Introduction to Portrait Drawing with Pencil

1. Introduction to Portrait Drawing with Pencil: Have you wanted to start portrait drawing with pencil, but not sure how to approach this wonderful medium. It can be difficult to know where to start. This course will take you through the entire process of how you can use the most simple tools and techniques to create stunning, realistic portrait drawings. You can be proud of whether you're an aspiring professional or just drawing for fun, you'll learn everything you need to know from drawing your first AI to creating professional level artworks. Throughout the course, we will cover a variety of techniques, starting with the fundamentals, like using construction lines and basic shapes to create the general form of our subject. Will then move on to using a variety of techniques to add texture, lighting, detailing, and depth to your drawing to really bring it to life. By using a combination of all these techniques and principles, you will have the confidence and understanding to re-create a variety of male and female eyes, lips, and noses with great accuracy and detail to produce amazingly realistic and complete portrait drawing. Not only will you have access to over 20 h of comprehensive lessons, but you will also be supplied with additional course resources and course assignments to help you refine and practice your skills along the way. Art isn't about talent, it's about having the right guidance. Our index explanation will take you step-by-step on how to improve your overall drawing skills to create amazing artworks. 2. Introduction to Pencil Drawing: Hi there, Welcome to a new drawing tutorial. Today we're going to draw and shade and I, using the pencils from the B family. Remember to make use of your downloadable resources which will have all the information necessary for each tutorial. Today we're gonna be using these B-series pencils from this brand. We're going to use different pencils on the dark and the light parts. Take your time to familiarize yourself with the pencils. We have the B pencil series here, which are the pencils with the softest core. It's a good idea to try the different pencils on a separate piece of paper on the side. Remember that the pencil brands that we suggest are our recommendations. You are welcome to use any brand of pencil for this course. On the screen, it takes you through the main differences between charcoal and graphite based pencils. Take some time to read this information before moving on. The different pencils in a pack all have different degrees of pencil hardness. Take a look at this slide to understand the different pencils and what they are most suitable for based on their hardness. In this lesson, we have been talking about the B-series, which are on the first and second row. Now get all your different pencils together. Pick four or eight different pencils from dark to light. Now similar to on the screen by using pencil pressure make scribbles from dark to light with four different pencils like on the left-hand side of the screen. Then let's try and create a neater version by having the gradients and squares from dark to light as shown on the right-hand side of the screen. Take your time. We want to know what our pencils can offer us. Knowing what kind of effect and aesthetics your pencils can give you will help with your selection depending on what you're drawing. Finally, let's create a gradient scale from dark to light using one pencil for each bar. This is so you can become familiar with the pencil pressure for different hardness grade pencils. Now we have learned about pencils. Let's move to the next lesson and start drawing. Thank you so much for joining me for this tutorial and see you in the next one. 3. How to Draw the Human Eye: Hi there. Welcome to another drawing tutorial. In this tutorial, we will be sketching and shading a female I together using our pencils only. Now we're going to draw a woman's eye from the three-quarter angle view. We can still use the access method as our guide for this drawing. Some people draw an oblique axis line. They're gonna draw an eye from the three-quarter view. This would be done like this. However, we are going to continue following the same method we have used up until now and draw the axis like this. We start off by drawing a circle. You can do this free hand. Or with the help of an object that's circular. Or you do it lightly. And then we're going to draw our axis through it. I'm going to use a ruler. We can also draw the axis on our sample photograph as well so that we have the most accurate measurements. Make use of your downloadable resources which are available for each tutorial with all the information necessary. We can see the eye from the side here. Make sure that your model image is placed in front of you so you can see it comfortably or in any position that's most comfortable for you. The size of the pupil changes by the muscles that surrounded based on the amount of light that hits the eye. As we see the eye from the side. The inner part of the eye lid and that part in the front are visible. Take your time to create your sketch. If you need more time, just pause the video and then play again when you are ready for us to continue together. Keep observing your model will give you the right sense as to where the highlights are, where the shadows are. Where to start in with regards to adding details, consider the fact that the iris would not be this round and visible in some parts of it would be hidden beneath the lead, the upper lid or the lower lid. You also have the inner corners of the eye. Now we're drawing the outer eyelid from the top. I'm also taking into consideration the opening and closing of the eyelids. In order to draw that curvature of the lid. We're drawing an eye in its entirety. With the corner of the eye, the whole, the whole pupil, the eyeball just to understand it better. Again, because we see the eye almost from the side the iris. And this position does not form a complete circle, but takes the form of an oval. So we have that circular form of the eyeball, but the eye itself and the opening that's more oval. It's not a complete oval, but it's not a perfect circle either. The more you practice, the more these details will come instinctively to you. Although every I'll draw will be very, very different. Use your eraser to remove any excess lines are lines that don't serve you anymore that you don't need. They were there as a guideline. They have served their purpose and now we're done with them. Keep observing your model and your own drawing. They're not meant to be equivalent, but it's the reference. This is the part the light has hit the eye, and therefore we have intense light here. This is the place for the eyelashes. We're just determining the places of each element. Later on we will work more on them. Here, There's a concave point, but right now we're just determining the place for it. There's a small wrinkle right under the eye. So we determine that place as well. This is the upper lash line, and that's the lower lash line. Now we start the shading process using our sharpened six B pencil. I'm just removing any excess lines here with my eraser. Just to clean it up, clean up the drawing, working on the lower lid, how it has these two lines going over the eyelashes. And you start with medium pressure at aware of the eyelash stems from our grows from and then you lift your pencil in the direction that you are creating your mark by the end of the lash. So instead of creating the same pressure all across, you want to lift your pencil at the end of each line for the eyelash in order to imply that lightness and to get closer aesthetically to how eyelashes look. Give it a try. Take your time to create these details. You wanna do it slowly and gently, especially for the eyelashes because it's not just the pressure and the lifting of the pencil, but also the direction of the lash deadlines that you are creating the delicate none of them. Some pencils might be darker than others and you might want to use the darker pencil for the top lashes but not the bottom. All of these choices will rely on our use of our pencils, understanding them better and our own preferences as well. Now I'm drawing in the eyebrow. Again, we have an element of hairs and the aesthetic of how eyebrow hairs look. You want to follow the direction of the eyebrow shape but also the muscle like if it's going upwards or downwards on the sides like this, you can cross hatch, but I would do it lightly. Now, let's draw an eye from the side view. Again, we're drawing a circle to create our axis and to draw our guiding lines. So you want to divide your circle into four sections. So the primary I, we did an axis which is vertical and horizontal separating it into four. But here sideways we're going to create horizontal lines. So that's three sections. We're going for the triangular shape of where the eye is going to show. You have your upper lid and the bottom lid here. There's a lip on it, so that's why there we have a secondary line. If you're uncertain as to the next step at any point in time, just follow my lead and you'll make your observations after as to what you've achieved. I'm drawing in the iris. Usually there's a different understanding as to where the iris sets or what space it takes. It's drawn into the eye. It takes up a circular space. In your words, it's not on the surface, on the very outer surface. Let's try it in an isolated form here. So this is the top surface that you see. But that's not the full shape of it. That's not how we should draw it from the side. The irises in, inside that space. Take some time to practice it. I'm adding some lashes and the direction that they need to be which is downwards and then flick upwards. Later on we'll be drawing the reflection or shadows of the eyelashes that will show on the eye itself. Let's draw a, an eye that is closed from the side view. Just to take a look at that shape and the form and how to achieve it. The lid is closed and you have the eyelashes sort of spread. You can see more of them. Here we have it. An eye from the front view with the different details of the eye. And an eye from the side view with an understanding of the iris. And when the eye is closed, keep practicing and see you again in the next tutorial. 