Transcripts
1. Introduction : Hey guys, my name
is Braden Messer. I'm an artist, Youtuber, and I make content for
the Internet of things. I'm going to be your
instructor for this one. Yeah, how to easily draw lips. Drawing lips is no easy feat, especially if you don't have a principled approach that
you can use to draw them. But that's what this
class is all about. What you can expect
in this class. I've broken it down into
ten digestible modules. The first five modules
are going to be focused specifically on
using the So method, basing your drawings in each
off of the SRO head model. We're going to be
drawing the SR lips from five different angles so that you can apply
these drawings to most any portrait that you
would render in each module. We're going to be going
over how to punch in the basic shape of the lips. After that, I'm going
to show you how you can easily identify the
underlying form with your hatch marks. Once that's done, we're
going to move on to the last five modules which
we're going to be doing. The exact same thing
we're going to be drawing from real life
reference photos. You'll be see and
immerse yourself in the graduation from the
principled approach of the Saro method to drawing
actual real life P. This is the last of three
classes where I taught you how to draw the
eyes, the noses. Now the next classes that I'll be coming out
with are going to be based off of reference
photos and drawing holistic portraits as far as the basic shape and framing the underlying form
are concerned. Make sure that you
stay tuned for that and hope to see in class.
2. Left 3/4 Angle - Asaro Lips: All right, so when
it comes to drawing the lips based off of
the SRO head model, I want you to start with
these lines right here. Okay, so we are identifying
the philtrum first, because when you
draw a portrait, you're going to draw the nose, then you're going
to draw the lips. In my experience, I've drawn lots of portraits
over the years. This is the best way
to do it, right? You're building the
lips from the top down. Once you have the filtrum
lines established, they plug in to the cupid's, bow of the upper lip, and that's the bit that is
the center of the upper lip, and it forms more or
less the top of a heart. Once we have those drawn in, we want to extend
this line over and then punch in where the corner
of the mouth will live. Then we want to draw these
lines parallel following that first line that we drew for the top
of the upper lip. Then we're just going to connect that line just like this. Okay, once we have
those lines drawn, then I want to draw
the line here, which establishes the
bottom of the lip. Then we have our bottom plane
underneath the lower lip. And then on the far side here, we want to pull this
line down and over, and then, and then punt this
line over just like this. Then that gives us that plane
underneath the bottom lip. Now the reason why we're drawing the SRrolips because I
want you to start to get a feel for how the
planes actually live, okay? Obviously when we're
drawing real portraits, they're not going to
be this rigid, right? But because this method
is rooted in principle, your sketches need to resemble
the Saro head model, okay? But just like this, notice
how this plane right here extends from the
planes on the lip. You don't have to draw out the chin planes if
you don't want to. I just thought it's a
good practice while we're here to get
those drawn in. Then here I want
you to take your pencil and just hatch, right? Just pull your lines one way and mess with the
values a little bit, right? Like when you're looking
at the reference photo, I want you to try to bring out those variations in
value. All right? Because that will
help your brain subconsciously
understand. Okay, cool. This is how light is casting
at this specific angle. All right, let's move on
to lesson number two.
