How To Draw A Realistic Nose - Step By Step!

1. Introduction: [MUSIC] Hi, I'm Emily. I'm an artist and an art teacher from New Zealand. In this class, I'll take you through my process for drawing a realistic nose. I think the nose is probably the hardest pitch of the face to draw because there are so few outlines and shapes to rely on. Most of the drawing happens with the shading. This lesson focuses on how to catch up the lightness of a particular nose. We'll be drawing from a photograph and using techniques that identify the unique shape of the nose. First, we'll take a quick look at the parts of the nose and do some useful warm-up drawing exercises to make sure you're comfortable with the shading skills we're going to need. Then we'll work through simple steps to find the correct structure of the nose before using detailed shading to create the 3D form of the nose. This class is suitable for people with basic drawing skills such as sketching simple shapes and shading a range of tonal values. However, if you are a beginner and you like a challenge, then I'm sure you will learn a lot from this class too. Let's get started. [MUSIC] 2. Materials: Materials. You can use a range of pencils from 2H to 6B to sketch and shade with for this project. You'll need to be able to achieve light middle and dark tonal values, so you could use a light pencil like a 2H to start your drawing and for light shading and then use a 2B or 4B pencil when you're ready add darker shading. You may also like to use a cotton bud or a Q-tip or a paper towel to blend in and smooth out your shading. Any paper suitable for drawing on will do. Just keep in mind that the texture of the paper will affect the appearance of your drawing. Paper with a fine texture is more forgiving than smooth paper, but the texture will show up through your shading. I'm using regular sketchbook paper which has a slight texture, and it does show up in the shading. If you have a tablet you could also use this class to draw a nose using digital media like Procreate. 3. Basic Anatomy & A 3D View: Let's take a look at the anatomy of the nose. The parts of the nose I'll be referring to in this lesson are the bridge of the nose, which is the hard bony surface running down the top of the nose. At the bottom of the bridge is the ball of the nose. That's the roundish shape that sticks out the most. Then we have the nostrils, which I'm sure you are familiar with. The wings of the nose on either side of the nostrils and the septum, which is the wall that runs between the two nostrils. Think of the nose as a three-dimensional shape. It has four main surfaces or planes. The top, the bottom, and the two sides. The direction that the light is coming from will affect how light or dark each surfaces. In a normal situation where the light is coming from above the top surface, that is the bridge of the nose, will be the lightest because the light is falling directly on it. Either side of the nose will be light, but not as light as the top plane because the light doesn't hit the sides directly like it does the bridge of the nose. The bottom surface of the nose where the septum is faces the ground. Because it's facing away from the light, it will be in shadow. It's really important to look for these four planes when you're shading. Think about where the light is coming from and which planes are facing the light and which ones are in shadow. 4. Warm Up Exercise: Before we start drawing, I've come up with two sets of drawing exercises. The first set is simply to get your hand and your eye warmed up and working together in coordination. These exercises will warm up your hand and get you used to the kind of max we will be making in this lesson. Sketch lines at a 45-degree angle alternating the direction. Notice how I use a light loose sketching action, sometimes going back over my line a few times to define the angle. Now sketch a horizontal center line and then join an angled line onto each side. This is how we might draw the point of the nose. The part that sticks out. And we're drawing it using only straight lines. Take this a step further in this time, add a hook to shape on each side. This is how we could draw the nostrils using straight lines. They don't have to be exactly the same every time. You can change the angles. If you like. This, keep it loose. And light in sketchy. Now sketch small circles. Keep your lines fluid. Notice how my entire hand is moving. It's not stuck in one place, but it moves with my pencil. Sketch oval-shaped ellipses at a 45-degree angle. And then reverse the angle. We're gonna put these circular shapes together now. Draw a circle and then add an oval to each side, leaning into the circle so that it's slightly overlaps. This is how we might draw a nose using ellipses. You can use a darker line now to define enjoin the bottom edge of the ellipsis, forming a nose shape. 