Transcripts
1. Introduction to the class: The most important
thing when drawing a portrait is the way
or how we draw the ice. If they do not
match the portrait, often that portrait will
not be satisfactory either. In today's video, we're going to take a look
at some guidelines and examples to help you do
it perfectly every time. Hello everyone and welcome
to my new drawing class. My name is Milan, and I've been an art teacher for the
past 20 years or so. And like you see in the introduction part of this video introduction
of the introduction, you saw that we'll be talking
about drawing an eye. And I hope that by the
end of this class, you'll have a better
understanding of the steps that you should do in order to draw better eyes. And therefore make can
create better portraits. But also have enough tips that will help you stay
on the right path. There is much to be said about drawing portraits
and especially eyes, but I'll try to keep it as simple as I can and provide you with enough information
that you will feel more comfortable when
approaching this subject. Because everything
that you draw, you can make a lot of fuss about it and make
it complicated. And my goal is to help you and make it less of
the complication. So you can see when it
comes to drawing eyes, how to place the
eye and eye socket where it falls on
the human face. Where should you draw eyes? How to approach this subject. If you find this topic
interesting and you think you might learn
something from this class, please feel free
to join the class and see you in the next video.
2. Proportions and a basic anatomy of the eye: First of all, thank you
for joining the class. Let's start with the first
lesson that will mainly be about proportions of the human face and the
placement of the eyes. As you can see in this
first image here, the face when we draw can be divided into three
equal sections. First is from the chin to
the bottom of the nose, then from the bottom of
the nose to the eyebrows. And the third one is
for the forehead, and that means from the
eyebrows to the hairline. When it comes to drawing eyes, you have to think about
this next image here. The eyes are drawn in the
second part of the face. In the part that's between the tip of the nose
and the eyebrows, like you can see when
we divide that half. When we divide this part in the half the eyes are drawn
in the part that is above. That is fairly familiar stuff. If you ever drawn the
face and the portrait, one thing that also is important is to think
about the placement of the eyes that are in
the middle of the face. This distance here is equal
to this distance here. Another point that I should
make is when you're drawing, is to divide this part of the face into
three equal parts. We'll have one on this side, then we have the gap
or the space between the eyes and third
one is this here. The same can be said if we
are drawing from the profile. This thing here, we can see
placement should be the same. And also look for the ear. They should also fall in the place in the second or the middle
section of the face. But we are not here for
the nose or the ear, we are talking about the eye. You can see the difference
between the shapes that I look like when they
are drawn from the front or from the profile. And we'll talk more about it in the next section of this video. When it comes to drawing eyes, we should also talk
a little bit about the anatomy of the eye and
have a better understanding, of course, we are not scientists or doctors or anything less. We'll keep it quite simple. When it comes to the eye, it's important to think
about we have this, Clara, the white of the eye. Then we have the pupil, and of course the iris. And that is the color section
of the eye that shrinks. If there's enough
light or expands, goes further away
and it's smaller. If there is not enough light, more light can pass
through the pupil. Also, another thing is
to see that we have this cornea that's
above the iris. And the shape of the, in that case, that part
of the is convex shape. If, for example, this is the e, we have here the, the iris. And this is the
place where the sun, sun rays come from. The light, that part
is a bit convex. Let me erase a little
bit and move on to this sun light comes through that shape a little bit, popping out of the sclera. This iris is a bit
like concave shape. Keep that in mind. Why is that important when
we're drawing ice? Well, it's important
for this shape here because if you have
a sun or other, let's say source of light, the sun shines rays from above. It falls onto the
cornea that leaves this usually most
bright part here. It's not on some other
place that think about that when it comes to
drawing the details. Let me quickly erase this because we don't
need it anymore. Also, when it comes to
the anatomy of the eye, we have to think about three main shapes like we see here. We have a top eyelid
on bottom eyelid, and a tear duct. And we can see the
simplified version of this in here, In here. That is important
because it will help us make easier drawing. Because we can draw the top
eyelid with three lines. We can draw the bottom
eyelid with only two lines. Also we have the wrinkling of the skin above the top eyelid. Then there's eyebrows. Also one of the
things that you can draw and think about when you're actually drawing
is to think about the placement of the
iris and the pupil. Because in most
cases, it is blocked. The upper part of the iris
is blocked by the top eyelid and it barely
touches the lower eyelid. And we have the pupil here. When we draw or
when I'm drawing, I usually start with
this shape here and then add the iris. That's basically start of an eye when we're
looking at a friend. Like I said earlier. In a later part of the slides, we'll talk about
different positions. Because we don't always draw faces and portraits
looking straight at us, like you can see here
after you finish that, made that preliminary
drawing with a pencil that's a little bit softer. We can add shading and stuff
and make it look good.
