Drawing Ptoto Realistic portraits With Graphite Pencils

1. Class Intro: Hey there. Welcome to Hyper real portrait drawing. Your ticket to if Like Artistry. I'm Andrew your go to portrait guru for this epic creative Ride. I've been sketching since I could hold a pencil from the quirky characters in my childhood comics to the intricate landscapes of my teenage years. Drawing has always been my jam. But you know what gets my creative juices flowing? Portraits. There's something magical about capturing the essence of a person on paper, bringing their personality to life with every stroke. So if you're ready to dive into the wonderful world of portrait drawing with me, buckle up, and let's make some art. Whether you're a total rookie or a season sketch pro, this course has got your back. We're diving deep into the world of lifelike portraits, and trust me, it's gonna be one heck of a creative adventure. So what are you waiting for? Grab your pencils and let's make some magic together, and roll now, and let's get sketching. 2. Grid: This lesson, we'll create a grid for our drawing to ensure accuracy. Using a ruler, we'll divide our reference image into evenly spaced squares. Then we'll replicate this grid on our drawing paper. This grid serves as a guide for transferring proportions and details. With light strokes, we'll sketch outlines and details onto each square, focusing on one at a time for accuracy. This method helps break down the drawing process and ensures a faithful representation of the reference image. Practice regularly to refine your skills and achieve precise, realistic drawings. 3. transferring the drawing using a grid: In this lesson, we'll learn how to fit a portrait into a grid of squares without using classical construction methods. We'll start by dividing our reference image and drawing paper into evenly sized squares. However, instead of focusing on intricate measurements, we'll use these squares as a loose guide for placing facial features. Begin by lightly sketching the outlines of the face within the squares on your drawing paper, ensuring that the proportions align with the grid. Focus on capturing the placement of key features such as the eyes, nose and mouth, using soft minimal strokes to allow for adjustments as needed. Remember to leave space between the eyes for the bridge of the nose. Moving onto the nose, lightly sketch its outline and basic structure within the corresponding square. For the eyes, sketch the general shape of each eye, including the eyelids and iris within their designated squares. Using the squares as a reference, lightly sketch the outlines of these features within their respective areas on the face. Pay attention to the overall shape and proportions of the face, but don't worry about exact measurements at this stage. The goal is to establish a rough framework for the portrait. Next, we'll focus on the eyes, nose, and eyebrows. Finally, sketch the outlines of the eyebrows above the eyes, ensuring they follow the natural curve of the brow bone. These outlines will help establish the shape and expression of the eyebrows in the final portrait. Once the basic outlines of the face, eyes, nose, and eyebrows are in place, we can move on to adding more detail, such as shading and refining the features. Zooming in on the image allows you to observe details more clearly, especially those located in shadowed areas. Use the grid as a loose guide for placement, but feel free to adjust and refine the proportions as needed to achieve a likeness to the reference image. Pay close attention to the relationship between features, how the eyes align with the edges of the nose, or how the corners of the mouth relate to the jaw line. These small adjustments can make a significant difference in capturing an accurate likeness. Remember, the grid is a tool to help you focus on one section at a time, making complex forms less overwhelming. However, don't let it limit your creativity or intuition. As you work, step back periodically to assess the overall balance and flow of your drawing. This will help you avoid becoming overly fixated on one area and maintain a cohesive composition. Pay attention to the placement of the nostrils and the bridge of the nose in relation to the eyes. Use light lines to mark their positions, ensuring symmetry and accuracy. Focus on how the bridge aligns with the inner corners of the eyes and how the nostrils curve subtly beneath the tip of the nose. At this stage, avoid adding any shading or tone. Concentrate solely on mapping out the basic structure and proportions. This careful groundwork will serve as the framework for later detailing and shading, allowing you to build up realistic depth and texture step by step. Work patiently and cross check against your reference image to ensure precise alignment within the grid. Again, focus on capturing the basic shapes and positions without getting too caught up in detail. Remember, the key is to maintain a loose and flexible approach using the grid as a helpful tool rather than a strict framework. With practice, you'll develop a sense of proportion and placement that allows you to create realistic and expressive portraits without relying on classical construction methods. 