3. Left Profile Angle - Asaro Lips: All right, that first
angle was a 34 turn. Now this is going to
be a profile angle. Now, profile angles tend to be a little simpler by
their very nature, simply because of the
nature of the angle. But we first want to
start with the filtrum. Okay, we're going to start
with the cupid's bow. Then once we have the
cupid's bow drawn in, it is basically
just a V. We want to pull these vertical lines up, which extend to where the bottom of the nose
would roughly live. Then that gives us
our filtrum plane. Remember the filtrum
plugs into the what? That's right, the cupid's,
bow of the upper lip, that is the center
of the upper lip. And we can use that
understanding to help us sketch out the
rest of the upper lip. We're just going to pull
this down like this. Then we want to
extend that over. We're going to identify
the corner of the mouth. Then we're just going to
extend this line here, which is the top
of the upper lip. We're just going to
pull that all the way over to where the corner of the mouth lives. Just like that. And then we want to finish it, so we're going to
pull this line over and have it meet at
the exact same point, which is the corner
of the mouth. Okay? Something like that. Now that we have the
upper lip drawn in, we can use that as a basis
for drawing our lower lip. So we're going to
draw this line down. Pull this over. Keep in mind the angle that
we're pulling. Then we can pull this down over. And this just gives us that
bottom plane for the top of the chin that resides
underneath the lower lip. Then we're going to
pull this over and up, but don't worry about
connecting the line so much. Let it fade off into
nothing, right? Let that line quality thin out. As we pull that line towards
the corner of the mouth, we have this plane right here. So we want to draw that in then we're just going
to pull this line down. That is pretty much it. It's fairly simple. Once
you do a handful of these, you start to
realize, okay, cool. The upper lip is literally
just two planes, the bottom lip is
just three planes. Now, I know that I'm sketching
in the top of the chin, but I'm just doing that
because I want you to see the entirety of the
reference photo drawn. Then just like before,
we're going to go in here and we're going to mess
around with our values. Just hatch one way with
your colored pencil. It's more about value building
than anything, right? Just understanding where
those low values live. Notice how it's usually always the upper lip,
that's a low value. All right, let's move on
to lesson number three.
4. Right 3/4 Angle - Asaro Lips: Just like we start off with
the left three quarter angle. Now we're going to
do its opposite, the right three quarter,
just like before, we want to start with
that Filtrm plane. So we're going to
pull a vertical line at a slight angle down. And then we're going to pull another vertical line angled slightly towards the
other one, right? Then once we have these drawn, we want to bring them together. Which brings out
the cupid's, bow of the upper lip, Something
just like this. Once those are connected, where you then want to identify where the corners
of our mouth would live. And then we can connect the
corners to the cupid's bow. Use a nice light pressure
control for these lines. Okay, then once we
have that drawn in, it's a little bit of guesswork, but we want to punch in a
dot for where the bottom of the upper lip resides and
then where the bottom of the lower lip
we'll live as well. We want to extend these
lines over and connect them. Then extend this line over, whether you pull it
from the center to the corner or from the
corner to the center. All roads lead to Rome. Right? It'll get you to where you want to
be, which is nice. Then we want to bring out the plane for the lower limb and pull that down on this side. And then we're going to pull it down on the far side as well. Then once we have
those planes drawn, we can then pull down from the corner to the edge
of that plane line. Then we're just going to
connect these lines all the way up to the corner of the mouth. Something just like that. Then I'm going to draw
these lines right here. Pull these down. It's
a good best practice to draw these lines as well, simply because it's just going to give you really
good practice. And it'll help make these sorrow lip sketches a little bit
more dynamic for you as well. But then up on the far side, we can just establish
some of these lines here. Then of course we
have these planes for the top of the chin, we want to just make sure
that those are living there. Then this line on the upper lip, just so we can split
that into two planes. Now we're just going to hatch, we're going to start lowering our values in specific areas, but just refer to the
reference for this, okay? And then just try to bring out all of those different
values that you see. Notice how that upper lip is usually always
going to be lower. That's just because
of the nature of how faces are
constructed, right? When light casts, typically
light comes from the top, that upper lip, because
it's facing down, then the filtrum overhangs it doesn't pick up
a lot of light. Let's move on to
the next lesson.