5. Practice Your Shading Skills: The second set of exercises covers shading techniques that are important for creating smooth layers of shading with no hard edges, which is what we need to be able to do to get a realistic result when we're drawing a nose. Hold your pencil a little bit further back than usual and move it from side to side in a shading motion with very little pressure on the page. As you move across the page, gradually increase the pressure. If your pencil, the idea is to control the pressure. To achieve a smooth tonal scale from light to dark. Start off with light pressure, light Tmax, and slowly increase the pressure of your pencil. Marks become darker and darker. Try this out several times, trying to get a nice smooth transition from light to dark. You might find in overhand grip of your pencil allows you to shade lighter marks with less pressure. Try some different grips and see what works best for you. Try holding your pencil a little bit further back as well and just resting the tip of the pencil on the paper as you move it back and forth. Next, shade a small area using very light pressure and moving your pencil in small circular motions. Keep layering your circular max to gain coverage until there are no whitespaces lift. If you don't control the light pressure of your pencil, you'll get dark scribbles. The aim is to build up layers of pencil using this circular motion until you have a nice flat, even coverage of pencil on the paper. Now try using this technique to shade a simple sphere, shade a circular area, all to the same light tonal value. Remember to use a circular shading motion thing. Gradually add layers of pencil to the bottom part of that circle, increasing the pressure to create a three-dimensional shape. The control of the pressure of your pencil is what is important here. If you go too dark, too soon, you'll end up with this. There's a clear divide between the first layer in the second layer. In steed tried to integrate the layers with soft pressure, blending one layer into another. This next exercise is similar. Shade a circular areas so that it is all one even light tonal value. Then starting from the center, increase the pressure and moving outwards decrease the pressure of your pencil so that you're shading fades out into the layer beneath. If you notice any hard edges tried to blend them into the layer below by controlling the pressure of your shading. Keep using that circular motion to avoid hard lines. Finally, create a shading scale similar to the very first ones that we did. However, this time start with a light layer of shading by vigorously moving your pencil back and forth. Use your pencil at an angle so that you're shading with the side of the pencil. If you shade with the side of the pencil, you can cover more ground and you get a softmax so you avoid creating hard lines. Then go back over the same layer at one end with a slightly darker tone. But as you move across, gradually lessen the pressure of your pencil to fade it out to the layer below. Repeat this until you have a gradient from light shading, too dark shading with no obvious lines between the different values. Be patient and take your time to build up these gradual layers. If you rush it. And it looks like this. Try again working on the first layer and shading until there are no white spaces between your marks. Build up darker layers and the same way, patients in controlling the pencil of your pencil on the page. A key to getting this gradient effect. 6. Introduction To Drawing Project: Now, we are ready to get started on our drawing. You can download the photograph from the resource section of this class on the Skillshare website. Print this off or have it visible onscreen, and then follow along with me as we work through the four steps to complete the drawing. Take a break whenever you need to, especially if you find yourself getting too critical with your drawing or if you're rushing ahead, and then you can come back to the drawing when you have a calm focus. 7. Four Step Drawing Process: We will follow the four-step drawing process. First step is structure; mapping out the particular nose we're drawing by finding its specific angles. Second step is sketching, where we add organic lines and shapes. The third step is blocking and shading two tonal values to identify the highlights and the shadows. The last step is building detail. Building up smooth gradations of shading and refining the details. 8. Drawing Project Step 1: Finding The Structure: The curve of the ball of the nose can be defined by three angles. The base of the ball is usually a horizontal line. And then there's an angle at each side as it curves up. The shape of the nostrils can also be drawn using straight lines, often with four angles. Sometimes the nostrils might appear square shaped or diamond shaped when you draw them using straight lines. The wings of the nose can be drawn using two main angles to show the curved shape. One angle at the bottom of the curve, and one angle at the top. The sides of the nose can also be drawn in as n goes to Ed structure. However, it's important to keep these lines very light as most of this area around the top of the nose will be defined using only shading. Will start with a quick practice run, drawing a diagram of the structure of the nose up here in the corner of the page. And this is to help get L brain used to what we're looking at. Give it a bit of processing time before we start on the real drawing. Start with the three angles that make up the ball of the nose. And as you draw them, you're looking at the photograph, trying to gauge the angle with your eye in taking your time to sketch lightly with your pencil. Then look for the shape of the nostrils. If I'm using straight lines, the nostril on the right-hand side kind of looks like a diamond shape on its side. And then when I look at the nostril on the left-hand side, it's also a diamond shape, but it's more like an upright diamond shape. What I see might be slightly different to what you see as well. So just do your best to break those shapes with the nostrils down into straight lines. Now sketching the two angles of the wing of the nose. And you're going to have to take a bit of a guess at how far away from the nostrils it is. You might draw a line from the nostril to the edge of the wing of the nose to gauge that distance. And repeat for the wing on the other side of the nose. Gauge the distance away from