3. Planes around the eyes: Now let's take a look
at some other examples. When we're drawing eyes, we're
drawing an E, let's say. Usually we're drawing as entity that is separated
from everything else. We should also think about
the planes of the face where this I should be placed
in this example. Here I have made these
three examples of planes. Primary planes, shapes, secondary planes,
and tertiary planes. Because when you're placing, always go and look for simple shapes like you see
here just to divide the place. So this is for the nose
and this is for one eye, For the other eye, and
that's for forehead. No matter if you're
drawing that from the frontal perspective or you have a three quarter
view or profile, you should always understand where that eye should lend to. In the secondary planes, we see in a little
bit more of detail how to shade or how to think about placing the
eye and shading it. If the sun, like I said earlier, is above us, that's normally the
places where you can expect to see the shadows. If we go further, we can
add even more details. But let's look at each of
these example separately. When you're drawing,
think about those. Think about the curve, because this place here on the forehead usually
it's not flat. And you can see in these three examples when you're drawing portraits that you should
take this into consideration. Also the nose and the part
that's below the eyes. You can always think about the sun and which
parts should get, the more light,
the more light and parts which should be in the
shadow like you see here. If we go further as we draw, we think about
adding more details. Start and think about this
as a step by step approach. You'll see what I mean later on in the demo when
I make a drawing, how it all comes together. But for now, let's focus our attention on these
secondary and primary planes. And lastly, talk about the
details, add more detail, there's more parts
of the face that we give more attention
to and try to make a better portrait
like you see here. It's just, let's say,
like I said earlier, 12.3 lines and for the
lower lid 12 lines, you can see it in all three
examples that I have here. Finally, in the last step, we can see how
then you can blend each other because as we
start is simple planes. And we're working
with hard pencil, with strokes that are, let's say that hard
lines are thin so it can be easily erased or maybe
moved and stuff like that. But as we go further then we have more areas that
we can think about, how to shade, how to add additional lines that will
make it more interesting. But that's not all. Let's see.
4. Drawing eyes in 3 steps: Let's see the three
things that we should pay attention
to when we're drawing our Y or y and
surrounding area around the eye. And those are primary
shapes and planes. Make a rough sketch and make sure to have lines
of different weight. We talk now about each and
every one of these things. Let's start with primer
ships and planes. When you're starting
out, like I said, think about the curves
of the forehead. Think about the placement of the eyes and the distance
between the eyes, because like I said
earlier, we should also, if you're going from
the frontal view space of an eye between these two, depending if we are
watching that from below, imagine this is
your eye going up. Then we'll see from this
side, this is the normal. We see the portrait
straight this way. Or maybe in this case we see
the portrait from above, We see more of the forehead. In this example, we see less. We see more of the nostrils
and stuff like that. Because like I said, you draw eyes as
from the same angle, from the same viewpoint. We're going to try to mix and match and
try different stuff. It's better to be
prepared and think about these planes
and how we see try to separate them into smaller chunks in something
that is much more manageable. And to do that is of course, to understand what
happens when we draw. We always have
these curved lines. That depends how the
lines will curve on the placement of placement of the viewer and
what you're drawing. Think about those shapes and
planes when you're drawing. And try to study to
analyze those things. After that, make a rough
sketch like you see here. You may or may not end up
with these lines in the end, but you see you can erase them
a little bit and draw over and place the eyes in the
proper place with the pencil. That is like when it
comes to hardness B, you can use that and
then draw these eyes. Like I said, what will we see? What part will be
more affected will be based on the
placement of your eye, of placement where you are
viewing the portrait from. And you'll see
more examples when I come to the drawing
demo of this class. Finally, when you come to the final sketching and
drawing stages of your work, think about line weight. Your lines don't have
to be all the same. Try when you're to
come to the surface. Let's say for example,
this is the paper looking from this perspective,
straight at it. This is, let's say,
pencil, right. When you're making this line. You go down, make the line and gently lift
it off the paper. That way you'll have
lines that start small, then become bigger and
are thinner at the end. You do it by this
approach, if you haven't, if you're not doing it already, maybe these steps are something
that you already know. But I think it's
always a good thing to have a reminder of
what you're doing. Can see that throughout
this drawing, we have lines that are thicker
than thinner, thicker, thinner, and it will make also your drawing more interesting. Another thing is
texturing or shading. There are a few ways you can do 12.3 when you're starting to add more textures
in the eyebrows. I like to use this technique
and add just this way, maybe there's other
stuff that you can maybe do some cross hatching
like you see it here. You want to have some
parts that are darker. You do it like this, you create lines that are
thick and thin again then. Cross hatch it with another set. It will be in the position of 90 degrees angle.