5. Right Profile Angle - Asaro Lips: So now, just like we
did the left profile, we're going to do
the right profile when it comes to
these profile angles, I always like to start
with the filtrumn. We establish that
line with this angle. It's difficult to see the
other line on the filtrum, but I'm going to sketch
it in like this, right? Then we have the
corner of the mouth, filtr corner of the mouth. And then identify roughly where the bottom of that
upper lip would live. And then pull that line up and connect it to your filtrum. Then extend a line from the cupid's bow all
the way to the corner. Something just like
that. Then you can pull down from the
bottom of the upper lip, pull down and then angle
your line just like this. Then once those lines
are established, you can then extend a line
from the corner to where you identified where the bottom of that upper lip going to live, and that brings out
your upper lip. Once that's done, you
can then sketch in a line from the corner to
the bottom of the lip. Bring up that plane line,
right, just like this. There is the basic shape of
lips for a profile angle. Then what you can do is you can extend this line
down just like this. Pull this over a
something just like that. Then this way, by bringing out the top of this chin plane, we don't have our lips just floating out in the
middle of nowhere, right? Bring them just like this again, notice the values, right? Notice where the light falls. That upper lip is going to
be shaded extremely dark. We want to have a
nice low value there, but then the side plane of the lower lip that
is a higher value. These are things
to keep in mind, but once you have
the basic shape of the lips sketched
on your paper, then go in and just start hatching and
lowering those values. Paying attention to that
reference photo and see how you can bring out those different
variations in value. Because those values are what is going to make
your drawing pop. And make those lip sketches
look extremely dynamic. Different pressure
controls, right? If you want to really
sock in some low value, use a much heavier pressure. If you want to be nice and
light like these sketches, I'm being outside of the lips, nice, light pressure control. All right, let's move
on to the next lesson.
6. Straight On Angle - Asaro Lips: Okay, the hardest one,
saved it for last. This is the straight on angle. The reason why this one's
most difficult out of all of them is because
with straight on angles, you have to worry
about symmetry more so than you do with any
of the other angles. But I'm going to
guide you through it. Okay? Just like the other ones. First step is
identifying that filtre, two vertical lines angled slightly towards each
other from bottom to top. Once we have those lines drawn in, we want
to connect them. All right, that brings out the cupid's bow at the
base of the filtrum plane. Once you have that sketched, identify roughly
where the corners of your mouth will reside. And a good best practice
there is if you want to take and
identify one first, you take your pencil,
lay it on the paper, the tip of the pencil
where the corner is at. And then pinch the pencil where the center of
that cupid's bow is. And then flip the pencil around. And then that will be
a really good gauge as far as symmetry goes
for the other corner, as far as we're to
place it on the paper. Then we want to connect the corners of the
mouth to the filtrum. Whether you pull from the
corner to the filter or from the filter in to the corner,
it makes no difference. That bit is really up to you. I wanted to show you both ways. That's why I went
from the corner to the filter and then from
the filter to the corner. Then once we are here, we want to punch in
roughly where we think the bottom of that
upper lip is going to live. We're going to pull this line up at a slight angle, right? Then we're going to flatten
out as we go to the corner. Going to extend these
lines just like this. Then we want to punch
in roughly where the bottom of that lower
lip is going to reside. Then same thing, we're going to extend a line from the corner of the mouth to the bottom of the lower lip where
we punched in that line. Then we're going to pull
this line up connected. Then notice how
the filtrm lines, the original two
that we punched in, actually align quite nicely the two plane lines
on the lower lip. And that's true in all angles. I wanted to save
telling you this for this one so that
you could really see it and appreciate
it for what it is. But in your sketches, you can use those filtrum
lines as a gauge for exactly where to draw those plane lines
for the lower lip. Then I'm just going
to sketch these out. Then we want to
lower the values for the upper lip just like that. Now we're going to
draw all five of these angles with real
reference photos.