4. Right eye: Hello. In this lesson, we will be working on the left eye. We'll start with the pupil because it's always better to begin with the darker areas to understand what to build upon. We'll shade the area of the pupil with an eight B pencil and the upper eyelid. Using even and precise strokes we shade the iris. For the whites of the eye, I'm using a B grade pencil. It's not necessary to try to make the shading very precise. We'll smooth it out later with a blending stump. For the eyelid, we need a medium tone. I'm using a three B pencil. We can add tone with cross hatching strokes. Fold a piece of tissue paper in half and hold it in a way that allows you to control it with your index finger. To increase the area of shading, you can tilt your finger. For smaller areas around the eyelid, a blending stump with a sharp tip is essential for precise blending. This allows us to carefully work on intricate details without smudging or disrupting the surrounding areas. When blending the graphite, it's crucial to do so gently and evenly. Avoiding the creation of visible stripes or harsh transitions. This ensures a smooth and natural finish that enhances the realism of the drawing. To enhance the depth and expression, I add contour to the iris and apply shading to necessary areas, such as the eyelid and the corners of the eye. I use a tissue to smooth out the strokes, creating a soft and seamless texture. Additionally, I refine any irregularities, ensuring that the tones and textures remain consistent throughout the drawing. To maintain a sense of volume and avoid flattening the image, it's important to gradually build up the brightness and contrast adjusting carefully to achieve a balanced and lifelike result. You should always add tone to the skin if it appears as light as the whites of the eyes. Additionally, areas in the corners and between folds, where the line of the upper eyelid is visible should be shaded darker to enhance depth and realism. Drawing the corners of the eye and the shadows above them, adding saturation to the skin around the eyes, and drawing shadows under the eyelid. When I drawing eyebrows, I start with the most prominent areas where the clusters of hair are darker and denser. I carefully observe the reference photo to replicate the structure and natural flow of the hair. It's particularly effective to draw the eyebrows using overlapping strokes, mimicking the layered nature of real hair. This approach helps create fine strands and adds depth and texture to the drawing, enhancing its overall realism. I carefully shade the bridge of the nose and its corresponding shadow, focusing on the natural flow of light and form. Using smooth, consistent strokes, I build up the tonal values, ensuring the transition between light and shadow is gradual and realistic. Once the hatching is complete, I use gentle sweeping motions to blend the lines, softening the edges, and integrating the shading seamlessly into the surrounding areas. This technique helps create a sense of depth and structure, making the nose appear more three dimensional and lifelike. M I add highlights to the skin with an electric eraser using dotting motions. I draw more details, adding lines on the iris that go from the edge to the center. With precise and careful strokes, I draw the eyelashes and parallel lines. The hair should also intersect. I do this from the end to the beginning and then I'll refine them with a soft pencil. We need to add contrast and depth drawing the eyelashes and eyebrows more vividly, as well as shadows on the eyelids. The area around the eyebrows appears sufficiently dark to indicate that the hair itself casts a shadow with individual hairs varying in density. However, in the foreground, it's important to emphasize the eyebrows to enhance their contrast and visual appeal. 5. Nose: In this lesson, we will focus on drawing the nose. I begin by identifying the shadows using light pressure to hatch the lighter areas while maintaining control over the movements to avoid unwanted marks or streaks. For the initial shading, I cover the entire nose area with a three B pencil to create a soft foundation. The nose is often challenging because of its subtle transitions between light and shadow. It's not just about drawing the shapes, it's about observing the interplay of light across the surface. Keep in mind that shadows are not merely dark spots. They reflect the form, direction, and depth of the structure beneath. I blend with tissue to create a base. I apply a highlight with the electric eraser. With a small blending stump, I make clear smoother edges with short semicircular movements. In