4. How to Draw a Male Eye: Hi there. Welcome to a new tutorial. Today we're going to draw a male eyes together, which is a bit smaller than the previous model we worked on. We've created our axis as our first step. We're going to draw the axis to help us better measure and transfer subject of our drawing. So take your time to do that. You can use a ruler to create your axis if it makes it easier. Now the corner of the eye is almost located here. Now, remember to make use of your downloadable resources. They have all the information you need for every tutorial, from materials to the model, to the outline to draw the model. It's there to help you. Take your time to create your base sketch, print out your model image, place it in such a way that it's easy for you to reference and look at comfortably. Because that's what we're gonna be doing. We're going to be continuously looking at our model, looking at our drawing, referencing the highlights, the shadows. We're simply completing our base sketch here. Just so when we start shading, we're shading in the right places. We can draw the axis line on our sample as well. By the axis line, we mean the horizontal and the vertical line that cross each other and they divide the paper beneath them into four equal parts. And after we draw our axis and our base sketch, that's when we're going to move on to shading. Remember, just like I'm doing here, repeating your drawing is no problem as many times as necessary. So if you need to pause the video, complete your base sketch, make any adjustments, adjust the measurements with with your model. Maybe with any practice outlines you've created, just go ahead and do it. And the AI that we are going to draw together, it's not located in, on a straight line. It has more of an oblique form. It's at an angle, at a diagonal angle. So this corner here is a bit higher than the other side. This is the inner part of the eye. The more we observe our model, the more we are practicing, the best exercise you can do, which is looking and really looking at the highlights on the lines and the shadows and where everything falls. I would advise to trust your observation. If you notice a straight line, then draw what you see. Sometimes in our mind because we know we understand the general shape of some things. So we draw it based on our understanding of its curvature or assuming that it's more curved than it is when it might be more square. So trust what you're seeing. Now, the pupil is located at the top. We can see the light has shown from this side of the eye. So we're going to determine the place for that light as well. So you can mark specifically as a place where it's completely white, even if it has an unusual shape. I'm using a mono eraser here. Just to get into these little spaces and erase any excess lines or lines to be adjusted. And then we're going to determine the place for the eyebrow. It's a bit further comparing to the corner of the eye. There is not much distance between the eyebrow and the upper eyelid. And it's pointed as well. You want to create your sketch as lightly as possible. Now here we have at the overall shape and form for the eyebrow. We're going to fill it in shaded. As we move along. Later. We are working on this sample of the eye. Together, we started with drawing an axis, and now we are determining the right places for the different parts of the eye and drawing the details step-by-step. This is a man's eye with a slightly short eyelid and his eyebrows are also very close to the upper eyelid. At this part, we are just going to determine the place for the eyebrow and then we can move on to the shading part. We are almost done with the initial sketch. We just have to check the measurements and the details and do any adjustments if needed so that we can move on to the next level. After checking the correctness of all the details in the sketching part, we can start shading. As mentioned earlier, it's very important to have a perfect initial sketch or as perfect as possible before moving on to the shading part so that they can remain no modifications to be done in the basic lines are the baselines of our drawing. This is the right place for the pupil. There's also the spot where the light hits the I on the left corner that we determined for the, we determine the place for. Now we can start shading. There's a wrinkle on the line beneath the eye, which we need to just draw in here. We need to put it in place as well. Now, as we start shading, we start adding more and more details. We're going to start the shading process using our six B pencil. Make sure that it's sharpened. We are not going to create the darker areas with sharp lines are clear, sharp lines with heavy pressure with our pencils. Instead, we're going to use the back-and-forth movement of our pencil. And we're going to add shading layers on those parts and create the look that we want. We start shading from the tear duct in the inner corner of the eye where the tears come. Then there is this white part in-between. We are determining the place for it now, but it would not remain this white. We will work on it later. Then we move on to add the shading layers to the white part of the eye very gently and delicately using our pencil. Now we reach the other corner of the eye. The order with which you shade different parts of the eye depends on you and how you like to do it. But usually it's better to start with a pupil. However, it's also possible to start from this part or to work on the eyebrows first. The point is not to limit yourself. Some people like to work on the background first and then move on to the details. And some follow the opposite way. And working on the background is their last step. But generally it's more common to start from the top and move downwards gradually of your image so that you don't smudge it with the pressure of your palm. We add the shading layer for this part. And now we determine the shadows on the eyelid very gently and delicately. You want to build layers. You're using medium pressure, light to medium. And if something needs to be darker, you go over it again, as opposed to placing a harder pressure. This shadow here is the darkest part created by the upper eyelid. On the eyelid itself. We're just determining the place for it here so we can apply the highlights around it correctly. It is important to add the layers of shading on the upper eyelid very gently because there's that texture as well to the skin, to that area that you want to maintain that delicate aesthetic, the look of it. We are going to use the blending stump or the hog brush. It's a flat bristle brush. On this part. We can even use the darkness of the brush and add these dark parts on the eye. So the graphite that holds onto the bristles, you can use them to apply some shadows here and there on your drawing. You would use it in this way. Now we're going to add a background for this part which is the iris. We want to add those details inside the iris. Just two as well in accentuate the curvature there. Not only the details, but the lines that you're applying around the way that they take direction depending on the curvature of the eye. You want to add these details very gently and delicately. We're going to add the background or basis. And then we're going to darken the pupil. The eye has a light color. So we want to be able to show that by keeping the highlights, the white of the page. So wherever there's a highlight, you want to keep it light and not put graphite on it. Using the blending stump or the Hong brush. Again, we are going over these parts to to harmonize the color or just blend it well. I'm using my mono eraser here, which is a more specified eraser to go in and lift some of some of the lines just to bring back that light. And starting from this point, we are going to add the details and draw the lines on the pupil. Remember, we're adding the details of the outlines, any shading. We're marking the dark parts, the shadowed parts, and also not marking the highlights, like not keeping an eye on the highlights so that we don't fill them in. Now we're going to work on the basis of the work again, as we might want to come back to the details and the shadings of this part later and we want to add more to it. I'm using hatching lines here very gently and delicately. We started shading this part. The hatching lines that are appropriate to be used on these parts are simple, organized hatching lines that are in the same direction, so you're applying them right next to each other. Very delicately, very light pressure. They're uniform next each other. We have a certain light spot over here, very smooth and with the same textures all along, we apply our shading but just even lighter, just to leave that highlight light. Now we're going to erase the unnecessary lines, the ones that guided us at the beginning. And we're not going to be using anymore. We're going to use the stump again and feed these parts. And we continue shading the eye. We are going to edit this part just a little bit. So you can use your mono eraser or any eraser that's suitable for you already. And we erase this part a little bit. And then we continue shading with our six B pencil. There's a concave point here on the eye lid. We have an intense dark part. And remember if you've made marks or lines or shadings that are a bit too intense, you can use your hog brush or the blending stump in order to achieve a smoother, smoother shading across, especially in the initial layers, it's very important to fade those lines using your brush or stamp on the inner part of the eye. Here we have a shadow. We must be very careful while adding it, not to leave any lines behind and create that shadow and a smooth layer of shading. This layer has the most light parts. However, the white part of the eye looks a bit darker than it is right here. We are going to use a smaller stump and fade these parts. We keep checking our model and keep looking at our own drawing that we're applying the shadows and the right places and the right tonality. Yes, your image is not going to be the same as the model, but the referencing of the highlights and the shadows is the point. It is going to tell us where to apply those lines. I'm using an electrical eraser here. And we're going to erase these parts a bit where they had turned out slightly darker than we wanted them. I went for a mono eraser was a little bit more detailed. There's a shadow right underneath the eye. Using the blending technique, we're going to add the shading layers very smoothly and delicately. Welcome. We're going to add the shading layers on the white part of the eye very gently and smoothly here. For instance, on this corner of the eye, as the white part of the eye is not truly white. And if we pay close attention, we can see the smooth shadows on it. Be it on a picture or in real life, especially on these parts on the corners, we're going to add the shadows smoothly because you have these veins, these vessels that are there. We are going to work a bit more on these parts as it needs to get darker. That outline that, that creates the contrast, allowing for the eye to pop. Or be more 3D. We're going to darken the eyebrow area using our blending stump. I'm using the smaller blending stump here. Another way of darkening this area apart from what we're doing right now, is to add smooth shading layers. It's like creating a background. Before we start adding in the hairs. We are going to fade this part again. I'm using my flat bristle brush. Now we start adding the hairs of the eyebrow. And we do it delicately and we need to create. Intentional lines, and as practiced previously in the previous tutorials, is to have heavier pressure on the point of where that every hair starts, where it grows out from. And then you lift your pencil off as each line is being drawn, you lifted off. So the ends of those hairs are light. The mark of them is light. Way to achieve the aesthetics of hair. And to achieve that delicate look as well of the nature of the eyebrow hair or eyelash hair. When drawing the eyebrows, we must pay attention to the direction of the hair strands as they may face different angles. For instance, this part right here, these hairs have grown from this side, from the top coming down, and these hairs are exactly opposite from the bottom. There in a way crossing each other. We add the hair on the eyebrows one-by-one as we've been doing on these parts, the hair is even more delicate and thin, so we're going to use a mechanical pencil, that's 0.5 mechanical pencil. So in order to draw the eyebrows. Depending on the density of the hair on different parts, we draw them one-by-one and even one on top of another to show the texture and the form of the eyebrow. At the same time, we have to keep in mind that the lines we draw for this facial feature are not straight and simple hatching lines. And we need to consider the curve and the direction of each share. So there might be curvature within them or some irregularities in terms of direction. We are now going to work on the pupil again, making it darker as it is the darkest part of the eye we are drawing. We fill all the white parts completely of the pupil. I mean. And we go over any part that needs a little more shading, maybe a bit of detail, maybe some lines as such in the direction and the appropriate direction to keep the curvature of the eye. I'm using my mono eraser here. We can show the linear light parts using our mono eraser here, like this. For instance, this part on the eyebrow has an empty section we're going to edit and add. Now still there are some thin hair strands crossing this part, which we are going to consider and draw them with our mechanical pencil. I'm using my six B pencil here. And then back to my mechanical pencil, 0.5. When we are done with adding the shading layers all around the eyelids, we