the nostril, and then draw in the angle at the base of the curve. And then also draw in the angle at the top of the curve. If you need to make changes, then it's really important that you do. So don't just go with your first draft, but have another look and see if there's anything that needs to be corrected at the stage. And probably will change again as you go. That's just the nature of drawing. You put down a mark and then you've got something to respond to. Have a look for any other structural lines that you can find. So I can see a line on the side of the ball of the nose. And I'm drawing that and then trying to figure out the shape of the nose up along the bridge. What shapes in what angles can you see? It's okay to not be quite sure about that right now as well because it is a difficult area to define in a lot of that will come with our shading. You can also add in the line underneath the nose. That's at the base of the septum where the nose joins onto the face. Now we're ready to start our final drawing. Make sure it's about two inches high so that you've got enough space to put in some detail. But that is not so big that you're having to spin days shading this thing. And go ahead and follow the same steps that we did for our quick practice diagram. Put on the ball of the nose with three angles and then start to put in the nostrils. You can draw a line across from the top of each nostril and see if that's on a horizontal line. It's important when you do this that you're not copying your first diagram. That you're actually looking at the photograph and drawing the structure again. Now that we've had a little bit of time to get used to it. It'll be a little bit easier to see those angles. You can also draw a line that connects the bottom of the nostrils and see if they are in a straight line. I'm gauging the distance between the nostrils and the wings of the nose just by drawing a very light line across it and running my eye across it at the same time. We want to find the two key angles of the wing of the nose, the top angle in the bottom angle. And if you want to add in an angle or a line that joins those two up in the middle of that curve, then you can do that. Sometimes it depends on how big the noses in how wide the curve is. We want to use this stage to sketch and anything that is structural that's going to help us place the rest of the drawing on top. If you're drawing a light enough, you should be able to make corrections as you go. If you see something that needs correcting, just draw over top of your lines. You might have noticed that I spend some time with my pencil just hovering above the paper or moving from 1 to another without drawing. And that's my way of gauging distances. As I'm looking at the photograph, I'm moving my pencil around as I make visual calculations about angles and distances and shapes before putting them down on paper. And it's something you might like to try to have a guess at where the highlight of the nose starts. And I'm drawing in the shape of the highlight of the nose, that light line that runs up it has a way of finding the bridge of the nose. And that top surface or top plane of the nose. 9. Step 2: Sketch Simple Shapes: Step two is sketching. Once the structure of the nose has been mapped out, we can go ahead and sketch out the shape of the nose over top. Adding in the three ellipses of the nose brings a more natural shape to it. And we can look again at the shape of the nostrils. Remember to keep your sketching lines very light, especially up along the sides of the nose. Now that we have the structure of the nose down, we can start to bring some more organic shape to it. Have a look for the ellipse of the bowl of the nose. Try to see this in the photograph first and then sketch it into your drawing. And the same with the two narrow ellipses that create the form of the wings of the nose. This is just going to help give our nose some more organic shape. Then you can also go through and curve off some of those angles. We were using straight lines and angles to find the correct degree of a curve. And now we can go over and just move those out. You always want to be looking back at your photograph. So even though you've already mapped out these curves with straight lines, look at your photograph as you draw over top of the structure because you may see something different. Before we go into shading, you could start to sketch in some of the light and dark areas. Can you see where the shadow of the bottom plane of the nose comes up onto the ball of the nose. I'm sketching around that shape. It may be useful to sketch a vertical line up through the center of the nose. And think about where the different elements sit in relation to this center line. When I do this, I can see that the highlight along the nose is not right in the middle, but it's slightly off center to the left. See if you can find some kind of shape for the sides of the nose. And it's hard for me to tell you exactly what to draw because it's such a subtle area that what I see might be different to what you see. How can you define the side of the nose? Weird. Does the side of the nose start and stop? Draw this very lightly? Because when we put our shading and we want those lines to disappear. 