this step, I focus on blending the hatching on the nose to soften transitions and enhance its three dimensional shape. Careful blending helps unify the tones, giving the nose a more natural appearance. In some places, I simply blend the hatching. Once the first layer of hatching has been blended, it's time to add another. Blending is a crucial technique for achieving a realistic effect, as it helps to smooth out harsh lines and create subtle gradients. When working on features like the nose, it's important to blend thoughtfully to maintain its structure while creating a soft, lifelike texture. In contrast, I use a softer eight B pencil to add depth and definition to the nostrils, ensuring they appear naturally recessed. I use a small brush to blend the graphite into the pores of the paper, and I blend all the hatching with a tissue. To avoid damaging the surface that has already been blended, it's best to clean the dirty tip of your blending tool by sanding it down with fine grit sandpaper. Similarly, you can flip the tissue to a clean side or use a fresh one. I refine the contour with the blending stump along the edges and contours of the nose. Then I lighten the highlight area with a kneaded eraser. I correct the highlighted area with the stump and brush, restoring the shine on the nose with the electric eraser. Mm hm. With a sharpened pencil, I intensify the shadows. As I continue blending and smoothing the tones, I focus on refining the transitions between light and shadow. This gradual process helps to create a soft, realistic texture. Patience is key here. Taking the time to blend carefully will give the drawing a polished and lifelike appearance. But 6. Left eye: Hello, and welcome to this lesson. Today we will focus on drawing the left eye using techniques similar to those we applied for the right eye. I've already drawn the nose and right eye, so now let's move on to the left eye step by step. We'll begin with the pupil, as it's the darkest area and sets the foundation for the rest of the drawing. Using a soft eight B pencil, lightly shade the pupil, keeping your strokes smooth and controlled. From there, move on to the iris. Pay attention to the subtle patterns within the iris and shade it evenly with slightly lighter strokes than the pupil. For the whites of the eye, use a medium B pencil to add very soft shading, leaving highlights to create depth and realism. Remember, the whites of the eye are rarely completely white. There's always some shading, especially near the edges and around the eyelid. Next, focus on the eyelid and surrounding skin. Using a three B pencil, add a medium tone to the eyelid, building up the shadows gradually. Use cross hatching strokes to create texture and shape. For finer blending, a blending stump or a carefully folded piece of tissue will help smooth out transitions. To enhance realism, let's add shading to the corners of the eye, the upper eyelid, and the skin folds. These areas naturally have more depth so you can use darker tones here. Keep your strokes light and even to maintain a natural appearance. Now we'll add eyelashes. Use a sharp pencil for precision, drawing each lash with quick fluid strokes that mimic their natural curve. Remember, lashes overlap and vary in thickness, so avoid making them too uniform. For example, you could start with both eyes and then move on to the nose. If you're drawing with your right hand, it would make sense to start with the left eye and then move to the right, followed by the nose. If you're drawing with your left hand, you'd likely start with the right eye, then move to the left and finally draw the nose. I draw in this order simply because it's comfortable for me. Finally, refine the eyebrow and its surrounding shadows. Observe the natural flow of the hairs and use overlapping strokes to create texture. As you work, take your time to observe the reference image closely, adjusting tones and details as needed. By the end of this lesson, you should have a lifelike and well structured left eye that complements the rest of your drawing. Happy drawing, and I'll see you in the next lesson. 7. Lips: Hello, and welcome to today's lesson on drawing realistic lips with graphite pencil. In this session, we'll dive into creating natural looking contours and shading, focusing first on the upper lip. To begin, I use a three B pencil to lightly hatch the entire surface of the upper lip. This creates the foundation of tone and helps us define the structure. Remember, the upper lip typically appears darker than the lower lip because it tends to receive less light, especially in natural lighting conditions. Next, we'll use a blending stump to smooth out the graphite, covering the entire surface evenly. Blending not only softens the strokes, but also enhances the realism by creating the subtle gradients that are crucial for achieving a lifelike appearance. While shading, pay attention to the natural