Transcripts
1. Introduction: Hello, hello. You
know what time it is? It's time to learn how
to draw a portrait. Welcome to this one. My name is Braden messenger. I'm an artist, YouTuber, and I make content for
the Internet of Things. Yes, This is number five of a seventh or is
it that I am making where I am taking you through and I am
showing you how you can use a reference
photo such as this one. And you can use
your reference and utilize the luminous method when it comes to
drawing portraits, there are multiple
methods out there. However, I have found that
just by drawing hundreds, probably thousands by this point of drawings that the
luminous method itself is. The simplest. Simplicity is the best medicine, not only for life,
but also for drawing. Especially when you are new to drawing and you want
to really hone those skills. So what to expect? In this one? I'm going to be
taking you through and showing you how you can use a simple compass to
draw a basic circle. From there. We can then identify
the side plane of our portrait and punch in our vertical and
horizontal axes. Once these are put in, we can then easily
identify our hairline, our brown line, the
bottom of our nose. Once we have those, we draw in our center line helps us establish the
bottom of the chin. Once we have the chin drawn-out, will punch in our cheek plane. And then from there, it's really just
time the Loomis head into the neck and the
shoulders of our subject. That is the framework. Once the framework
is established, then it's very easy for us to identify exactly
where our eyes go, where our nose goes, our mouth, our ears, our hair, and any other features
that we deem necessary. And then of course, once the features are in
the proper proportions, we can start to bring out
that underlying form, which of course is the illusion
of that third dimension. If this is your first
class of the series, make sure you start at
the first one because I talk about different
definitions when it comes to drawing a portrait as far as the technical aspect of drawing. So that is it, That is what to expect. And I hope to see you in class.
2. Step (1) Drawing out your Loomis Head: Okay, so we're going
to grab our campus. And I think we're going
to sketch this one out. And blue. Blue is a good color. So we're
going to take our compass, we're going to set
it to a to replace it right in the middle
of the paper here. And then very likely we're just going to trace out a circle. Then once we have that,
we're going to look at our reference photo
and we're going to see where the eyes are, right, the angle of the eye. Then from there, That's going
to allow us to punch it, our side plane here. Then the vertical axis is about like this and then the horizontal axis
spelled like that. And then I like to
put a nice little temple plane on there as well. Where it's going to pull
the hair line over. We're going to pull
that horizontal axis straight over and
that's our brow line. And then the bottom
of the plane, pull that over and
that's going to be the bottom of
our nose roughly. And then we're gonna
go from the bottom of the nose and then
right about there, this chin on this subject
is a little shorter. So we're going to
pull that up and attach that to the vertical
axis and then pull this up. Just about like that. Then once we have the majority of luminous
head sketched out, we can then start to
mess with the throat, the front part of the neck, and then attaching the neck into the tops of the shoulders. Okay. Something like that. Don't overthink it.
Don't press too hard. Either write nice and light. We're going to punch it
or cheek plane here on this side and then the cheek
plate on this side as well. Okay. There we go.
Something like that. Now we have the
perfect framework for the rest of the
drawing to come onwards. Listen to that, start
punching in some features.