10. Step 3: Blocking Basic Tonal Values: Step three is blocking in. We're going to bring in some shading now. Shading in everything except the white areas. It's the highlight along the bridge and the ball of the nose. Before you start shading, erase any lines that you think are going to be too dark. We don't want to have dark lines anywhere on the nose really, except perhaps around the top of the nostrils because those are going to be shaded in black. If you have a putty eraser, you can just dab lightly over your lines to push them back a little bit. I've lightly sketched in the shape of the bottom plane of the nose. Have a look and see if there are any other shadow areas that you can sketch and very lightly, just to help identify where you're going to be shading. A shadow tone is an area on either side of the wings of the nose and also the area underneath the nose. If you can see in the shapes of tonal value on the sides of the nose, you could sketch those into, but don't worry if you find that difficult, just leave it blank for now. Once you've very lightly sketched out all of your highlights shapes and your shadow shapes. Then you can start to block in one base layer of shading. We're shading everything except the highlight on the nose. I'm using very light pressure with my pencil and using a back-and-forth motion, I find this is the quickest way to get a nice light and even covering of shading. If you find that you're shading is quite dark and you're having trouble keeping the pressure light, then you might need to switch to a lighter pencil. You could also try holding your pencil a little bit further towards the back and just resting the tip of your pencil on the paper. You'll see that I'm shading over all of my sketch lines. I'm not coloring in sections. I'm just putting down a base layer of shading. Once you've got that light layer of shading, and then you can come in and block in your shadow areas just with one darker tonal value. And it doesn't have to be the correct tone at this stage. It's really just to mark it and identify it so we know where it is. Remember those four planes of the nose. We've got a top plane, the two side planes and the bottom plane. Think about where the light is coming from. In this photograph, the light looks like it's coming from above. Which means that the lightest Surface will be that bridge of the nose that runs down across the ball of the nose. And the darker surface will be the bottom plane of the nose, the part of the nose that is facing towards the ground. Go ahead and shade in the bottom plane of the nose with a darker tonal value. Notice that this tonal value I'm using for the shadows is still only maybe a middle gray at the most. We can always go darker later on. But this step is just to identify where our highlights, our mid tones in our shadow areas are going to be. Because those tonal values are what you need to create. The illusion of three-dimensions. 11. Step 4: Building Detail: We're up to step four, which is building detail. We've gone through the other steps quite quickly, but the state is the one that's going to take the most time and the most amount of careful attention. If you need to take a break, then feel free to do that and then come back with fresh eyes. In this state, we're going to build up gradual layers of shading. And what we're trying to achieve is a nice seamless gradation from our light tones to our dark tones. If you have a look at the photograph of the nose, there's not really any edges except maybe around the wings of the nose and also around the nostrils. I'm starting with the nostrils because they're easy to define. We can see them quite clearly. If you have a close look at the nostrils and the photograph, you'll see that the upper edge of the shape of the nostrils is quite a sharp each, and so I can use a sharp line. But as you come towards the bottom of the shape of the nostril, the edge is very soft, so I need to adjust my shading to make sure it just fades out a little bit as it comes towards the lighter area. Use a sharp line to define top edge of the nostril. Looking again at the shape to make sure you've got it correct. And then shade in the shape. And as you come towards the bottom of the shape, allow your pencil pressure to fade out the shading a little bit so that you get that nice soft edge at the bottom. Blocking in some of the shadow of the philtrum. Now the groove between the two columns are the philtrum just beneath the nose. And also adding in some shading on either side of the wings of the nose. These dark areas of the easiest to see. Quite often I'll start with those. And then you can start to work on the more subtle details around the ball of the nose and going up the sides of the nose. Just taking my time now to do a few checks. And if you see something that isn't quite right thing, that's really important to correct it now, because it's only gonna get harder to correct it as we go on with our shading. I'm just looking at that shape underneath the left hand wing of the nose and making sure I've got that correct. Before I add in the rest of the shading there. In this state, we want to balance out our tonal values. And that means having a range from white to black. And trying to get to all those gray tones in-between in the right order. And the way you do this is by comparing one area to another. If I have a look at the black tone of the nostrils, I can then look at this area of the bottom plane of the nose and think about how does that relate? Is it much, much lighter or is it more like a dark gray? And if you're struggling with it, with finding the tonal values, then try squinting at the photograph as well. And as soon as you squint to the photograph, you'll see the nostrils really stand out as a dark shadow. But then next thing to stand out is that bottom plane of the nose. I'll focus is on building gradual layers of tonal value so that they look like they merged seamlessly with each other. And the way we do that is by building up layers gradually and using very light pressure of the pencil. Try to blend each