dark as we can. Okay. Now for the iris. So in the reference photo that's a bit of a dark shadow right here that's cast by the eyelashes. So we'll fill that in. Then there's sort of a dark ring around the iris. Then we're going to sort of go up and down this line without pencil to create that ray like effect. In this part you want to be slightly lighter than the outer vein so that it has that gradual lightening as it goes towards the people. And then lastly, we'll just put in a light tone in the middle. Then we'll blend it in. Now add some more contrast between the iris and the rest of the eye. Right? Now we'll draw in the eyelashes. So first we start with that layer of dark tone. That's sort of the base of the eyelashes. Then there's a little bit on the lower part. You want to leave just a tiny bit of whitespace there. For the lower eyelid. There's a little bit of gap here before the eyelashes begin. Okay. No. Lashes. With eyelashes. Sometimes less is more. So you wanted to go real slow. Don't, don't overdo it and add too much because it can make your drawing look really weird. I like to go adding a few, look back at the reference photo. Then step back and take a look at my drawing and see how it looked before I continue with more. Sometimes you'd be surprised how just a little bit of eyelashes will make a big difference. Okay. Take to it on. Just sort of lightly blend it. Then we'll add in the lower one. This one is a lot more subtle. Doesn't take a whole lot. Okay. Now let's darken this eyelid area. Alright, so that's pretty much most of the shading now we're just going to use our total line and start blending in the subtle tones of the surrounding skin. And this is where you really need to pay attention to the reference photo because there's a lot of minute details that need to get right. Now the light and dark. Here, there's a little bit of a wrinkle right in this area of her eye. So I'm just going to throw in some light pencil mark them there. Take your Twitter line. Blended. It's pretty much dark and then there's a lighter area here. And then she got some wrinkle on the corner. Her eyes. There's sort of, you know, light tone and dark tone interweaving into each other in this area. So you got to leave some light tone and then I'm just going to draw in a little bit of a wrinkle here. And then for the, the bag underneath the eye, make sure you put into this for light right in the middle of it so that it shows that it's protruding. That's what gives it its fullness. And then I'm going to shade into the white of the eyeball right to the side a little bit over here. And immediately you can see it's starting to look a lot more three-dimensional. Just from you adding that little tone in there. And tear duct draw in a little bit of detail in there. And that's good for now for this, I would do the same for the left. Start with the eyebrow. Just like short strokes. I'll add some extra term right here because that's where it's darker than the reference photo. Some tiny bits of strands of hair. Alright, then we'll blend it. And I guess I'll make it a little bit document to match the right eyebrow. Okay. Now for the iris, the catch light, the pupil. Then we'll add the surrounding tone. Will do the logo really light pencil stroke. Well, fill in with a lighter tone. Blend it. Then we'll go back and add some contrast to make it pop a little bit more. Okay, so now let's draw on the eyelashes. Shading the base of the eyelash. Now on this side the eyelashes seems to be a little bit more prominent. So blend that. Drawing the lower lashes. Barely noticeable. Alright. And then we'll add the tear duct. Okay. Now, darken the island. Lend it. So now we're going to use the total line to blend the surrounding area. Nasty bridge of the nose, bone, shading here, bank underneath the eye. Then we'll just start right there where the light is hitting the side of the face. Make sure you leave a little bit of white right in the middle. Okay, so that's pretty much it for drawing. The eye is, go ahead and do the same for your drawing. And then I'll see you in the next video. 26. 25 Full Portrait Nose: Okay, so now it's time to draw the nose. We'll start off by drawing in the darkest tone first, and that would be the natural. So we'll just share that in sort of gradually gets lighter towards this area. Okay. And then we do this, not sure here. This one was easy. And then any other dark area like underneath this nostril. And that's pretty much it for the dark tones on the nose will blend that in. Now for the rest of the nose, we're just going to rely solely on the total line to fill in the different towns. Okay, so first of all, notice that there's a white edge right here. So just leave that area blank and then shade around it. There's a little bit of a dark shadow underneath the nose right here. So I'll just add some tiny bit of graphite with my pencil. And then we'll share that with the total arm goes all the way up here. So again, the nose is sort of a sphere. So you'll notice that there's a full light area right here. And then it gradually gets darker as it recede away from that. And then there's the reflected light right on the edge. Knowing that you can be able to draw the nose a lot more easily. Follow the curve, shade appropriately. Then there's the nostrils. Just connect the bridge