We can have this. Then we have a line that
goes like this, 90 degrees. We can do some cross hatching. Maybe sometimes you want to follow by
sketching the lines, the placement of the shapes
that you're drawing. If we have this for example, let me quickly erase
if the sun is, let's say here on the side. And we want to shape this part by looking
at this example. You can start with adding lines that follow the shape
of the upper lid. But then you can cross hatch
it in certain parts to make it darker and follow the
shape of this plane. That's important, that's why I mentioned those
planes earlier on. To know which they are and
how to approach them to, you can have better
understanding how to go about shading. Like I said, you can crosshatch
with 90 degrees angle, but most of the time you
can change that angle to be like 60 or, I don't know, 45. These numbers don't much matter. They are just an example because you don't
have to think about, oh, I have to make that
at 45 degree angle. It depends on the surface
that you're drawing. Think about how you
can make the best job, How thick these lines should be, how dark should they be. We'll also talk about that, you'll see my example when it comes to the drawing
demo part of this class. That's basically
it for this class. Let's once again see those
three main things that you think about when you're drawing primary
shapes and planes. Shapes and planes that will come important later when you're
shading to know these planes, think about them
when you're shading. Then produce rough sketches with thin lines that you
can easily erase. When you're making
the final drawing, think about using line
weight to your advantage to make the drawing
much more interesting. In the next video,
we will go over a demo that I'll make
a drawing of an eye, and we'll see how I go about
this in an actual drawing. I hope this part was useful, so without any further delay, Let's see as in the next video.
5. Drawing demonstration: Welcome to the
demonstration part of this class because
I think there's no better way to
learn and get better at drawing skills unless
you have some practice. In this part of the class, I will show you how I went about drawing four examples
for this class. And as you can see
from the video here, I'm doing this part
with the blue pencil. You might ask why blue pencil it is just because I
wanted you to see better When I go
over the pencil and you see those lines by
using a blue pencil, it makes it, I think, easier for you to see the construction
lines that I did in this part of the class and the final lines that
I did when I was, let's say satisfied
with the process. Because I say satisfied
because whenever you draw, you may not be satisfied with
100% with what you made. And that is absolutely normal. And don't feel like, I don't know what to say, like scared or unhappy with the progress that you're making or the drawings
that you're creating. Take that in mind and take
it step by step while you're developing your drawing skills
in this stage of the work. With that aside, I like to put the eyeballs then go
over the drawing of the upper and the lower eyelid and even add
some shadows like you see me do here after that and when I'm
satisfied with that kind of drawing and
construction taking in mind also all the stuff that I mentioned in
the previous video. I'll go over with
the pencil that I'm working right
now and I think it's like four pencil,
It's rather soft. But because I have all
these blue lines first, it's easier for me to add those lines and you
can see them better. Because I would usually use a pencil like two
or stuff like that. But in order for
you to see better, I decided to go with this a bit. Let's say softer pencil. Normally I would use it
in the very last stages, but like I said earlier, I just wanted you to have a better view of what I'm doing. And after that I'll
use some shading. Remember when I said about following the contours
of the shape and making those lines flow on the surface that
you're drawing? Now, I'm even using
a bit softer pencil. I think it's eight B
or stuff like that. And then go over
additional shadows. This is a warm up drawing. As you progress with your work, you will see that
more work you do, the better you get
and your lines get better and you feel less stressful about
the entire process. That is what I
encourage you to do. To not feel comfortable with doing one drawing and then say, okay, I've done that. But continue to work on your craft and based on
how much time you have. But always think
about making not one, but several drawings
from several angles. And you will see
me do just that. This is like a warm up
thing for me to do. And then I go on to
the second drawing. In this case, it will
be from another angle and I will concentrate
not on both eyes, but only see one eye and go about that like you've noticed. Like I mentioned in
the previous figures, I used three lines
for the upper eyelid and then two lines
for the lower eyelid. Of course, after that,
you can always smooth those things and make them
less like they say blocky. But to start off, it's
a good idea to start off with those lines after you finished the
construction line. Then you can move on
to a softer pencil. I think I'm using here,
the eight P. And adding all these lines like you
notice before any shading. It is good to make those
referential lines and put everything in place since
this is a second, let's say. Exercise or wall up. I'm not too worried
about drawing the iris, the pupil and stuff like that. It's just to find the planes and think about
this drawing in that way. In the fourth drawing, where I'll be using
only the Bill pencil because I found it very
interesting to work with. I'll go over the entire drawing adding pupils
and stuff like that. We'll see that part as well. But in the two or