layer that you put down into the layer underneath it. You can see here I'm feathering around the edge of the shadow, underneath the nose and around the ball of the nose, so that I don't have any hard edges. This is with its circular motion of shading might be really useful to creating small circles with your pencil. As you go around in each, we want to blend a dark tonal value into a lighter tonal value. The key is really the pressure of your pencil. So like I said, if you find that you're shading is coming out just too dark and too obvious. Then hold your pencil further at the back and barely touch the paper is you shade. Takes a lot of time and a lot of patients, but it will pay off. If you can stick to this. If you get frustrated, then it's best to take a break and then come back and have another go. If you have a look at the edge of the highlight along the nose, it's not a hard line near either. So I'm just using my potty eraser to soften off the edge and to get rid of any of those sketch. Max, it I might've histo head coming through underneath. If you have a look at the cheek on the left-hand side, you can see a bit of the cheek theater and it's quiet, well-lit, which makes me think that the light source is coming from above, but also slightly from the left-hand side. And this helps me to see that the left-hand side of the nose is slightly lighter than the right-hand side of the nose. We started this step with just three tonal values to highlight the mid tone in the, in the shadow area. And as you start to put in more tonal values, more half-tones in-between those three main values. You should see the form starting to pop out from the page. If you want to, you could at this stage, bring in a cotton bud or a paper towel or a blending stump and just smooth out some of your shading Max. I think it's really important that you do most of the work with your gradual layers of shading. And don't rely on these blending tools because if you use them too much, you can end up with just a big gray blob on the page. If you haven't used one before, then do a bit of a taste somewhere on the side of your page, put a bit of shading down or maybe even on the diagram there off the planes of the nose. If you've drawn there with me and just see what happens when you use something like a cotton bed over the top. Try not to use your finger. You don't have very much control with your finger and it also puts a lot of oils onto the page. The only time I'd use my fingers if I was drawing with Chaco. When you're using a cotton bud or similar, just use very, very light pressure. It's like when we're building up the shading, we're using super light pressure. We can use our blending tools with really light pressure as well just to avoid doing anything too drastic. If you look closely at my drawing, even after using that, there's still some landmarks and the air in some energy. I don't want to smooth it out into nothing and just have a look. Lifeless. But I mean, that's a personal choice that's up to you. If you were really interested in hyper-realistic drawing, then you might want to do a bit more blending and see how smooth you can get it. Personally, I like my drawings today, a little bit more life, a little bit of energy. 12. Step 4 Cont: Adding Black Points: I'm switching to a darker pencil now. It's a for B pencil. And I'm going to pretty much go through the same process that we've just been through. But now we're really focusing on balancing out the tonal values. The nostrils. I can see quite clearly in the photo that they are going to be black. So I'm shading those in with my four B pencil, but taking care to keep it sharp line at the top. And that's soft edge at the bottom of the shape and the nostrils. Once you put in that black point of the nostrils, you'll probably see that everything else now feels a little bit too light, and this is where the balancing of the tones comes in. We need to build up those tonal values in relation to black. Have a look for the lightest areas in the photograph and see if they're the same in your drawing. Will vice versa. Maybe you look for the lightest areas and new drawing and then check them against the photograph. When I look at the lightest areas in my drawing, I have highlight along the top of the nose and then I've got these two light areas underneath the nostrils. Here. If I have a look at the photograph, they are light but they definitely not white, so I need to block those in a little bit more. And then have a look at the darkest parts in the photograph. Remember, you can squint if you need to and see how they compare to the darkest parts and you're drawing. So the nostrils, the wings of the nose, and also the bottom plane of the nose. I need to add some more shading to the bottom plane of the nose because there's not enough contrast between the bottom plane of the nose and the other three planes of the nose. Notice that vertical line that curves up around the bottom of the ball of the nose is like a crease between two pieces of cartilage. But it's really subtle. So building up with very careful shading, you have a look at the two sides of the nose. The shadow on the right side of the nose around the wing is darker than the shadow on the left side of the nose. And same with this soft shadow line that goes around the ball of the nose. You really want to work to blend that into the layers underneath. From this point on, we're really trying to pick up on any subtle details or changes that we can see in the tonal values. So keep flicking your eye between the photograph and the drawing. You might want to work methodically. We start from one side of the nose and work across or from the