are going to draw the eyelashes. We are drawing a man's eye and the eye lashes are a little bit short. We should be careful how we draw them to look natural and the way they actually are, the direction that they need to be. There are also some small wrinkles here underneath the eye. We're going to add them with our eraser. On the highlight part of the eye. On the eye, we do not have a complete intense white spot. There are some lines that we are going to add very delicately, very slightly, just so it's not a stark white. It's still very bright. But just with a little bit of a shade. Shading needs time. It needs a lot of patients and observation of our model. And to add the lines, there are very thin and short eyelashes here. I'm trying to add them correctly. Take a moment to look at your drawing. Pull your head back, take a look at what you've created. It just gives you a moment to notice what might be missing. Maybe something we've over shaded. We are almost done with this drawing. We are just going over some details that need to be added. That's why we take a moment and we stop and we look at our drawing. Now we're going to add another dark layer on the parts that need to be darker, like here, the pupil and the area around the iris. Even if an outline is delicate or thin, it's okay to slightly go over it in this shading method as I'm doing here. Just to achieve that little bit, little bit more degree of darkness. As we can see these lines from the eye muscles on the pupil, we're going to draw them. We're also going to add a dark layer on the eyebrow. Sour. Final step to complete the work is to darken the areas that need additional layers of shading. Now we're going to make these parts lighter using our mono eraser. Here we have the lightest parts. The highlights are just as important as the shadows and the outlines. They bring such contrast. We're going to add more darkness to these parts to finish the work. And each one of us works differently. Someone might take another 10 min or half an hour. Maybe some of us need another minute or two. That's completely up to you. We slightly shade these parts as well. Just to complete our drawing even more. It can be very slight. Thank you so much for joining me today. Hope you've enjoyed this tutorial. Remember to keep practicing and see you again next time. 5. Male Eye Looking Up Drawing and Shading: Hi there. Welcome to a new tutorial. Today we're going to draw this I together, which is from the side angle. As the angle changes, we need to pay attention to all the details. For instance, the line beneath the eye in this position is not seen as a straight line and has a curve. This is the same with the upper side of the eye as well. We are going to draw the axis lines in order to measure and draw accordingly. This is the best place to draw the axis lines on. You can do it directly on your model. We draw a vertical and a horizontal line. This will help us divide the work into four equal sections and then compare the details in each section on their form and size with one another. And as a result, we will have an accurate drawing. For instance, with access lines at work, we know that this part of the pupil is located exactly here. This is also very useful for those of us whose eyes are not yet trained enough to trace the lines professionally. You want to draw them as such in terms of perspective. And now we start sketching the eye. We pay attention to the placements of different parts of the eye. I'm using an HB pencil. We're going to draw the eye or the model that we're looking at slightly smaller than the original model. That is why we reduce the size while drawing it. Remember to make use of your downloadable resources. They have all the information necessary for every tutorial you follow, including all the materials we'll be using, the model image, the outlines to create the sketch of your model image, and so on. Make sure your pencils are sharpened. We begin our sketch. The pencil we are using right now is a bit dark or harsh. To sketch. We are going to use lighter pencil such as to-be or HB. When we start shading, we use six B pencil for medium and light shadows and the HB pencil for these stronger and darker shadows. As we already know. The higher the number on the pencils bring stronger, darker, and softer color with it. So take your time to use all these pencils and practice what different effects they can give you, what kind of pressure you need to put on them. So we use the HB or to be pencil for sketching. Even the mechanical pencil is good for that. And the other pencils for shading and different tonalities. Observe your model. We need to consider the angle of the eye. And from this angle we see the I in its different parts. And that sense, the line under the eye has this kind of shape and form. We draw it lightly now and we will add more layers to it and work more on it. As we move on. We draw the axis lines as our guide. But sometimes depending on the angle of the eye, we may need to draw a curved line here. For instance, like this, as the two corners of the eye are not located on a straight line, and one is slightly higher while the other is a bit lower. Use a ruler to draw the bottom of the eye. We can draw this line or the help of our axis lines, but we're going to erase all these unnecessary lines. As we move on and complete different parts of our drawing. We need to draw this part like this. We start working on the inner part of the upper eyelid. We can see some parts of it clearly. This part is under the shadows and thus is not that visible. This is the same for the lower part of the eyelid and the inner section of it. This ending part of it is visibly seen, but this part on the front, we can just see the eyelid and where the eyelashes are located. We must pay attention to all the details. It is not right to draw a line like this for this part. Because from our point of view we can see this part from the inner eyelid. Next we are going to draw the iris. We need some modifications on this part as it is wider than it should be. We do it right away because it is better to add all the details and apply all the modifications on the sketching part, the base sketch. And before we start shading, the iris is drawn like this. And up to this part, we must know that in this angle the iris is not completely round and it takes an oval shape. As we're looking at it almost from the side. There's a highlight on the pupil. It's like a light spot, shining part on this section. And then there's the pupil so you can mark the highlight in whatever shape it needs to be. There's a shadow that makes the pupil looks slightly larger. So we're considering that as well. We are drawing a male eye. We want to pay attention to all the details such as the eyebrows, the shape of the eye and the form. Eyebrows usually have a lot of detail in them with the hairs and the direction. So we want to map out that area just to mark where the eyebrow is. We can now start working on this part of the eye as well. This is a small part of the forehead visible that has a concave point. We determine the place for the eyebrow. We are still comparing all the sizes and measuring different parts of the eye together. If we are drawing this line, we're not going to just compare it to this line here, but to the parts of the upper and the lower side as well. You want to make those comparisons all across. We determine the place for the eyebrow and later on we will be working on it. There are some wrinkles on these parts that we're going to show with more shading layer later, but we want to mark it very lightly now. Now we're going to do a final check on our sketch to see if everything is in the right place. If there are any more lines we'd like to add. Take your time. If you need to pause the video and spend some time on your sketch, this space sketches, important. Just do it and then play again when you're ready to continue together. We're now going to draw a small part of the mask which is covering the face. However, we're not going to work on it that much as our main focus is on the eye itself. Now we start shading using our six B pencil. Make sure your pencil is sharpened. We are going to draw some of the details that are casted on the eye, which highly depends on the form of the pupil. And we can see some circular shapes on it. We add them like this. Simple circular shapes. I'm observing my model. We keep on drawing these circular shapes. We could have also added the basic color and then drew these circular shapes and forms. As the work at this point is very delicate and we need to work finally lightly and on different parts as well. We shade the basis of the work, keeping its form as it is. So you can add some shading with the intention to work on it more later. It's simply to know that it's there. We are now going to blend the colors using our blending stump. As we're still working on the background. I mean the base sketch, we can erase these dark parts here later on and make them lighter. Now, using a pencil eraser, we add the lights, we can go in and lift some of that shading off. The pupil is the darkest part of the eye. So we're going to add the shading layers very smoothly and delicately on it. Our shading layer must be bold. We add the layers step-by-step. You want to take your time shading needs patients, and we need to build those layers. Keep observing your model. And every few minutes, look at your own drawing. Look at what you've created so far. It helps you spot what adjustments need to be made. We need to add some more light on these sections. Then we can start adding the details that are on this part. We're going to gently erase these parts, making them lighter and less bold. And then we're going to draw the shapes we see in the eye. As the work is very delicate and detailed, we're going to use our mechanical pencil to add these fine, fine lines. I'm also using my mono eraser, which is a much smaller eraser allowing me to remove shading or graphite from very specific areas. We're going to use our mechanical pencil right till the end to add the details, because in general the work is very delicate and this pencil will achieve us the aesthetic. And the fine lines that we need. The core of this mechanical pencil is to be, but it is better to use a for B1 as it will be more flexible and we can cover more parts with it. It also has a medium color. Don't worry about adding too many details in this beginning stage, as long as you're doing them lightly, the details are important and we can add as much as we can. Now we're going to work on the upper side of the eye. Shading. It was small hatching lines as I'm doing here. There are some delicate wrinkles right here underneath the eye. If we're going to draw this part using hatching lines, it is better to use cross hatching lines in order to create that tonality or that shadow right there. I mean, that texture. We start shading these parts very gently and smoothly. We want to stay as consistent in our shading in terms of pressure and application and style across the entire drawing. So it looks harmonious. Using our blending stump or hug brush, we are going to fade these parts a little bit. Make sure your pressure remains light. Take your time. I'm using a six B pencil. Keep observing your model. Now. We're going to shade those parts inside the eye that need shading. These shading layers must be added very delicately and smoothly. We want a small degree of shade here. It's just for the vessels that appear in the eye. Notice how I'm shading in circular motions, these small light circular motions. Just to achieve a smooth layer. This part here needs a layer of shading. Little bit around the iris. These parts that are the inner parts of the upper eyelid need to be shaded. We're going to make this line over here boulder to add the dimension of the work. It allows for the high to gain a little bit of depth of perception. So some curvature here. By creating that contrast. Keep taking a moment to stop. Pull your head back and look at your drawing. You'll notice what might be missing. These parts are