3. Step (2) Drawing your Eye and Placing Nose: Okay, So as far as where to
start with your features, I always like to start
with the subjects nose. So we're going to do is we're going to
use that center line of the face as kind of the
baseline for our nose here. Then we're going to
sketch out the edge. We're going to pull the
bottom of the nose over. Just like this. Wonderful. And then every node
has a plane right? Where you basically have a
lower value on the bottom. And that's just because of the nature of the light source. This light source, along with most portrait references,
is coming from the top. So we want to be aware
of that as we're sketching out our drawing. And then as far as the eye goes, we can see as we look at
the reference photo that it begins where the edge
of that nose is. So just want to sketch it out
just like this right here. What I'm doing is
I'm re-establishing the actual edge of the
subject's face, okay? Because remember
now the Loomis head that we initially drew
in less than one, that is meant to
be a foundation. But it is not absolute,
not by any means. So it's meant to give us an idea of where we can
accurately punch in our features, such as our eyes and our nose. But here what we're gonna
do is we're gonna kinda create this socket right here. Very lightly. We're going
to lower the value. And this is one of
the beautiful things about hatching and
crosshatching. But this kind of
drawing technique that we're able
to go in lightly. But then if we need to
go back over a spot again to continue to
lower that value, just like we're doing here. We can do that right. Then the eye itself, I just want to thicken up the quality of this
line here, right? And then I'll kinda give the eye some structure here because
it is very rounded in nature. Now as far as line definitions, let's go over those real quick. Okay? So aligned by its definition is simply a moving dot, right? You create a dot and
then you pull or you push that data across the paper and that's
what a line is. Now as far as when you hear
me say quality or weight, line quality is the thickness
or thinness of a line. So by varying alliance quality, you can start to bring
out form which of course is the illusion
of a third dimension. Line weight is just
the strength of the line or how light
or dark it appears. So obviously there
is this correlation between weight and quality. We'll touch more on
this in lesson three.
4. Step (3) Drawing your second Eye & Ear: Okay, so lesson three, we're gonna do is we're going
to punch in our other eye. But what I like to do is
I like to draw out where the brow is and then I
can work down from there. Because when you look
at the reference photo and this one, there is a very, very sharp contrast
between the edge of the top of the eye
socket and then where that brow begins, right. So we can draw that out. And then from there we can start to establish exactly where the eye is and where the eyelid sits on top
of the eye as well. But coming back around to
what I was talking about with the different
definitions with line. In drawing. The other one. You have defined lines and then you have implied
lines, right? So defined lines are the ones that you're
probably most familiar with. And this is when you continue a line without any break, right? So like say for example, the line when I
drew out the nose, the line or I established the actual contour of
the subjects cheek. Those are defined lines. Implied lines are basically when you continue a line
after a small break, then that proceeds in
the same direction. So say for example, if you take your pencil, flip it on its side, then you lower a value. And then there's immediate
contrast on the edge of that. So say for example,
what I did with the brow on the
subjects left eye. That is an implied line. You don't take your pencil
standard up on it and pull it right to where
it's very abrupt. You blend it. An implied line is
a mid to low value, immediately next to
a high-value, right? Where you have contrast
and you have form. But it's not a defined line. What we're doing here is
I'm just sketching out roughly the hair as it protrudes out from the bottom
of the headband and then where I want that
year to be as well. So something like this. You can start to play
with the form right? Hatch here, a little
crosshatching. They're like very
lightly right here. I'm just going to
kind of pull this and solidify this chin. And then we're gonna
move on to lesson four.
5. Step (4) Drawing your Mouth & Underlying Form: Alright, so our subject
does not have a mouth. Let's give them a mouth. So we've got a nice little
drop shadow right here, immediately below the nose. And that is going
to punch right into the top of our upper lip here. Now, when it comes to vowels, in general, you always want
to define the upper lip. Right here. This is the bottom
of the upper lip. The slide here. We're gonna give it a slightly
thicker quality. Then what we can
start to do is we can start to define right here. This is a defined line,
defined the lower lip. Okay? Once we have these lines placed, then we can start to shade. And if you are unsure, start with a very light
pressure control. Good a layer on there. And then if you feel
referring back to your reference that you
need to darken that up, you want to lower that quality. You can go back over to
the same spot again. And also be aware that by
varying your pressure control, you can also dictate exactly how quickly you
lower the value, right? So the harder you push, the lower the value,
the lighter you push, the higher the value. So just be aware of that. But when we look at
the reference photo, we can clearly see that the right side of the subject's
face is a very low value. There's more light striking
the subjects left side. Then there is striking
the right side. So then here we're just going to pull it from
this line right here. Alright? And then notice, notice
how the jaw line here is implied, right? I didn't take the line
and define it, right? I implied it by going and using a very light
pressure control. One of the cool things about hatching like this and
crosshatching is that you can slowly but surely
add detail over time. Now, obviously this is
not a detailed tutorial, but this is more about
shape and form and just getting your features than
the proper proportions. But you can clearly see, and especially with practice, how this technique would benefit you in the sense of adding
detail to your sketch. Okay? Alright, let's go on
to less than five.