bottom of the nose and work up. In all the time you are comparing tonal values to each other. Should this path be darker or lighter than another Pat? Can you see that really fine. Highlight just above each nostril. I'm adding it and just using the point of a potty eraser. Adding a little bit more blending. Now I'm really just blending the edges of the drawing where they meet the white of the paper. And just make sure when you're using your blending tools that you're using something that's clean. Mine doesn't look that clean bed. I have turned it around and it pulled a bit of the cotton wool off it so that I have a clean surface. Otherwise, what you're doing is you're taking the graphite that's on the cotton bed and you're just pushing it into the paper and you risk making it darker than you want. If you do find that you've shaded a little bit too dark in one area. You can use a potty eraser to very carefully Deb against the paper and lift up a little bit of that graphite rather than rubbing it all away. We're just about at the end of this drawing. But what I'm noticing now is that the nostrils in my drawing are about the same size. We now look at the photograph. I can see the one on the right is actually bigger. So it's not an ideal time to make changes. But I do want you to strive for accuracy. So if you see something that needs to be changed, don't just ignore it and just go, oh yeah, that'll do with trying to capture the likeness of this particular nose and later on of whatever portraits we draw. So it's an important skill to practice. Making those corrections. In this case is not too difficult because the nostrils are the darkest part of the drawing, so I can easily put them in over the top of my drawing if I need to. If I had to make them smaller, that might be a little bit more difficult because i'd, I'd have to be trying to erase it really dark tonal value. So this one here on the right needs to be just a little bit bigger. If you're making corrections, keep referring back to the photograph. It's not enough to just look at this and go. It needs to be bigger and draw what I think it should be. I need to look again at the photograph and redraw what I see. I'll make those corrections now. When you think you're drawing might be finished, take a bit of time to just lean back from it and have the photograph there inflict your eye back and forth between the drawing and the photograph. Focusing on details. Look at the shapes or the angles that we looked at at the very start. Find those again in the photograph and see how they compare to your drawing. Squint your eyes and look for highlights, shapes and shadow shapes. And see if you have those same tonal values or tonal relationships in your drawing. And it's always a really good idea to take a break and then come back a bit later or even the next day. And do that again, just flick your eye between the two the drawing in the photograph. And chances are you probably see something that you didn't see before because you're a little bit too close to the drawing. When you're in the middle of it. You can also turn the drawing upside down into the photograph or upside down together and compare them that way. And that gives you a really new perspective, one that we're not used to in sometimes. That helps you to pick out inconsistencies that you wouldn't notice when you have them up the right way. Remember I mentioned that the light might be coming from above and slightly to the left. If you have a look at the space just underneath the nostrils, and you see that the space under the left-hand nostrils slightly lighter than the space underneath the right-hand nostril. It's receiving a little bit more light, so make sure that's reflected in your drawing. I'll focus in the system has been building up soft, gradual layers of tonal value and shading. So just take a look at your drawing now and see if you've achieved that. Are there any areas that need to be softened off a little bit where you might have a hard edge and there's no hard edge and the photograph shoes your pencil really lightly to figure out those edges and to blend in one layer to another if it needs it. You could also use a potty eraser very carefully just to blend in some of the edges. But be careful that you're not taking away too much of your hard work. I hope that you've enjoyed working through this drawing with me in that you've got some good results. There is another nose tutorial that you can follow along with after this video. And then there's two more noses to practice with in your own time. If you struggled with this one, then try to take it easy on yourself. And just remember it's not about whether you like a drawing or not. It's about just doing the work in the practice. And the more you practice, the better you're going to get. With each drawing, you're going to improve in some small way. It may not be something that you're consciously aware of, but just some of those skills that are absorbed into your subconscious, particularly the observation skills. And that's why it's so important to just keep on practicing and doing the work. 13. Summary: Thanks for taking this class on drawing a realistic nose. You can share your drawing in the project section and I'd be happy to give you some feedback. Drawing a nose is difficult and it requires patience and careful observation of tonal values, so well done for completing the project. With each practice, you'll get better at staying focused in really seeing the angle, shapes, and tonal values of what you're drawing. In the resources section, you'll find another page of noses that you can practice with to keep improving those important drawing skills.