lighter, so we are adding a very smooth layer of shading over here. I'm using my hog brush just to smooth in these lines. Now we're going to add darker layers to the eyebrow as the darkest part of the face here is the I rows. We're going to use an HB pencil to work on this part. As mentioned before in the previous tutorials. To draw in the eyebrow hairs or hairs in general, you want to have more pressure or medium pressure on the beginning point where the hair grows out from. And draw your your line in the direction that the hair is going. And then at the end of each stroke, you're lifting the pencil off of the paper. The direction of the hair on the eyebrows is mostly in this way. So we are going to add the shading layers according to that. There are some very light parts which we are going to add later on with an eraser. However, we try to leave them untouched as much as possible. At this stage, the light parts, you want them if you want them, the white of the page. We want to avoid filling in all the gaps here. If you need to keep stopping every few moments, just to look at what you've created, just to make sure you're not over shading. Then go ahead and do it. We pay close attention to the direction of the hair on the eyebrows and apply them accordingly as they are. For instance, some are in this direction from the top. This part is the tip of the eyebrow, which has less hair on it. They're barely little, little marks here. As these eyebrows are full. They have moved further comparing to this curve of the face over here. They are kind of sticking outwards. There are some here strands here and there underneath the eyebrow, which we're going to add. We're going to make this line on the upper eyelid folder. And then we're going to add the eyelashes. Keep observing your model. Now we are going to draw the eyelashes step-by-step. Keep in mind that direction. The eyelashes are going to take. The tip of the pencil must be very sharp for this part to make sure you sharpen your pencils. We are going to draw the eyelashes one-by-one as separate hair strands. At the same time, paying attention to the fact that on some parts the eyelashes are fuller. We also consider the fact that eyelashes may have different lengths. Just keep applying this same technique of having more pressure on the starting point of the eyelash and then lifting, lifting the pencil upwards or off the page. We also want to pay attention to the length of the eyelashes here. You don't want to draw a stroke that is too long. We can see the eyelashes almost up to this point. As we reach this part, we pay more attention to the direction the eyelashes have. Keep observing your model. It's your best reference. You don't want to put too much pressure, but you want to be intentional as to where you're applying your eyelash while keeping that distance between them. Take your time. Now we're going to add the eyelashes on the lower eyelid. They are not so many, but next we're going to work on the background and the basis for this part as it has some lighter spots, we're going to determine now with the eraser. The eraser can be used as a tool to draw light marks and not just to erase. We continue completing our work on the areas underneath the eyelashes. Keep observing your model and take a moment to look at your own drawing. It gives us a chance to notice or have a little bit of a break. Look away, look back at your drawing and notice whether the highlights need something, whether the shadows need some more work on this training part here, the light part on the eye. We can also see the reflection of the eyelashes, so we're going to draw them in. Notice how I'm drawing in these little lines. It's done exactly like this. Shading needs patients and for your tools to be sharpened. And you need to work lightly and consistently. You want the work to look harmonious every year, coherent or the shadings the same. Now we're adding some shading layers on the visible part of the forehead in our work. Next, we're going to erase the axis lines we drew at the beginning of our drawing. That's why it's important to draw these lines really lightly because we're not going to keep them. They are simply a guideline. And we want to clean up our image here all around. I'm using the brush just to dust off any eraser residue. Just not a risk ruining our drawing. As we want these parts to look even smoother, we fade them a bit using our brush. This is our hog brush. We go over all the parts that maybe we feel need a little bit of blending. Maybe the lines can be a little bit smoother. Feel free to send me any questions you might have. I'm more than happy to share with you some pointers. Or if even you want to share with me your final drawings, I'm more than happy to share with you some guidelines, maybe some feedback. I'm here to help. Completing any drawing or any artwork is really up to the person creating it. It can take a really long time or any number of minutes, really. Because we might want to keep adding some more details, some more highlights. I'm using my mono eraser here just to go into these tight spaces to work on the highlight. As they are delicate parts, I'm using my HB pencil here. I hope you've enjoyed the process of shading and creating this drawing. Remember to keep practicing, practice your hand pressure, the pressure you place on your pencil, the different the different tonalities your pencils can give you. The more you practice, the easier all of these decisions will come to you. Thank you so much for joining me today. See you next time. 6. How to Draw Two Male Eyes: Hi there and welcome to another drawing tutorial. Here in this tutorial we are going to draw two male eyes together. We are going to use the access method again. And we're going to make use of the access lines to help us draw these pair of eyes. I'm using a ruler here. I'm using a favorite castle HB pencil. We're going to sketch while doing it. We try to use minimum hand pressure and do it very lightly. As we don't want to see these lines in the drawing. We're doing our initial sketch with our HB pencil. We're going to sketch a pair of male eyes. Let's see how this sketching process can be started. We have our four equal sections. For the initial sketch to begin, we need to measure different parts of what we're going to draw. We observe closely and for instance, we realized that this part is located underneath our access line. We want to make these comparisons and decisions and keep observing our model as we create our base sketch. If we are not confident or trained enough to draw freehand, we can use different types of measurements and the easiest one amongst them is the access lines method as we are using here. It's our guide. Remember that you can make use of your downloadable resources. They have all the information necessary for each tutorial you follow. The set of pencils will be using any tools, any other tools, the model drawing in any outlines necessary to help you draw the base sketch. When we compare the measurements for the eyes that we are drawing, we can see that they are not located on a straight line. As the head is slightly tilted. Take your time to create your drawing. Making these comparisons between the eyes in order to draw them in the right place is very helpful. Because then we're able to kind of see the differences and draw them against each other in a way. Make your drawing and your lines in your sketch exactly as you see on your model. This part can take time, so don't worry about having to erase several times and redraw. The head is also slightly downwards, so the eyebrows look very much closer to the eyes. For now, we are going to determine the right place for them. And we compare the measurements and the proportions between the tip of the eyebrow with the end point of the eye, the ending point of the eye. The idea is to determine where each element goes to create a sort of contouring light form. And to apply as many details as we can lightly in order for us to be able to reference them correctly when we start shading. Any additions or a little modifications must be done right on spot. For instance, here the distance between the two parts is more than it should be, so we edit it right away. We're determining the form for the eyebrow on the right. And now the eyelid of the eye on the left, but also the eyebrow. We want to keep our hand pressure medium. Compare the eyebrow height. We are almost done with the base sketch, the initial sketch here. And we have also checked the measurements for the different parts and did the needed adjustments. We can measure and draw the eyes as large as we want. We just have to consider the sizes of the different parts according to our axis lines. We just have to keep in mind that the smaller the eyes are, the more difficult it is to work on them. I'm drawing the eye here. For both eyes. It's neither a full circle nor ANOVA. Now I'm drawing the pupils. We want to mark them and any highlight that might be around the pupils are on the eye. We determined the right places for the inner shadings of the eye. Right now. We work on the edge of the eye as well as the inner side of the lower eyelid. We tried to add all the details, as many details as you can without overpowering the image. What I mean is without creating dark lines. We are almost done with this sketch. And what we have to do now is check the measurements one more time to make sure that everything is in the right place. We are now going to erase any unnecessary lines inside the eyes. Are trying to eliminate those axis lines from inside the drawing. Once they have served their purpose, you've made use of them. You've created your initial sketch, you can remove the excess lines. Now we start shading and we're going to start from the darkest parts of the eyes, which is the pupils. It depends on your own preference where you want to start shading from, but it is generally better to start from the darkest parts and then move towards the lighter parts. We should not draw bold lines either. Instead, we need to create the lines with the back-and-forth movement of our pencil. So if there's a dark part, instead of applying pressure on your pencil and creating a dark line. Very quickly, you want to use consistent medium pressure and go over any shadowed or dark part just by going, going over it again and again. We're fixing these parts here as they need to be wider and also a little bit lower. Remember, making all these adjustments is completely normal. And very important. Now we repeat the process. On the other side. We are shading the inner part of the eye. That's the, on the white part of the eye. But makes sure you leave the tear vessel nice and clear because there is a bright spot on the tier vessel. What we're doing is gradually determining the right places for all the darker parts, the parts which are the outlines and will give us more contrast the more we work on them. They are giving definition to our whole drawing altogether. We continue observing our model and shading. After we determined the right places for the darker parts, we are going to make the iris a bit lighter and less bold. By slightly shading it. We need to apply some shade. Inside this space here. And keep in mind the highlights don't go over them. As the work is very delicate and we have drawn, it's small as well. We can leave the lighter parts untouched from now on and apply the lines in the direction that they need to be. So the curvature of the eye also shows through the lines that we're creating. Later on we can add the basis very lightly and shade it. But for now we're just creating a base, base color. We're gonna fade this part using a blending stump. Just to smooth and some of the lines here. This part also needs a bit more fading. We can add the basis for the other eye now. When we are shading and we feel like some parts are darker than they should be. We can easily reduce the darkness using a mono eraser. The process has done exactly like this. These little dotted motions. We are going to fade these parts with our blending stump just to look smoother. Make sure