6. Step (5) Drawing your Underlying Form and Shading: Alright, so in this one, we're going to be sketching
out the neck, the shoulders, and we're going to be building up more of that underlying form. Now, underlying forum is next to obviously
getting her features in the proper proportion is
the next hardest thing to do whenever you sketch anything, but
especially portraits. Because when you're doing this, I want you to look at
the reference photo. See that underlying form. Form is very hard to
achieve with sketching because it is the illusion
of that third dimension. I've said this in other classes. But you, as an artist are
actually more of a magician, then you are somebody who just humble these
sketches something. And the reason why
is because what separates an
incredible artist from an amateur artist is that
an incredible artist has the ability to sell their viewer on the illusion,
because that's what it is. It's an illusion. It's not real. There is no actual
third dimension. Your drawing will only ever
be in two-dimensional space. It's flat, right? It's not, it's not 3D. But when you get someone saying, wow, I feel like I could
reach out and touch that, or that looks realistic. To say something is realistic or like hyper-realistic artists. They have figured out
exactly how to sell their viewers on
the illusion that they're drawing is
three-dimensional. The easiest way to start to uncover this for yourself is by adjusting your
pressure control. So when you look at your reference photo started
late and then you can always increase the pressure
as you go over a spot that needs a lower value
over and over again. Now, the other part of selling that third dimension
is targeting your low values and really
focusing on contrast. Contrast is crucial,
especially when it comes to placing things at
different depths of field. And when I say contrast guys, what I mean is when you're
looking at your drawing, you should be accentuating
the value scale. So your drawing
should have complete white, chef, complete black. And then of course, all of the tonal variance
is in-between. If you can do this, your drawing will pop when
you compare it to others. Okay, let's move on to
lesson six, final lesson.
7. Step (6) Final Thoughts & Details: Okay, final lesson. In this one, what we're gonna do is I'm going to sketch out the rest of the
head and the hair, finished that headband up. Then I'll sketch out
a few more details. But basically just like this, establish the shape right, the top of the hair. And then once you
have that drawn out, then you can start to
focus more on the flow of the hair and how it ties into the headband
just like this, right? This right here is
one of the reasons why I'm starting all of you on drawing sculptures.
Sculptures. The emphasis is on the
form of the subject. It is not on detail. Just simple form. Shape comes first,
form comes second. Detail comes third. But just like this,
nice and light. And you don't have to go
as fast as I'm going. I'm simply just having fun here. But if you want to slow down, take your time, that
will only benefit you. Don't ever worry about
how fast you draw. Worry about the technique that you're using when you draw. Speed will come with
time and repetition. Then just like this, I'm using a very light
pressure control here. I'm just focusing on the flow. And then the lips here just
pull up from the center line. Just like that. That's looking pretty decent. Kinda darken that up a little bit because there's
not a lot of light hitting that one. Okay. This is looking pretty good. And have fun with it. Play with those different line qualities. Darken up some of those line weights,
but not all of them. Right? Then the upper lip here,
what kinda darken this up just because of the way
the light is hitting it. Nine times out of ten, when it comes to
portraits such as this, upper lip will be
of a lower value. That bottom lip will be of a higher value simply because of how light is cast
across a human face. We're nearing the
end of this one. I hope you had fun. Makes sure to upload
your projects. I always love senior guys is work and talking
to you about them. I hope it was helpful. And stay happy. Stay healthy. Remember, never stopped drawing.
Messer Creations, Artist | Author | YouTuber