curvature of the lip. The center of the upper lip, known as the cupid's bow is often more pronounced and reflects light differently than the edges. This small detail can add depth and realism to your drawing. Et's begin by closely examining our reference image. Take a moment to observe the vertical folds and subtle textures of the lips. This will guide us as we map out the initial structure. Using a light touch, sketch the basic shape of the upper lip onto your drawing surface, paying close attention to the curvature and proportions. At this stage, we're focusing on vertical folds. So keep your lines gentle and precise to maintain flexibility for adjustments. Next, darken some of these lines to emphasize areas where the folds are deeper. This step brings a sense of dimension and natural texture. Afterward, use an eraser to refine your sketch, softening certain lines and adding subtle highlights to accentuate the raised areas of the folds. With the folds in place, it's time to add tone. Use a medium pencil to darken the surface of the lips. Hatch the entire lip area with fine vertical lines to create microfolds that mimic the natural texture of skin. For this, take your time to build gradual layers, switch to a softer pencil for the deeper shadows like the crease of the mouth and more pronounced folds to enhance the depth and contrast. Next, we move on to the lower lip. I start by carefully sketching the folds, paying attention to their natural flow and direction. Using an electric eraser, I create subtle highlights along the most prominent areas of the lip, mimicking the way light reflects off its surface. A tissue is then used to gently clean away any residue left by the eraser. To enhance depth, I apply a pencil marked B to darken the overall tone of the lower lip. Vertical strokes emphasize the texture while blending the shading unifies the tones, making the lip appear darker, richer and more defined. Throughout this process, remember to blend and adjust where necessary to achieve smooth transitions. Each layer contributes to the realism of the lips, so build the tones patiently for the best results. Using a three B pencil apply controlled strokes to create a deep, soft shadow that adds volume to the lower lip. Then move to the filtrm the dimple above the upper lip. Use the same three B pencil to carefully define the edges of the filtrum creating sharp, bright contours that emphasize its structure. These clear lines will contrast beautifully with the smoother tones you'll build later. Blend carefully to create smooth, natural transitions between the lips and the surrounding skin. Take your time during this step. Blending eliminates sharp edges and makes the shading look soft and realistic. After blending, return to the same area with your B pencil and add another layer of fine shading on top of the blended surface. This step increases the tonal depth and enhances the realistic appearance. Focus on reinforcing the darker shadows where the lips meet the skin and gradually soften the shading as you move outward. 8. Skin tone: In this lesson, we will explore the intricate process of creating realistic skin tones using a combination of delicate strokes and careful blending. This method helps achieve a lifelike texture, depth, and variation in skin tone, essential for bringing portrait drawings to life. We'll also uncover tips and interesting facts that will elevate your approach to shading and texture while addressing some of the common challenges artists face along the way. To create realistic skin tones, you'll need a variety of graphite pencils with different grades of hardness. For instance, hard pencils, HH,BBPerfect for light base layers and subtle shading, soft pencils, B series 2b3b8 B, ideal for shadows, contours and areas requiring richer, darker tones. Blending tools use a blending stump or tortilon, tissues or a clean cotton swab for smooth transitions. Es a needed eraser works well for lifting subtle highlights and fixing small imperfections. Having the right tools ensures control over tone, texture and contrast. Three essential components of realistic portraits. Start with a base layer. Begin by lightly sketching the basic outline of the face, focusing on proportions and contours. At this stage, pay attention to accuracy because a strong foundation will guide you through shading later. Once the outlines are in place, apply a base tone across the face using a hard pencil, for example, two H or a soft even layer of two B. Instead of harsh lines, focus on creating a smooth, delicate layer that will act as the foundation. Use light circular motions to avoid visible streaks or unevenness. Gently blend this base tone with a blending stump or tissue. This creates a smooth canvas to work on while softening any visible pencil marks. Adding shadows and contours. This is where your portrait begins to come to life using a soft pencil like three B. Apply light strokes to