you're not applying a lot of pressure here. We can add darker layers here on this part to determine the right place for the eyebrows and to give it a background color before we start applying the hairs. Take your time. If you need to pause the video at any point in time to complete something and then play when you're ready. Go ahead. Now we're going to emphasize more on the line values. Those are the darker lines so that we have more dimension, more contrast. And it's done exactly like this. If you're unsure at any point in time, what's the next step or maybe about a certain detail. Just follow my lead. You shading in the circular motions, these small light circular motions. Across. Now we start drawing the arrows. We need a very sharp pencil to draw the eyebrows. We have thin hair strands that are almost directed downwards. The beginning edge of the eyebrows right here is very light and it gradually becomes darker as we move towards the end of the eyebrows. We can see a bit of a frown at this point which we consider while drawing. The eyebrows, especially on this part, are pointed downwards. And then we can see a lot of hairs on these points crossing one another because some of them from the bottom of the eyebrows pointing upwards. So take your time to do those. Now we work on this side and complete the drawing of this eyebrow. Again, on this part, we have thin hairs directed downwards. Make sure your pencil is sharpened. You follow my hand gestures. There's a little bit more pressure at the beginning of a hair strand. And then you lift your pencil off the paper as you complete each stroke. Some parts of the eyebrow, especially on these points, are quite darker. So we need to work on them once more and add another layer with the HB pencil later. Next, we are going to fade these parts a bit with our blending stump. And if we compare these parts, we can see that by doing this, the remaining white spots are filled. Remember that we're doing this very lightly. But keep in mind that we still need to come back to the eyebrows and work more on them. Now I'm going to use are perfectly sharpened eight B pencil and add hair strands one-by-one on the eyebrows. We are going to add another layer on this part here, making it bolder. Take your time. As the portrait is slightly facing downwards and has a frown, the eyebrows look like this. There's a little bit of an arch. Now we're going to draw the eyelashes. The eyelashes have come out from the inner part of the eye like this. They are also slightly dark and we're going to draw them like that. Follow my lead. We are being decisive where we're placing each eyelash. It's a dark line. And we're curving it in the direction that it needs to be. Now, we work on the eyelashes of the lower eyelid. We're now going to use the brush and blend. The dark and light layers we have added on these parts were using a hog brush here. Here I'm using a six B pencil. And I want to create a very light layer, a hatching layer very lightly to shade the face. In general, the forehead, accentuate the nose, the nose bridge, maybe a little bit of the cheek. We are using hatching lines on these parts. Just to further show the light, where the light is hitting, where the shadows are and how they're working together. So our pressure goes between really light and medium. But we want to be able to show parts of the nose bridge, so we have a shadow next to it and right here. Every couple of minutes, take a moment to pull your head back and look at your drawing. Just to maybe catch any missing parts, either shadows or highlights. I'm using a blending stump here. We're going to work on the shading layers. But just to smooth them even more if we need to. You could work on these shading layers with your blending stump, but I prefer going over them with my pencil. We are going to work on the eyebrows even more. As we do not want to see these empty white parts in between the eyebrows. I'm using an HB pencil. We're going to fill these parts by drawing the hair strands one by one. Here in this drawing, we drew a pair of eyes together from the front view. And we worked on how to measure the different parts and comparison. However, we did not use the ruler that much and we use the axis lines more as our guide. If we are not confident enough about our lines and our eyes are not trained enough to follow in this way and we're in this technique. We can measure each part with our ruler and every part separately and then draw them. That's also a technique. We use a ruler to draw our axis. The axis that is horizontal and vertical. But we didn't use it otherwise. But that doesn't mean that you can't use your ruler. To measure each part. I'm going over my hatching here and some of the shadows. I'm using a six B pencil. We can work on these parts with large crosshatching lines. So we're creating lines that are diagonally crossing the primary hatching lines we've created, but we need to do it very, very lightly. Whether you want to create crosshatching lines or just hatching lines. Just make sure that you are consistent across your drawing. There is something, there is something called visual harmony or logic that when you're looking at your image, that there's clear harmony or similarity from each end of your drawing. I'm going to over with my mono eraser here over this lid, the lower eyelash lid. It needs to be lighter, so we're going to erase this part a little bit and we're working on it again. There are some wrinkles on this part. And also on the other eye here, which we're going to draw by adding some concentrated crosshatching lines, still lightly, but just applied more. Otherwise our drawing is done. Thank you so much for joining me. Hope you've enjoyed today's tutorial and see you in the next one. 7. Learn to Draw Al Pacino’s Eye: Hi there and welcome to another tutorial. In this tutorial, we are going to work on an old man's eye together. To begin the drawing process, we are going to draw the axis lines to help us better measure the different parts of an eye. We can draw the axis lines on the sample picture as well that we're referencing. We are drawing opportunities. I generally his eyes are not located on a straight line. Also with age, his eyes are drooping. That is why we can see a shape like this. Make use of your downloadable resources. They have all the information for every tutorial that you follow. They also have a grid or an outline for the base sketch that we're creating here. And all the materials and your model photo, of course, make sure that your model photo is placed comfortably so you can keep looking at it and reference it as we're gonna be doing that often. As mentioned, the eyes here are located on an oblique line. That is why when measuring, we need to measure the edges of the eye together. And also the axis lines are in comparison to the axis line. So when this is the corner of the eye, the edge of the eye would be like here. Yeah, On that point. So take your time to create the base sketch. We want this base sketch as usual and drawing. And creating a drawing you want your base sketch to be like it will have as many details as you can in low pressure, the light outline, even if it includes shadows. But we want it to be as accurate as possible before we start the shading process. Here I'm using a to B pencil. You can use either HB or a to B pencil for the initial sketch. Take your time creating the base sketch. Here we can see some parts of the eyebrow as well. And because our main aim is to learn how to draw shade and thus create the texture of skin. At different ages, we need to be very careful about the details and consider them all. The eyebrow also falls into that category as it looks harsher or more defined than a younger looking eyebrow, which tends to be softer and maybe with less details. We can either keep this axis line here right till the end of the sketching process. And when we want to start shading or we can erase it. If we can continue the measuring of the different parts are with our eye. Though it's something that happens with practice. The more you practice, the more instinctively you can make these decisions. The reason we erase the axis line, Yes, it is to not disrupt our drawing. We don't want it in the middle of the eye here. But it's also because it's served its purpose. So once I've made use of it, it has helped me. It has guided me with my sketch. I no longer need it, so I erase it. As we are drawing the eye from the profile view. But we can see the inner layer of the upper eyelid pretty well. So we're going to draw it, especially on this part. And add the end. We're going to consider all these details. All these details play a role. And now we draw the pupil. Now we are drawing the eyebrow. Sketching out that the shape of it, the form, the space, it's going to fail. And later on, of course, we'll add more details and more contrast. But we want to, you want to define that area. We're just going to determine the right place for the hybrid this point as the eyebrows are very bold and they can be messy as well and we need to work on them. So it's good to kind of take up the space that they need. We can also use the geometrical shapes as our guide for drawing the eyebrows. We can consider the overall shape of the eyebrows to be like a long rectangle may be which is slightly curved in the middle. We can draw this rectangle and determine the place for the eyebrows inside it. Now we will start shading with our Tooby pencil. Make sure that you're happy with your sketch you're drawing. You've taken your time. And we start shading very gently and smoothly. Even if we have strong shadows on some parts, we need to add the shading layers very smoothly and one-by-one to gradually reach that level of darkness that we're looking for. We should not use maximum hand pressure to create the darkness as it will harm that paper and leave marks on it. We need to work on our shading step-by-step layer by layer, adding layers one on top of another very smoothly. However, it is good to know that the sketching pencils give us different ranges of the color grey, not that black and the darkness that we might want. But building those layers is still better than applying intense pressure. We're going to add the darkness we want as much as the boldness and the strength of the pencil allows us. We just want to avoid the darkest parts to be super sharp. You want them to remain soft, smooth? Yes, dark, but not, not like an absolute black. Now we will continue shading other parts, but we're going to use a six B pencil. Make sure your pencils are sharpened. Just so you can get the best result. First, we're going to add the basis. So we add a very light layer of shading at this point, especially because the eye has a light color as well. After adding this light shading layer, we're going to also fade it. For fading and blending. We can use the blending stump, the hog brush, or even your pencil. To do so, we need to shade very smoothly right from the beginning using the sharpened tip of the pencil. We have created the basis and now we're going to fade these parts a little bit with our blending stump. Again, we can use the hog brush for this as well. We blend the colors on our paper. Then we will reduce the color on the lighter part with an eraser to lift some of that color off the page. So we have created the shine we were looking for in this way and now we will move on to shade the basis for the eye. As this part is also very light, we're going to use the pencil. We're still applying the same medium hand pressure and we avoid adding too much pressure. So no marks and lines would remain on the paper. You don't want to make an indentation. We just want to continue adding a very smooth and light layer of shading. With the back-and-forth movement of our pencil. Follow my hand movements. Now we're going to use the blending stump to add some of these wrinkles. I'm using a smaller blending stump as well, so it helps me get that detail or blend those lines. On this part above the eyelid. We can add cross hatching lines to create the texture on these parts. As the