three first exercises, it is good for this
class to think only about the
planes, main shapes. And think about how to incorporate the line
thickness on your work. And adding strokes that
are thin at the start, thicker at the middle, and also again,
thinner at the end. Maybe even add a little
bit of eyebrows. For a third exercise, we're going to take a look at the drawing made
from the profile. Like you see in all
of these exercises, I'm trying to work from different angles and have
a better understanding of how the portrait looks and how the eyes are placed in all of these examples
are the perfect. No, but it's an exercise. This is not something
like finished work. This is like a study,
a short study. Maybe not call it a study, but an exercise
that should benefit you in gaining better
understanding of eye structure, how it is placed on the face, and how it looks from
different angles. That's the basic goal. After that, you can work
on the entire phase, but have a better
understanding of placement and how
to draw an eye. Also, you can see me here,
shading, adding details. And maybe think about the way that you're
holding your pencil. Make it more flat on the surface and hold
it with more fingers, or use it like this with three. Change the direction constantly
that you're drawing. And like mentioned I think
earlier, follow the planes. I think it is very
important that when you're your shading work follows these planes because I think
that will give that more, let's say, perspective
to the drawing. And feel much more alive, Have a certain scent that I like when it
comes to drawing. Give it a go and try it
on your own as well. This is nearly finished. After I finished this drawing, I moved on to the final
one, because like I said, love to feel of the pencil that was working on beginning
stages of the work. I decided to finish the
entire drawing just with this simple blue
pencil like you can see. The materials that you use
in this class are verstile. There are many tools
that you can use. Don't feel obligated to use this pencil and
this drawing material. Use whatever feels good
to you in this case. And now, like you see here, I'm adding all the
details on the eye. Very, Let's say quick drawing. I've put up some music. I was listening to that and simply enjoyed the entire
process of drawing. I hope you will have
fun time drawing too, because that's also very, very important part
of this process. Because if you're not enjoying
the process of drawing, it will be very hard
to get better at. So think about that as well. Finally, in the last
video of this class, we'll go over the assignments, talk about materials that
you will be using and stuff like that that will help you
complete your own project. I hope you found
this interesting, that you gained some insight
in my work and how you can approach your own project. See you in the next video.
6. Class project: Congratulations on finishing the video part of this class. I really hope you find
it useful and that it will benefit your
drawing journey. If you did like the class, please remember to leave a
comment or review so I can make more classes like this in the future
for people like you, people who are interested
in the drawing. But for now, let's get back to you and the project
section of this class. Four materials
that you will need for this class would
be a sketchbook. I would recommend working
inside of sketchbook because that way you'll have
all your drawings in one place and that
is really valuable. I have many sketchbooks
that I accumulated through my work and I find
them very, very beneficial. So I would recommend
the same for you. Also have a few pen like
you saw in the class. I used different materials
and recommended that you use material that you
are most comfortable with and that you
find most enjoyable. Because the ultimate goal
for this class is to have fun while learning
something new about drawing ice. That is very important component of this class, having fun. But if you really
would like to know what drawing materials
I recommend, then it would be three pencils. One H B for the start of the work and making those
construction lines. 12 pencils when you need a little bit more lines
and more darker lines. And finally, let's
say six pencils. When you're doing just
those darkest lines, with that material
set up, you can, for this project, fill a page
or two of your sketchbook. Withdrawing of eyes
from all kinds of point of views to
make it more fun. Like I said, because that's the, one of the main
goals of the class, is to think about
how to position them all on the page and make it not just a collection
of eyes, but a composition. In some examples you can see on the screen of your computer or whatever you're
watching this on, you can see that I
have various drawings, not eyes in this example, but drawings that
I deliberately put on page to make a
composition that also make the entire
process fund to see how to fit all these
elements on the page. Most importantly,
share your work in the project section of the class and I'll be more than happy to provide you with a
meaningful feedback because it is a lot harder
when you're working alone. Anytime that you can
get some feedback, Get comment is really helpful
that I also learned through all those years of
teaching is then improve upon the feedback
that you received. I hope that will
be very helpful. And hopefully you'll join the project section
of the class and we can all grow and learn together. Finally, if you want
more drawing classes, you can check out
my profile page and see if there's
anything for you. But for now, take your
pencils and start drawing. I really hope to see you soon in the project section of the
class and happy drawing.
Milan Glozić, Painter, illustrator, Designer