define shadows and contours in the face. Key shadow areas to focus on under the lower lip to emphasize the volume of the lips. Hollows of the cheeks to accentuate facial structure, under the chin and jaw line, the sides of the nose, to give depth and form, the corners and edges of the forehead. Interesting fact, the area beneath the lower lip often casts a distinct shadow due to the light falling above, making it one of the most critical features for realistic shading. As you work, unexpected challenges may arise, such as grid lines remaining visible after erasing. In my case, I initially sketched my portrait using a grid method, which involved drawing a light grid of squares across the page to ensure accuracy and proportion. While this technique is incredibly effective for achieving correct placement of features, I mistakenly erase the grid lines too harshly. As a result, faint remnants of these lines remain visible in my final drawing. How to avoid this in the future, use a harder pencil, for example, HB or H for the grid so the lines are easier to erase without leaving deep marks. Ease carefully and gently with a needed eraser instead of pressing too hard. Lightly blend over areas where the grid was to help mask any leftover lines. Pay special attention here by layering strokes carefully to achieve smooth but noticeable contrast. Using strokes that follow the natural direction of the skin, build up these areas gradually. For example, around the cheeks, allow your pencil marks to curve slightly in alignment with the face's natural contours. This subtle detail enhances the realism of your drawing. Blending for smooth transitions. M Once your initial strokes are in place, take your blending stump or tissue and gently blend the graphite. The goal is to soften any harsh edges while maintaining the form and depth you've created. Blend in the same direction as your pencil strokes to avoid smudging inconsistencies. Periodically step back from your drawing to observe where the shadows and highlights need refinement. If your shading feels too uniform, add another layer of soft strokes in key shadow areas before blending again. This layering technique allows you to control depth and create smoother tonal transitions, just like real skin. Highlights and midtones. To create luminosity and contrast, leave areas of highlight untouched or use a needed eraser to gently lift graphite. Key areas for highlights include the bridge of the nose, the forehead, the cheekbones, the upper lip, depending on the light source. By balancing light and dark areas, you create a more three dimensional realistic appearance. And. Despite this issue, remember that every artist encounters challenges and learning to adapt is part of the artistic journey. Even small imperfections can add character to your work. Building depth with layers. The key to realistic skin tones lies in layering. Don't rush the process. Skin has subtle variations in tone and texture that require patience. Add multiple layers of strokes and blending two, deepen shadows. Smooth mid tones, create highlights and soft edges, experiment with pencil pressure. Use a light touch for delicate areas like the eyelids or forehead. Gradually apply more pressure for shadows under the chin or cheeks. Interesting fact, human skin reflects light in different ways depending on texture, moisture, and underlying structure. When shading, consider that even shadows have lighter and darker variations. Not all shadows are uniform. Final adjustments and observations. Throughout this process, use a reference image to guide your shading decisions. We light falls on the face highlights how shadows transition from dark to light, smooth gradients, subtle imperfections, such as wrinkles or pores that add realism. Take time to refine your work, blending and adjusting as needed. If you've overshaded an area, gently lift some graphite with an eraser and reapply strokes to rebuild the toe. Bringing your portrait to life. Creating life like skin tones requires patience, observation and practice. By combining soft directional strokes with careful blending, you can achieve a realistic nuanced appearance. Mistakes like grid marks or uneven blending are part of the learning process and offer valuable lessons for improvement. With time, you'll gain more control over shading and develop your own unique approach to creating depth, texture, and vibrant skin tones in your portraits. Embrace the process, keep experimenting, and most importantly, enjoy the journey of bringing your art to life. 9. Hair: In this lesson, we'll focus on creating strands of hair across the entire head using deliberate strokes. Unlike shading, we'll utilize strokes to mimic the texture and flow of individual hair strands, thereby enhancing volume and realism. Begin by observing the reference image closely to understand the direction and flow of the hair strands. With a sharpened pencil, lightly sketch the