7. Left 3/4 Angle - Real Lips: Okay, when it comes to the
left three quarter angle, we first want to start, just like we did when we were
drawing out the asaro lips. We want to use an isolight
pressure control. We want to bring
out the filtrumk. Always start with
the filtrum first, and then that way you
can connect each side of the filtrum together to
form the cupid's bow. Once you have that drawn in, then identify the
corners of the mouth. Then you can take your pencil
on this far side here, pull this line up, we're going to connect it to
that side of the filtrum. Then we're going to start from this side of the filtrum and pull that line down to the
nearest corner of the mouth. That pretty much gives us the upper part of our upper lip. Then we're going to
place our sorrel line, which splits the upper lip into its two respective planes. Then we're going to extend this line over and
we're going to run it all the way to
the corner of the mouth. Then we're going to do the exact same thing on the far side. Now this reference photo
is a little trick. A simply because the
lips are slightly ajar. Because of that, we want to
just sketch in the opening. Now I'm not going to be
drawing teeth in this class. We'll save that for another. Now, remember how I mentioned the filtrum lines
line up very nicely with your two as
lines which will split your lower lip
into its three planes. We'll use those as a guide. Once those two lines are placed, we're going to connect
all the lines. We're going to extend
from the far side down to the first As line. Then we're going to
extend that over to the second sorrow line. Then we're line up. This right here is your
basic two dimensional shape. Then once you have this, we can then start to hatch
with our colored pencil. We're just going
to be pulling up in one direction,
but I'll be it. Even though we are
pulling in one direction, make sure that wherever you
are in the drawing that you are adhering and keeping in the back of your mind
that underlying form. I talk about this all the
time in the tutorials, but the lips are no different, so pay attention
to where you're at on the lip when you are
pulling these hatch marks. All right, and then
notice what I'm doing. Right? As we're working our way to the right
corner of the mouth, we are adjusting the angle of
each one of our hatchmarks. Now if you want to,
you can go back over the same hatch
mark again and again. And what will happen
is that value will lower and lower and you'll
have a deeper saturation. All right, you will have a lower value but you
don't have to do that. If you don't want to,
would just be aware. Because see now, notice I'm going back over
these right here, we have a very, very high
value on this part of the lip, so I'm just going to run a circle around that
just to kind of give myself a little bit
more structure to work with so that I don't
accidentally draw over those. And you can do the
same thing here. Yeah, just like this, I'm
just pulling these lines. Notice how light
these hatch marks here on the lower lip are now. You can start off light or you can start off
a little darker. I would caution you against starting off too dark
on the lower lip. Save that for the upper lip. Remember how when we were
going through the Saro Eps, the way the light is cast, that upper lip usually always is going to
be of a lower value because light traditionally
strikes from the very top. Okay, then right here I'm just going through
and I'm extending much longer hatch marks across the entire
body of the lip. What this does is this
helps to bring out that three form
of the upper lip. Because as the lip curls in towards the
inside of the mouth, that value is getting lower and lower because of the nature of the way
the light is being cast. So just be aware of that. Then here to give the lower lip a little bit more character, we can go in and we can hatch in certain spots and really
vary our line qualities. Now what I'm doing is
I'm taking my pencil, I'm standing it on its side, and I just want to give these really nice baseline
as far as the value. You don't have to do this if you don't want to. But
I figured, why not? Let's have some fun. And
I'm going to be doing this to most all of
these realistic lips, but if you just want
to keep it hatch marks only by all means, you can definitely do
that to each their own. Then I'm just going to go in and thicken up some of these lines, but that's pretty much it for the left three
quarter angle. Let's move on to
the next lesson.