a little bit. Then there's that right in the middle. Little bit tome right here on the forehead. The top of the nose. Okay, so now I'm going to add a little bit extra tone. Right here. Right here. Very lightly. We want to make those areas slightly darker than the rest. They will blend it out. And I guess I made this area a little bit too dark, so I'm gonna take my needle eraser and just lightly tap it. Okay. And the parts that are right in white, you do want to actually shaded in a tiny bit. Just very lightly though. I want to leave it completely white, except for maybe this area right here in the full light random at all. And a little bit of extra time here. The dark, the dark when you make this area, the more protruding the nose will look. So if you leave it too late, will make the nose look flat. Alright? And that's pretty much the whole process of drawing the nose. Pretty straightforward is probably the easiest of all the facial features to draw. So go ahead and do this same thing for your drawing. And then I'll see you back here in the next video. 27. 26 Full Portrait Mouth: Alright, welcome back. So now it's time to draw the mouth. And with the mouth, we'll begin by drawing the lip. The first thing I like to do is to just put in a thin layer of base tone for the lip so that we have something to work with. So I'm just going to use a horizontal motion and put in a thin, thin layer of tone. Zoom in so you can see better. It's okay if it's not perfectly even. We'll do the same for the lower. Just blend it in real quick. Alright, now I'll take a look at the reference photo and sort of try to spot any different tones. So e.g. in the lower lip, the edge right here is a bit darker than the rest. So add more tone there. And then at the corner of the lip, this part here is darker. And also this part here is dark. So I'm going to add some extra tone and those area trying to match it to the reference photo as much as I can. Also, some tone on the edge of the lip is created because the lip is curving back into the mouth. And so it creates this thin shadow here. I'm going to talk about here, dark around this area a little bit more. Okay, so now that we've done that, it's time to add some texture to the lip. So if you notice the reference photo, there's a lot of up and down groove in the lip. So we're just kinda go and add these vertical line there. And just be rather light with these strokes and just kinda keep it sporadic and random. The same for the upper lip. Now we'll take the total amount and blend it in. Okay. So now I want to add in the little highlights and lip. So I'm going to take my kneadable eraser and form it into a tube. Then we're just gonna go vertically along the lip on adding these little white, little white stripes on the lower left. Start from the bottom. Flick it lightly upward. And a little bit throughout the lip. Skip it more texture than do the same for the upper, and then blend it in. Then I noticed that at the lower part, isn't it written center, there's a bit of a full light area there. So we're just going to take a kneadable eraser, tap that area to make it lighter. Brush it. Okay. Add another bit of texture there. Cross some light tiny lines. Also do that over here. Next to the highlights that we put in. And blend down a little bit. And go lightly when you're in the right area. Actually add a little bit of texture for the upper lip. A little bit too smooth. And few more highlights. Lighten this part right here a little bit. Sort of reflected light on the reference photo. Blended white in this area a bit more. Okay, so now let's start working on the piece. I'll start by again, shading and all the dark areas. And so that would be at the corner of the mouth. Around these teeth. Sort of gradually gets lighter. Down here. Would it continues to be dark. I guess that's the shadow that's cast by the teeth inside the mouth. Then it forms sort of vicious circle here at the center of the tongue. Okay, let's fill in the dark area over this side. Lambda in a little bit. We'll just shade in the rest of the tongue as well. Making sure to leave this white space here for the lower teeth. Anna more shadow here. I want to put a little bit at transitioning town here to make the blend them a little bit more gradual. All right. Now I'm going to shade the gum mostly using the total lung. Nothing fancy. We're just going to fill it in with a light layer of tone. And then for the teeth, It's mostly white. There is some shadow. There's a little for light right there, so we'll leave that area MT, this shade around it. Don't press too hard with this show made a little bit too dark, so I'm going to take my kneadable eraser, lighten it, rushing at lightning. Okay. Now also shade the lower teeth habit. And I'll add a bit of a shadow around the edge of the lip where it belongs. Of course, we don't want to just draw in a line that will look weird. What I'm going to make the shadow little bit more defined, so that makes the lip hop more against the gum. Here a little bit darker since it's towards the corner of the mouth. Alright, so that's pretty much it for the drawing of the mouth. Go ahead and do the same for your drawing. And then I'll see you back here in the next video. 28. 