general shape of the hair following the contours of the head. I work without using grids, but I'd recommend you use one and avoid erasing it in the hair area. And u once the main shapes are outlined, you can smooth and blend any excess strokes using a blending stump. This will create a good gray base for the hair. Using a pen without ink, I apply pressure to draw the strands of hair that will remain unshaded. For the bangs, I use semicircular strokes that follow the direction of the hair, using a three B pencil for lighter areas and an eight B for shadows. I start with the darkest areas as a reference point, gradually building up layers of strokes with a medium soft pencil. This process creates a foundational guide helping me map out where the deepest shadows will be. For the middle area of the head, I shade with a soft eight pencil. Once the entire area of the head is shaded, I blend the graphite into the paper's texture, pressing it into the pores to achieve a smooth, even base. Start drawing individual strands of hair with swift and controlled strokes. Pay attention to the direction in which the hair flows, ensuring that your strokes follow the natural pattern of the strands. Vary the length and thickness of the strokes to create a sense of depth and dimensionality. Remember that hair isn't uniform, so some strands may appear thicker or thinner than others. This pure graphite pencil is perfect for covering large areas with deep blacks. It's highly economical and lasts a long time, making it ideal for intensive shading work. As you work your way across the head, continue to observe the reference image and adjust the direction and density of your strokes accordingly. Focus on creating layers of overlapping strands to build volume and texture. For areas with highlights or lighter strands, use lighter pressure on the pencil to create a sense of transparency and luminosity. Conversely, apply slightly more pressure for darker or shadowed areas to add depth and contrast. Throughout the process, maintain a light touch and avoid overworking the hair. It's better to build up layers gradually than to try to achieve a realistic effect in a single pass. Continue refining and adding details until you're satisfied with the overall appearance of the hair. Remember that practice and patience are key to mastering this technique, don't be discouraged if it takes time to perfect your hair drawing skills. By focusing on creating individual strands with deliberate strokes, you'll be able to achieve a sense of volume and realism that enhances the overall quality of your portrait drawings. Keep practicing and experimenting with different techniques to refine your approach and create stunning hair textures in your artwork. And 10. Finishing details: In this final lesson, we'll focus on adding finishing details and shadows to the face to enhance realism and depth. Start by carefully observing the reference image to identify areas of subtle shadows and highlights on the face. Using a soft graphite pencil, lightly sketch in the shadows, paying close attention to the contours and features of the face. Focus on areas such as the creases around the eyes, the nostrils, the corners of the mouth, and the jaw line. These details are essential for capturing the nuances of light and shadow that give the face its three dimensional form. These shadows help define the structure of the face and add depth to your drawing. Next, use a blending stump or tortilon to gently blend the shadows, softening harsh lines and creating smooth transitions between tones. This helps to unify the shadows with the rest of the drawing and gives the face a more natural appearance. As you work, continue to refer to the reference image to ensure accuracy in the placement and intensity of the shadows. Pay attention to the direction of light and how it interacts with the different planes of the face. For areas of highlights, such as the forehead, nose, and cheekbones, use a needed eraser or an electric eraser to carefully lift out highlights, creating contrast and luminosity. This technique helps to emphasize the natural highlights of the face and adds a sense of realism to your drawing. Once you've added shadows and highlights, take a step back and evaluate your drawing as a whole. Look for any areas that may need further refinement or adjustment and make any necessary corrections to ensure a balanced and cohesive composition. Finally, add any additional details such as wrinkles, freckles or pores to further enhance the realism of the face. Use a fine tipped pencil or a sharp eraser to carefully add these details, being mindful not to overdo it. Remember to work gradually and patiently, building up the details and shadows slowly to achieve a realistic effect. By paying attention to the subtle nuances of light and shadow and carefully refining your drawing, you'll create a portrait that is lifelike and full of depth and character.