texture is itself resembles the skin over here. Sometimes instead of creating only hatching which is single lines, you can do crosshatching where the lines cross each other. You can achieve that texture and do it smoothly. Notice my circular movement, circular movement of my pencil as I'm shading. Feel free to send me any questions you might have along the way. You can even send me your final drawings are drawings as you are progressing in the middle. And I'm more than happy to share with you some pointers, some feedback. Now, here, these are the lightest parts, but still we can see the wrinkles and we are adding them with crosshatching lines while considering the lightness of these parts, you want to keep the highlights light almost white of the paper. We can use the blending stump here on these parts. Dress to blend a little bit more of the color. Or we can use the hog brush as well. It's those edges that are between an outline and maybe some shading. Now we're going to shade the lower part underneath the eye. And we're gonna do it very smoothly and gently and continue the process. On these parts here we can add crosshatching lines and draw the wrinkles very easily. You would have your crosshatching more concentrated near or on the wrinkle or any wrinkle line. We continue shading. Keep looking at your model. Apply the lines and the shadows, and preserve the highlights exactly as you see them. We continue shading with the same pencil pressure and hand movement. This is all for the basis of the work. We can either use blending or apply very small hatching lines are using crosshatching lines to show the wrinkles. It's completely up to you, but what you want to keep an eye on is the consistency. So if you're using crosshatching in a certain area too, go ahead and complete that entire area with the same, with the same shading. We want our image to look visually logical. So when you look at it, no part looks out of place in a way that's why we want to be consistent across the whole drawing where you apply the same techniques across the whole the whole eye. This part is slightly darker here where the wrinkles are coming together. But still we can see the lines so we draw them all. We include all the details. This part up here, above the top eyelid, it has the most shadows on it. So we determined the dark parts first. And then we can use the eraser to show some of the light better in case we've over shaded. So keep your eye on it. Continue shading. We are going to work on this drinker here now. Older people's skin texture has those small wrinkles and they have smaller lines in different directions within them. So observe your model really well and we can show, we can show these lines with our regular pencil movements and drying diverse lines. It would be done exactly like this. So follow, follow my lead line coming from here and another one coming from there in a different direction. They may cross each other at some point. We should pay close attention to the face as we're drawing. It's not like we're going to draw a direct straight line. The quality of the line also matters. So if you're hesitant, create those lines lightly. And then you can go over them again and again to make it darker. But also apply the lines in the, in the direction that you see them. It's okay to use these small irregular lines that come together and create a form of hatching, but they're also taking the shape that you want. There are 2 mol right beneath the eye here. So we're adding the shading layers to show these malls. You don't want to apply a lot of pressure on the mall because usually we're thinking, oh, it's a dark dots. So we're going to apply pressure like it's an, it's an instinct or a feeling. But don't do it. Just, just apply them all as you see it and lightly. Going over the details here, we continue shading. Now we're going to work on the darker parts. We observe our model. And we are working on the texture of the skin beneath the eye. And keeping in mind the moles over here that we have. The shadings on this part need a lot of blending so that we're able to show the signs of age on the I and the skin. And we also want to mediate between those lighter parts and the darker parts of this transitioning between a concentrated part of shading where it's a bit darker and the lighter parts. We're going to work on them like this. Follow my hand movement. It's as if we are drawing several semi-circles facing downwards to show the skin underneath the eye and achieve the older look. Aging skin texture. We can trace some of the veins on the eye. We're going to add them very delicately here. We should do it like this. That's just about enough and it's not that visible. I'm using my mono eraser dressed to bring in some highlights on the eyes. Because these light reflections are very important. And I want to make the highlights a bit bolder. That's why I use the mono eraser. We're going to work on the iris a little bit. It's looking good so far, but I wanted to add that outline around it just to give it that more 3D presence. As mentioned earlier, we can add the small semicircle, detail or way of shading like this. And create the texture to imply and show an aging skin or an older skin. Let's continue shading and building those layers. Apart from the skin texture, There's some freckles on this part as well. We're going to add them as much as possible to look more like the original model. Keep your hand pressure light. Follow the same head movement that I'm, that I'm using here. As I'm shading this back-and-forth movement, but also some lines are a little bit curved or irregular. You want to create a more complete image. I'm blending some of those lines with my brush. So we do want to leave the parts we have faded untouched. We keep working on them with pencil. This will help our work come out and be more contrasting for this to be created, we work step-by-step and add layers on top of one another. Yet from time-to-time, we need to fade some parts so that the layers we have added our blended, translating into each other and were able to work on them even more and give them more details. So if there's no reason for keeping that blurred area, it's better to work on those parts, again, giving them some accentuated lines. But if we want to draw realistically, we need to add the details as much as possible. And for that, we have to work like this, adding layers on layers. And then going back in and considering all the details. Although you might think, Oh, this detail won't show, but it will. There's difference between hyper-realistic and realistic drawing. And we need to consider that what we are doing right now is realistic drawing. There are more wrinkles underneath the eyelid here, which we're going to draw, redraw them by adding these small and thin lines. Always make sure your pencils are sharpened in order for you to achieve the details that you want and for you to achieve them with such delicate aesthetic which mimics the skin texture. And it's what your pencils can achieve you. So the more you practice using different pencils, you'll know what effect they can give you and how you can manipulate them, and what details you can achieve. So it's important to keep practicing. For instance, on this point right here we have this darker part which is also larger than the others. We just keep going over it. Keep looking at your model and keep shading and building those layers. Now it's time to work on some parts of the eyebrow. Make sure your pencil is sharpen. And as we practiced and other tutorials for the eyebrows, you must consider the direction of each hair strand. You want to start each hair strand with some pressure. But then as you The hair strand, you're lifting the pencil off the page. So the line becomes lighter. And it gives you the aesthetic of these hairs that are fluttering. We're going to draw the eyebrow exactly as it is with thick hairs and irregular. So they have some lines that are curved street crossing each other. All of these are taken into consideration. Follow my hand movement and the gestures and strokes that I'm creating. And let's continue working on this eyebrow. Now we're going to add the lashes as far as we can see them on our sample model. You want to be decisive with each eyelash because you're creating that specific stroke. They have spaces in between them. We want to apply that detailed correctly because it is delicate, but it is there. And it adds so much to the depth Perception. We're going to darken this part a bit here. Then using our eraser, we're going to delicately erase some parts and add the linear light. So just like we add value lines, which are the darker lines, we're adding. Highlight lines. They are dressed as important, they add contrast. They bring clarity to the work. More dimension. I'm switching between my six B pencil and my mono eraser. We can add even more layers and work more on different parts of the eye here. The result would become better and it would achieve you a more perfect drawing are well-rounded drawing because it looks more complete. We are almost done here. We can always work more and add more details, spending more time patiently. It helps the work to get better because you get a chance to maybe look away, take a break, look back at your image and notice what, what other shadows you need to add, maybe some highlights that can be better. Now we're going to add the eyelashes of the lower eyelid. Make sure you're drawing them in this short strokes. In the right direction. We are done with these parts here. And now we're going to add more dimension to the wrinkles. To do so, we will erase these parts a little bit with the mono eraser here. You can look at your mono eraser as your highlight pencil. The one that adds the highlights or the whitespaces. Make sure you're doing it delicately. You're erasing in the right places. And also these parts here. The highlights help accentuate the dark outlines just as much as the dark outlines bring forward that contrast. We just need to keep observing our model and practicing our drawing skills. For instance, we have this wrinkle here, so we're going to slightly erase this part right underneath the eye. Another example would be this part in which we had the mole. We're going to erase this part a little bit and then add some layers and shading to it. Take your time to add all the details necessary. I continue to use as six B pencil here. We're going to work on this part as well. We must be careful not to exaggerate, but as we're drawing an older face with the wrinkles, we can work delicately on the wrinkles more so that it shows the texture perfectly. We can use our blending stump on these parts to make them look even smoother. When we're not drawing hyper realistically, it's okay if there's some small hatching lines visible. There is another dark spot here, just like the one we drew there. You're going to add it. Just keep looking at your model and keep applying the lines of the highlights as you see them. We have some lighter parts here. And the shadows are stronger at the back of the wrinkles. And we're going to apply that highlight exactly as we see it. We keep working on different parts of our drawing. Don't let the dissimilarity between our final drawing and the model to discourage you in any way. It's not meant to look exactly the same. We're meant to practice shading and drawing. And how to preserve the highlights and how to work with them. And how to accentuate the outlines or create a shadow by going over it in the back-and-forth movement or circular motions to create shadings or irregular lines. The idea is to keep drawing and keep practicing. The more you practice, the more instinctively those decisions will come to you, the more confident you are with your medium. When your confidence grows, your approach just improves. It'll show on your drawing. And the closer you get to your own style to discovering your own style. These parts here look like hair strands. That is why we are going to edit them a little bit. However, it is better to do all the modifications in the sketching