8. Left Profile Angle - Real Lips: For this one, this is
the left profile angle. I wanted to do a little bit more dynamic of a reference
photo for this one, just for the challenge of it, just like the last one, we
want to focus on the filtrum. First, we're drawing both of our vertical lines
at a slight angle. Then we want to connect
those for the cupid's bow, which is the top center
of the upper lip. Now this one I'm going to
do a little different. I want to extend this line down roughly and more or
less guestimate toward the corners of the mouth will be one of the reasons
why I'm doing it this way is so that you can
see that there are multiple ways to
accomplish the same thing. Sometimes with angles that are a little bit more
extreme, such as this, I find that drawing the line, extending it from the
cupid's bow to the corner, versus identifying
the corner floating in space tends to be
a little bit easier. And you get a much more
accurate render then here, because the mouth
is slightly open, I'm just going to
draw the basic shape of where the teeth would live. And then I want to draw
the top of the lower lip. I'm going to bring this down, and then I'm going to
bring it back over on itself like this. Then I'm going to
just extend this line up and then I'll let it fade. I don't actually
want to bring this line all the way to the corner. We're going to split this upper
lip with our sorrow line, which gives us our two planes. Then because it's more
of a profile angle, you're only going to see one sorrow line on
the bottom lip. Then here, I'm just going to
bring these lines around. This helps give me a better sense of that three dimensional
form that these lips have. Then we're going to go in
here and we're going to sock in the inside of the mouth. Lower this value
because the mouth open right Then
once we have that, now what we can do is
we can start to hatch. And I'm going to be pulling
from right to left, and then I'm going to be
slightly pulling up as well. Something just like this. It's best to use nice
light pressure control. Then you can always go back over to lower that
value, if you will. But I'm keeping in mind the flow of the upper lip while I'm striking
the paper like this. Okay, I'm starting from the inside and then I'm
pulling up and over. And then as I'm pulling up, I lift up, right? So that, that value shows contrast from
the very beginning where it's a very low value to the end where it fades off
into an extremely high value. But what we're trying to
accomplish here is we're trying to bring out the form, right? We're taking a two
dimensional shape, which is what these lips were when we first
sketched them, before we started hatching. Now we are introducing volume. Volume via value. That's what we're
trying to do here. But the most
important thing that I'm going to drill home in this class for these lips is to pay attention to
the underlying form. It's very much like when
we're going through and we're sketching statues or we're
doing portraits, right? And we're working on, say, maybe the cheek or the
jaw or under the eyes. Every drawing is going
to have that form. And it's your job as
the artist to be able to identify that
and bring that out. And so much of how you can manipulate visual perception of your drawing is by pulling or pushing your pencil in the
right direction, right? It's knowing when to
push it to the left, It's knowing when to
push it to the right, so on and so forth. But this is the biggest thing. But notice how we're working
our way down the lips. How our poles are
changing, right? We were bending our strikes up, and now we're bending
our strikes down. That's looking pretty
decent for the upper lip. Now we're going to do the exact same thing for the lower lip. Only now we're starting from the top and we're pulling down. All right? I want to
bring out that flow. You can use the sural
lines as a guide for. Okay, when does that
transition happen? Where I'm pulling from top
to bottom and I'm bowing my pencil up right to where I need to actually start to pull it straight and
then start to bow. All right. That's a little
trick of the trade, especially if you
lean heavily into the SRro method for
your portrait drawings. And then right here I'm going to continue to extend
these hatch marks down to the bottom of the lip. Yeah, something just like that. And notice how if I continue
to go over these spots, it gets lower and lower. Then what I'm going to do is
I just want to fill this in. I'm standing, my
pencil on its side. I'm just going back and forth. Pay attention and
run your pencil for the lowest values immediately next to the inside of the mouth. Both for the upper and
then the lower lip. Then for around the lips, if you want to, you can go
ahead and shade it this way. But effectively, what we
want to do is we want to bring out the differences
in that value. All right, let's move
on to the next lesson.