27 Full Portrait Ear: Now it's time to draw in the ear. And this part is actually relatively simple. It's just a little bit, I guess, tedious to match the tone exactly. But we're basically going to start by filling in the dark tones. Right here. It's not too dark, not like cast shadow anything except maybe like this area right here. But then it quickly becomes lighter. Okay, So that's pretty much it for the dark tone. Now we're going to take the total lung and blend that and also to fill in the dark area. Now the key to making the ear look realistic is to capture all the little reflected light area in the ear. And there's a lot of them. So right here there's a little thin reflected light right there. There's a little bit right around the edge and over here, and also thumb nested within the ear. So that's the tedious part. But other than that it's pretty straightforward. So we're just going to shade and then keep our eyes out where those reflected light area are. Tried to leave lives a little bit of space for them. But since they're so thin that we're pretty much going to have to go back with our kneadable eraser and put in those highlights. Just going to shade where I can take the pencil and add some tone right here. Okay, so now I'm gonna take my kneadable eraser and I'll do some fine touching. Mold it into really, really thin point. Okay. Let's see here. It's right there. In their corner. Yeah. Okay. No. Go back in with the total loan to redefine the tone right there. Okay. So that's pretty much it for the ear. I mean, you can keep going and adding more minute details if you want to. But that's pretty much efficient. Alright, so go ahead and do the same process to your drawing. And then I'll see you in the next video. 29. 28 Full Portrait Shading the Face: Okay, so now that we have pretty much all the features drawn in, it's time to begin working on shading the surrounding area. So now we're going to give the face a little bit more dimension. And for this we're mostly going to be using the total on, because most of the tone will be pretty subtle. I guess I'll begin with the darkest parts, which would be this little crease right here on the side of her mouth. Just shared along the contour. And again, of course, this is where you're going to need to refer back to the reference photo to make sure that while you're different tones that accurate. I'm just, I'm just going to map out where the light and dark area, alright, so there's going to be a, an edge of light here along the side of the face. So we'll just mark that out. The total loss is actually a little bit a ton right here. The midst of it all. It goes down here. Right now all the tongue will pretty much be an even value. But we're going to go back and darken the different areas later. Here's the chin, just a little bit of foot light right there. Some tone underneath the neck. Does not light edge around here. Press a little bit too hard there with my water line. So let's just lighten that. Leave some light there around the cheek. So the pattern is basically any parts of the face that is protruding will be lighter and then whichever part is receiving and will be darker. So darker as part of the creases. Nearer to the face? A little bit. Okay. And then we'll go into the forehead. Again. There's that edge of light. Then there's a little foot light right there in the middle of our foreheads. Okay. Then let's do the neck agile play here on the corner of the neck. Okay, so it's pretty thin, pretty hard to see what it's giving you a good impression of what the tone should look like. And now we're gonna go back with the pencil and add more tone where it should be darker. So I'm taking my pencil and we're going to start with this crease here. Darken a little bit. Now we're going to lift some of the hard lines that we put in when we drew the outline because it's not quite as prominent in the reference photo. It's more of more of the, the tone that's creating those line rather than a hard line itself. And then over here, we'll darken this a little bit. Then there's some creases that's caused by her smiling. So I'm going to add some very light tone just to put the appearance of them in there. Crinkle here. We need to have lower lid. And then we'll blend that in. Add some tone here to define her chin. Let's add some more time underneath this second layer chin. I'm actually going to put it in some tone for the for the jaw line right on the neck. And I'm going to try to match the tone of this area with the line that we put in for a job so that we can get rid of that line, but still create the illusion of the jar. And it's gonna be darkness around here and then gradually gets lighter. Blend that in. And that's a little bit extra dark beneath this area. And this is created by her chin. We'll put in some more tone in there. A bit more tone up here. So you can see the jar still in there, but that line dividing is gone. Now we're back to the face. And then I'm just going to fill in some little white spots here and there. And that's kinda sporadic throughout the drawing. Lightly fill it in so that it's not just completely white. Now take the kneadable eraser and do some retouching. So any areas that a little bit that is a little bit too dark, I'll lighten it like maybe this spot right here. And then I'll also add in little reflected lights where where I see them in the reference photo. So let's see tablet right here. Sort