process so that the rest of the parts we have added won't be damaged when we edit. After shading, we don't want to be erasing through the layers that we've built. We're going to modify these eyelashes here as well. I'm using a six B pencil. We are now erasing some small parts besides the wrinkles and then adding a light layer of shading decided that the wrinkles show themselves better and get that dimensional value so you gain a depth of perception. Remember to also practice looking at your own drawing. So every couple of minutes, stop all your head back. Maybe look away, look at your drawing, and notice what you've created so far. It gives you a chance to really notice the shadows. Maybe something is missing. Maybe some highlights are missing. It gives you an idea of whether your image is harmonious. Everything looks visually logical in a sense that the shading is consistent across your drawing. You'll also be able to see if something is imbalanced or needs to be shaded further. Then you go in and with your mono eraser or your pencil and you had those highlights because you see them, you get a chance, your eye gets a break just for these few moments. And then you look at your drawing and you're able to add the details, but even better every time. Let's continue working on these final details and really observe our own drawing, our model. And move towards completing our drawing. Hi. Now I'm using a medium blending stump, chest to fade some of those sharper lines. Our drawing is done. It's done. It's just those perfections that we can create in the end, maybe some lines, anything that can be missing. It's really up to you. You can continue working on your drawing for as long as you want. Because our own perception of whether an image is done or whether we like it at a certain stage and we're happy with it to be done. That's something that is completely up to you. Remember that I'm more than happy to receive your final drawings or your drawings at any stage of completion. And you can send me any questions you might have. And I'm more than happy to share with you some feedback or maybe some guiding pointers. But all I can say for now is keep practicing. I hope you've been enjoying the shading process and learning a lot. Thank you so much for joining me in today's tutorial and see you again in the next one. 8. Nose Drawing and Hatching: Hi there. Welcome to another drawing tutorial. In this tutorial, we will be drawing noses in different positions and styles. And we will begin with the portrait angle. We're going to start by using the access method for this drawing as well. So the first step is to draw our axis lines. I'm using a ruler here. We use these axis lines to measure different parts and compare all the proportions to each other or compare them together. We can easily start sketching when we have drawn our axis lines. Using the axis lines, we can measure and then compare measurements of different parts, whether they are linear or maybe they're on a diagonal. Let's say the eyes or the eyebrows. That sense. But today we're gonna be focused on noses. I'm using a to B pencil, but you can use either a to B or HB pencil to start sketching. Remember to make use of your downloadable resources. These are available for every tutorial that you follow. They have all the information you need from materials to the, the model image that we're using. The outlines necessary to create your base sketch as we're doing here. It's there to help you. Now we're drawing the two edges of the nose on the corners here. And this is a frontal view of the nose. Always take time. Take your time to create your base sketch. The base sketch is very important to get it exactly as you want it or as accurately as you see on your model before you start the shading process. It's there as a guideline to help us know where to shade the highlights, where to shade the outlines, the shadows. In this, at this stage you're using your eraser as much as you want. You can go back and redo your sketch drawing as many times as you need to. Now this is the nose from the frontal profile view. We're going to start shading it now that we have our base sketch. For that we consider the source of the light and whether it is located in the front, corners, above or behind, because it matters where the light is coming from. It helps us see, see the shadows and the highlights better, and make our drawings more accurately. Now I'm using an HB pencil. In most cases, these parts of the nose, which are the nostril holes or the nostrils, they have the darkest shadow. What do we mean by dark shadows? And the darkest parts of the drawing do not mean that we're going to draw a dark hole on these points and apply a lot of pressure. Instead, as we have learned in shading, the shading process, we start from the darkest parts and then gradually move to the lighter parts. But we build those layers. We go over the parts that need to be darker with medium pressure. You can also use a pencil or switch 8-6 B pencil for shading. Makes sure that your model image is placed comfortably in front of you in such a way that it's easy for you to look at it often. Notice my shading technique. It's these tight circular motions. In order to create these shaded areas. You can also shade in this back-and-forth, almost creating these lines that are right next to each other, which is like hatching. But generally in order to create that smooth shaded texture, you do these circular motions. But here as I'm trying to create the shadow, I'm I'm using hatching, which are little lines right next to each other. And maintain your hand pressure. You want your hand pressure to be medium. You even apply shading around the lines that you've created in order to soften them. For shading, we can either erase the lines we have drawn earlier or we can make them lighter. We can also keep them as they are an ad or hatching lines on top of them. So it's really up to you how you want to go about shading. Because the more you practice, the more you shade, the more you draw, the more you, the more you play with the medium. You get to discover your own style, your own preferences. And you get to make different choices depending on the subject that you are drawing or the object. And what pencils to use. The only way to get better at making these decisions is to practice. Now gradually, we can start erasing the axis lines that we drew earlier. There are guidelines, but we don't want them to disrupt our drawing. Once they've served their purpose. They have helped you create your drawing, you erase them, and you continue from there. Because we don't want any of these lines to be disrupting our drawing and they are done serving their purpose. Here I'm using a cross hatching technique. That means the lines, I'm creating another layer of shading with these very fine smooth lines, but they are crossing against the primary lines and the primary layer. We continue shading in this way, applying our shadows exactly where we see them. And keeping in mind the highlights, that means avoiding them, leaving the highlights nice and clean, the white of the page. At this point we're adding hatching lines and on some points we are continuously using circular motions or circular lines. The idea is that you can use either one or you can use both. But you need to keep it consistent across your drawing. So whether you're drawing noses or an entire picture, if you're using two types of shading techniques, is to remain consistent across the whole drawing, regardless of whether you're shading and you're creating a shadow and a dark part or a very light part, you want that texture to be consistent. Remember that you can pause the video at any point in time to complete any of any parts of the drawing. And then play again to complete it together. This is how we are going to be shading and we're going to continue adding the details as we move along. Feel free to send me any questions you might have along the way. Or even at the end of the tutorial or at any point in time you want to share with me your drawings. I'm more than happy to address your questions. Maybe give you some feedback on your drawings, some guiding pointers. I'm here to help keep looking at your model. Your model gives you the best reference as to where to apply those shadows and highlights. Over here for the nose, we didn't want to erase this line completely. We just wanted to really soften it or lighten it so that we don't see it very harshly. And we simply shade. On top of that guiding line. It's the bridge of the nose. We continue shading in this way. We are shading these areas as well underneath the nose. Just to add more dimensional value to the nose. So always consider the completion of your image. So I know we're only working on noses in this tutorial, but in general, when you're looking at your drawing, pull your head back. Take a look at what you've created and whether maybe something might be missing visually. Later on we're going to work more on the proportions of the nose by adding line values. Those are lines which are definitive or more contrasting, give a higher value to our drawing. One important point to be considered here is that if we're not confident enough to measure different parts and proportions with just access lines. Or we feel like our eyes are not trained enough to measure them. We can imagine one bigger circle to be located here surrounded by two smaller circles like this. We can then add shading layers on top of these circles and step-by-step erase the unnecessary lines as we build our image. However, the best way still is to practice enough for the drawing different shapes and forms such as sphere, cone, cylinder to train our eyes and be able to measure visually. Doing this step-by-step, we will be able to use different tools and materials and techniques, or even grids and outlines less and less. Because then your eyes are used to it. You're able to instinctively know. In the beginning we can use the shapes and forms such as a circle and rectangle to depict forms out of them. And get on with the whole drawing process. It is only with a lot of practice. And even if you're really trained and professional, you still use guidelines. You still use them here and there. It's not a problem. It's simply about getting more used to it and gaining confidence in the medium itself. And how much you can achieve with either using geometrical shapes or access or training our eyes as well. They all play a part. But for now, all I can advise is to practice. Keep drawing, keep shading, keep using your, all your tools, the different techniques and play around with your pencils. See what kind of, what kind of tonalities they can give you, what gestures they can give you. Now, this is for the sketching and shading and nose from the profile view we've achieved this first drawing. Now we will move on to sketch and shade and nose from the side profile. For drawing the nose from the frontal profile view, we considered a bigger, bigger circle in the middle joined by two smaller circles in the corners to shape the form to draw a nose from the side profile view though, we see a circle here. And then another circle on this point. We will work on them and shape the nodes from the side profile through these, through these circles. Take your time to, to create that guiding sketch here. I'm starting from the bridge. After we have drawn the initial sketch, getting help from the two circles that we drew. We're now going to determine the right places for the lights and shadows. Erase any unnecessary lines. You can use your kneaded eraser, which is a software eraser, then your, then your hard normal eraser. It's just to lift some of some color off of your paper without erasing the lines. We work on our drawing like this. As mentioned earlier, usually the darkest part of the nose or the nostrils. So the nose holes. Remember you're not applying a lot of pressure onto the paper. You don't want to create that indentation. You're simply shading and a medium head pressure. But going over it again and again to make it darker. We are using simple and