9. Right 3/4 Angle - Real Lips: All right, so the right
three quarter angle, just like we did with
the left three quarter. We're going to start
with our filtrum. We're going to
work our way down. Okay. You'll see in classes that I'm going to be coming out with where when we're drawing
the entire portrait, how we start with the eyes, then we do the nose,
then we do the mouth. Very rarely will you ever
draw the mouth without having the nose as a
starting point to work from. But we have the filtrum lines. We connect those lines to
bring out the cupid's bow. Much like the last lesson, we're going to pull
these down and then we're going to
identify the corner of the mouth on the far
side here. Same thing. We're going to pull this
line down from the filtrum. Identify the corner
of our mouth, which is right about there. I want to split that upper lip with my saral line
to begin with. Then we're going to
pull over a little bit, and then we're going to extend this line up and connect it to the bottom of that Soro line,
something just like this. Then we're just
going to continue to extend this line all
the way to the corner. Now whether you start from the corner and work
your way in like I did, or you start from the inside where the Soro line is and then work your
way to the corner. It doesn't really make a difference, just
be aware of that. Now I'm going to run this line over and then connect
it to the other side. And that gives me the
top of my lower lip. I'm going to punch
in my sorrow lines, which effectively split my
lower lip into three planes. Now I'm going to bring out the bottom of this
lower lip here. Then the teeth, like I said, I'm not going to actually
draw the individual teeth, but we're more or less going
to put a placeholder here for where the teeth would
actually live in the mouth. Then I'm just going to do
some general highlights as far as where I would
want to blend these lips. Then just like the other ones, Taking our pencil,
we're hatching one way. All the while keeping in mind the direction
that we're pulling, so that as we hatch, we are introducing that
volume via our value. But value by itself
isn't enough. The strikes on the paper, the direction that
you actually apply, that lower value does matter. So just be aware of that. I always start from the inside of the lip in this case because it's the upper
lip from the bottom. And then I work my way up and I just find that when I go
in and I'm doing my shading, that that helps me bring out the dimension a lot better than if I was to start
from the top down. It just looks more
realistic that way. That's why I do
it. Yeah. And then notice how we're changing
the angle, right? Something just like
that. As we're coming down on the right side, we're pulling our hatches
more and more to the right. Then when we come
up to the center, our hatches are going
straight up and down. That's that subtleness, that subtle understanding
of direction of strike that will make all of the difference
in your renders. Just keep that in mind. Then here for the bottom lip, we're doing the
exact same thing. We're starting
from the inside of the mouth and then
we're hatching down. We're using the so line as
a basis for when we pivot, right, and we start to hatch in the proper direction for the plane of the
lip that we are on. That helps us give that lower lip that
sense of roundness, just like what we did
for the upper lip. Only differences that, unlike the upper lip that
only has two planes, that bottom lip has
those three planes. I just want to make sure
that we're speaking to that. Then we're just going
to start on the bottom of the lower lip and
then just pull up. You can see very
clearly how this gives our lips a better sense of form than if we are just to hatch them
through and through. Now, you can hatch them through
and through if you want. But I find that if you vary it, your lips look a
lot more dynamic. But then we're just
going to pull up and connect this, okay? And then while we're
here, I'm going to fill in this part of the lips because
the mouth is open. I actually didn't
realize that I had so many open mouths.
It's good practice. All right, so just
like the other ones, I just want to blend these right Then You can see after
I've blended it, you can see that
variation in value, especially on the upper lip. You can see how on the
inside of the upper lip, towards the mouth,
it's a lot darker, just like the reference photo. This is a fundamental
truth of light casting, especially when it
comes to portraits, because with 90% of
portraits out there, the light sources
coming from the top. So that makes our sketch very accurate to
the reference photo. All right, let's move
on to the next lesson.
10. Right Profile Angle - Real Lips: Okay, in the profile angle. Profile angles typically
don't take too long because you don't have to worry about symmetry with them. But we want to work on the outside filtrum
line, just like this. Now we're going to work on
that inside filtrum line. Once we have both filtrum lines parallel, we're going
to connect them. And that brings out
what? That's right, That brings out our cupid's bow. Then we have the far
side of the lip, which we're going to pull
down, just like this. Then we have the bottom
lip where it actually protrudes out from the
bottom of the upper lip. We're going to extend
this line back. Then I was going to identify
the corner of the mouth. I'm going to pull that
up and connect that, and that brings out the
top of my lower lip. And then I'm going to extend
this line up and plug it into the cupid's bow
of the upper lip. And that gives me the outline of the top and the
bottom of the upper lip. Then for the lower
lip it's pretty soft. But that line lives something
just like that, right? I have a low value here, so I want to outline that. I'm going to split
that upper lip. I'm going to drop my sorrow
line, all right there. And then we're going to
start hatching right away. Okay? I know that this
class is redundant, but success is found
in redundancy, in habituation, in refinement, and doing the same thing over and over and over again, right? The reason why it is habitual is because I want you to not even think about it when
the time comes, right? Drawing, even with
complex approaches, regardless of medium, is about six steps repeated
over and over and over again. If you can remember
those six steps, then the rest is
just inson repeat. Then of course, through
many rounds of drawing, you will get better and better, just like this.