of reflected light around the edge of the mouth. That's a very thin one right here. Around the edge of the face. One right down here. My life for the Mac little bit. This area for the jaw line, shown right here around the wrinkle, the I add more tone in there. Let me lift nice lines around the face. Normally they wouldn't actually be this dark. I just made them extra dark when when drawing the outline so you can see it on the camera. But you will want to make yours a lot more, a lot lighter than this. Okay. No fill in the little bits of whites here around the eye. Okay. So yeah, that's pretty much the whole process of shading the face. It's more of a, you know, looking at the reference photo and try to imagine it as closely as you can. And you can spend hours on this, just going back and forth, back and forth, retouching little details. And the more time you spent on it, the better it's kinda look a little bit too dark right hand rule. Lift that up. Alright, so go ahead and go through this whole process, what you're drawing. And then I'll see you back here in the next video. 30. 29 Full Portrait Hair: Okay, so the last and final step of drawing this portrait is to shave the hair. First thing I'll do is we are recreated the outline for the hair, but I'll go through it and look at the reference photo and just map out where the direction of the hair is flowing. So this sort of create a rough estimation of what the Harris dealing. Here. We've got a few strands that goes across her face. Got another sort of clump of hair, goes curl and goes slightly behind the ear. Just make note of that. And the hair is flowing down this way. Then there's another set of hair that's going down like this. One is gone. And it all seems to be stemming from this part right here. Okay. A few strands, they go outside the line. A little bit frizzy, hair going in a bunch of different direction. Then that's a sign of the head strands right here. Alright, So now that we have the general flow of the hair all worked out, now it's time to go back through it and fill in where the dark tones are. So now I'm going to just look at the reference photo and notice where the hairs darkness. This part right here. Again, notice that I'm still still shading along with the flow of the hair. My pencil stroke is consistent with that direction. I'm going down here. Up here. Some of it down here. There's little strands of tiny frizzy hair that will just add lightly, add that in little bit of dark tone over here. Okay, So that's good enough for now. Now let's just put in a light tone for the rest of the hair. But still you want to be aware of because she has little blonde streaks and our hair. So you want to be aware of where those areas are and avoid them? Because we actually don't want to make those dark. Let me go into the line a little bit. So it looks like the hair growing out overhead, rather than just having a discrete line dividing the two. Okay, so now take your total on, blend it together. Okay, so now we're going to find it by adding more tone. Maybe try to get rid of the pencil line, make it less prominent. Tone, a little bit more gradual. So I'm just going to darken the areas that I see in the reference photo and then blend it together again. Okay, so now at this point, I'm going to take my kneadable eraser and we're going to use it to put some highlights in her hair. Again, make the sharp edge and just take it and draw it along wherever you see the blonde streaks in her hair. So there's a bunch of them right here in this area when it gets dark pretty quick. So you got to turn toward a new edge, towards it. Find a clean edge up here. The little, little bit of random streaks throughout the hair. Then there's sort of a light band here on this side of her hair. Just like me, put that in. And then we'll blend it again. See how that looks. Then. At this point, we're just going to keep going back and forth and repeat the process until we're happy with the texture of the hair. So I'm just going to add some more tone here and there. Take more kneadable eraser and some highlight. Blend it in very lightly. Now let's work on this part of the hair down here. And this part is pretty simple. It's mostly dark. Was a little bit of tone variation. So we'll just shade it in. Make sure to make the n look really fizzy. We'll use kind of chaotic pencil strokes. We won't make it even actually shade in a way that makes it, makes the tone uneven. Because we want to mimic that look. Okay, I'm going to take your total on and blend it in. Alright. Now to add little bit of discoloration in there, take the kneadable eraser and mold it into a thin point. I'm just sort of put in these little strands of blonde hair. Very, very small. So just kind of whip them very quickly. It's not gonna be perfect because it's very hard to produce that, those little strands, but we'll try to match as best we can. And then we'll blend it in. Again. Let me take a pencil and add the phrase back into the edge. Quick, chaotic stroke. I guess, like me blend it in very lightly because you don't want to get rid of that or the sharp edges that you just put it in. All right. So that's pretty much it. The whole process of drawing a complete portrait. Go ahead and fill in the hair on your drawing. And congratulations, you just drew your first portrait.