Here's more hatching. Keeping in mind the
underlying form, with each strike that we pull, We want to go a lot heavier
and darker on the upper lip. We want to go lighter
on the lower lip, and that is because of the
nature of the light source. That way, when you
go back through and you put your pencil on its side and you blend
it just like this, you can clearly see that
gradation between a super, super low value on the
bottom of the upper lip, and then it gets lighter
as we move to the top. And you can also
see the lightness on the lower lip, right? Yeah, that's looking
pretty good. We have one more lesson, the straight on
angle. Let's do it.
11. Straight On Angle - Real Lips: All right, so the
straight on angle. Now what we're going to want to do is we're going to use a
nice light pressure control, and we want to bring out
these two parallel lines, which form the filtrum plane. Once we have these drawn in, we're then going to connect
them, just like this here. That forms the cupid's, bow of the upper lip. We're then going to extend these lines over and then down. Then we can draw our sural
line to split that upper lip. And then we can pull this over on the bottom and connect it. This is another way
that you can find and identify the corners
of the mouth. And then remember
the filtrum lines align nicely with
the two sural lines needed to split
the lower lip into three planes to establish those. And then we're just
going to connect the bottom of the line here, that gives us the basic
two dimensional shape of our nice round lips. And then you can
go in here and I'm just going to sketch out some of the shadows as far as
where they live, right? That'll help me
with blending and shading here in a
little bit then, just like the other ones, right? We want to pay attention to the reference photo and
we want to make sure that we're hatching these lines following the underlying
form of the lip. Your pencil will do
what you tell it to do. And if you lean it,
as you pull, lean, lean, lean all the way to
the corner, Wonderful. It'll lean with you. Then we can work our way back on our hatch marks that we just
laid down, just like this. And notice the value, right? Look at the value it does lower. Now we're using
that a sorrow line on that upper lip
as the basis for where we pivot from pulling
from left up straight up. And then from right up, right, we're pulling right side up, which is the opposite
of what we were doing to the left
of the SRO line. This is what I was mentioning
with how you can use the SRO lines as
a basis for where you need to pivot
those directions for your hatch marks as far as
your poles are concerned. Now what we're doing
is I'm extending really long hatch marks through the hatch
marks I've already laid down all the way up. What this does is
this helps bring out the form of the lips
from top to bottom. Notice the direction
how it's changing. Pull it up. Pull it up. Just like that. Wonderful. Once you draw a half
dozen to a dozen lips in this manner, you'll start to understand why the method is so wonderful, especially if you're new to
drawing lips and portraiture. All right, so we're going
to start from the center, we're going to pull
fairly straight. And now as we move
our way to the left, we're going to start bowing our hatchmarks' using that
sorrel line as a basis, right, for exactly how far we
need to bend these arches. Something just like
this. We're going to work our way
all the way down, all the way to the corner.
Something just like that. And now we're going to do the exact same
thing on the other side, on it's opposite right now, instead of bowing our
hatches to the left, we're going to bow our
hatches to the right. And you can go back over these
hatches again and again. Just make sure you pull
in the same direction and that value will lower. You can also mess with
the shading, right? Like I'm looking at the
reference photo right now. And I'm just going back
through where I know those values are going
to be a lot lower. Now, I'm going to be blending these lips just like I did for the last four lips so that I can really bring out
the gradation that you see. Hatching alone brings
out gradation, but it's not a smooth gradation. But by blending and standing your pencil
on its side and just shading you can smooth
out the gradation. In most drawings,
especially when it comes to colored pencil just like this. We're just going to blend this. We're going to blend it
around the lips as well. Then you can see the gradation
that I was talking about. And then here in between the
upper and the lower lip, I'm just going to go through
and thicken this up. That's pretty much it. And
that's all for this one. I cannot wait to see
your guys as projects. Make sure that when
you upload a project, you leave a review of the class and stay happy. Stay healthy. And remember, never
stop drawing.
Messer Creations, Artist | Author | YouTuber