organized hatching lines all in one direction. As it looks better on this nose. We have to always consider the darker parts as well as the lighter parts. In terms of shading, we could have also used crosshatching lines or the circular, circular shading motions. It's just a matter of taste really, it's up to you, It's your preference. But do keep your pressure light to medium on your pencil and build those layers slowly. There you have it, a drawing and shading of a nose from the side view. So we have different types of noses that we're going to draw today. We're simply creating these different samples. They can be a reference to you in the future. Moving on, we're going to draw a nose from the three-quarter profile view. When we are drawing the nose from the three-quarter profile view, we have this circle in the middle, the other circle right next to it. And then the other circle would be located a bit higher. And also not in a complete form, but in the shape of a semicircle. Just follow my lead. So we will have a circle like this, another circle right next to it, and a semicircle. Here. These shapes will give us the three-quarter angle view that we are looking for. We need to draw this semicircle here on its correct location. We do any modification necessary before we start the shading process. Take your time while creating this space sketch. As you know. No problems erasing several times. Keep, keep going back and recreating the sketch. It's an important part and it's very normal to make these adjustments and corrections. Make sure that your pencils are sharpened just to get the best results from them every time we erase any unnecessary lines, I'm using my mono eraser just to have a more detailed eraser. Notice how when you're erasing any unnecessary parts of the guiding lines, you start seeing the shape of the nose. So keep observing. That's why it's important to look at are our own drawings, what we're creating. Now we will start shading. First, we sharpen our pencils, like I said, so that we're able to add delicate smooth layers of shading. However, as we're practicing, we can add hatching lines and even harsher lines for shading. That's completely up to you. We can keep adding more and more details. Now, we observe one more time before moving on to the next step. If feels like the curve is bigger than it should be here on the nose that it can be a bit softer. So we're modifying it. The base sketch is very important. It leads where you're shading is going to go. And it helps you. It stops you from having to make corrections after you've shaded in area or build those layers. We continue shading the nose. And you can also work with a mechanical pencil. Mechanical pencils and even thinner line. It gives you these thin, thin, delicate lines which you could shade with. We can use a mechanical pencil with a for B Corps as it has the necessary flexibility to help us in the different stages of our work. Test your pencils on a separate piece of paper. If there are different techniques of shading that you want to try with different pencils just to get a feel for it and to make that choice because maybe your preference is not a mechanical pencil, but a different kind of pencil. It's always helpful to have a sample page on the side and pause the video and take your time and then play again when you're ready to continue together. As you can see, now we're adding cross hatching lines. We have to pay attention to the dark parts. So that's the shadowed parts. And use the free lines to show them. So even if you've placed shade across a certain area, you can still go darker in certain parts and specific parts just by adding another layer on, on those, on those outlines. Keep observing your model and look at your own drawing. Maybe a little curvature is missing. Maybe some shadow is missing. I also feel like the line as well for the bridge of the nose here is a little bit too defined. We might change that. Just remember that you have different kinds of erasers. You have your normal eraser, a mono eraser, and kneaded eraser. These are all there to help you lift. Remove the lines or lift some color or graphite off of your page or accentuate the highlights. This was the drawing and shading of a node's from a three-quarter profile view. We have added more lines on different spots just to bring forward that shape. Now we're going to draw the nose as if we're looking at it from below. That's the next one. But before that, let me add some more layers to the shading over here because I noticed, remember how I said when you look away and leave a drawing and look back at it, you get to see what's missing, what can be added. We work on this part like this, although it is, it has to be faded a bit more. But there you have it. Before drawing our next new sample from the downward view, we're going to work on a nose with a clear curve on it. We want to go over more samples just that way you get to try it, you get to give it a go. We get to understand it a little bit more. I'm using an HB pencil here. We're going to consider this type, also like the previous ones, and draw it using the same guidelines, either circles or the axis. That's completely up to you. If you're unsure at any point in time what the next step is, just follow my lead. The model we are working from the side view angle allows us to consider this circle as the tip of the nose. Then we can consider one more circle right next to it as we are looking at it from the side view angle. Consider this area, that part on which the eye is located. We continue creating our base sketch. I'm looking at the nose, the third sample here, we're going to add a basis for it and work on the background a bit just so the shape of the nose comes out better. When we add the shading layers on the nose itself. It needs a little bit of completion on the sides just to get a better sense of the full shape. Now, back to our fourth sample. We're going to shade the tip of the nose from this point. Keep looking at your model, keep observing where the shadows are, where the highlights are. So you can avoid these white parts because we want them the white of the page. We must pay attention to the lights and shadows. For instance, if this part is located under the shadows, a line like this would be created and then we can work on it with different types of hatching lines, such as simple hatching lines, cross hatching lines, and also circular movements like circular motions of shading. That's why it's important to practice away from the tutorial as well, like on different models, different things around you just to practice shading in itself. Now, all of these techniques, they don't mean that we're not going to pay attention to the details completely the opposite. We are paying lots of attention to all the details. We are using all types of hatching lines for our work. But it doesn't mean that we are doing it aimlessly and with no reason we should be aware of every step that we take and remain consistent. We consider where the dark parts are located and then dress like when we are using the blending stump or when we are shading smoothly, we add the hatching lines. You can go back and add another layer. It's a balance between shading and creating a smooth layer or background or a tonality. But also creating these lines that are beautiful and give you that aesthetic, the drawing aesthetic. And this was the drawing and shading of another type of nose with a curve and a convex point at the top of the bridge. Just going to add a little bit more detail here. Just to accentuate a bit more of the nose. I'm observing my model. I'm switching to a mechanical pencil here if we want to add more delicate lines, remember as we mentioned before, a mechanical pencil gives you really fine lines is thin, thin lines, but it does need practice. The core of this mechanical pencil is for B. It can be it can be other, other types of cores. So it's just a matter of practicing and trying it out. That's the only way we get to. We get familiar with our tools. Now we're going to draw the nose from the downward view that which we talked about and which the nose holes can be completely visible. Let's take a moment, make sure your pencil sharpened in this position. This would be the circle we consider in the middle for drawing. These would be the other two circles which take more of an oval shape at this point in time. I'm using an HB pencil. By the way. Please remember your downloadable resources if you need any assistance in terms of the outline for the base catch, your downloadable resource has a lot of information on the tutorial. Now by following the lines created by the circles that we've, we've drawn here as our guideline. We can easily shape the nose. Keep observing your model. And it's a nose that we're looking up at. We're looking at the down view, the bottom view of it. So it's a nose that looking upwards. If we look at it from this side, it would look like this. Where you see the nostril completely. I'm starting a little bit of my hatching here. Just so I have it in place as I see it and it's okay to add as many details as you can even if lightly. At the stage of sketching the nose or the base sketch. It's important to just take your time. Now, we erase the lines that are darker than what we want along with the, any, any extra lines of the circles that we have drawn earlier for a guide. Just so we have more space for shading once. As mentioned before, once these guiding lines don't serve you anymore, you have used them, you have made use of them. You erase them. So you might not erase the entire circle, but you erase the part that's unnecessary. And we keep drawing our base sketch here. I'm going to erase some of my lines here just because they are too harsh or too dark. And it happens sometimes where you kinda get taken with shading are drawing and apply more pressure on your pencil than we need to. So if you do find that your drawing is a bit darker or that you've shaded a bit darker than you intended, just erase it. I think let's do, let's redo this nose again. I'm going to erase it completely. Let's do it again. It's looking sharper or harsher than I, than I want it to. Of course, this doesn't mean that you need to do the same. You've probably drawn your base sketch much better than I have. I'm gonna give this another go now, from the lower perspective, looking up at the nose. This is looking up. As we can see from below. We have to pay attention to the details of not just the nostrils, but also the sides. Don't let these hindrances because sometimes we're drawing something from a perspective that is more challenging or unusual. But don't let it hold you back. Keep practicing, keep drawing. And the best way to do it is simply to look at your model and apply the lines as you see them. In the beginning, we might not be 100% sure of what it would look like. But as we build the layers, it will come together. And we'll get to see the logic, the logic in what we have drawn. That's why I say, Take your time. The base sketch is important. Right now we're shading the darkest part of the nose, which is the nostril. But here because it's an upward view, it's only semi dark, it's not fully dark. There is some shadow and we keep shading. This is it for the nose from this angle. You can continue working on it if you feel it needs more shading at the bottom. Now we're going to draw a nose from the below perspective or above perspective such that the nose is looking down. It's like we are looking at the nose from the top part, but in the three-quarter angle view as well. So it would look like this. Make sure your pencil sharpened. Observe your model. You can create your guiding lines, either the axis lines or geometrical shapes. We're not just drawing noses from different angles here, but we are drawing different types of the noses as well. So different perspectives and also different forms. That's what I mean by different types of the nose. When we're looking from above, the nose would look like this, where we see more of the bridge of the nose and the sides of it. If we consider these lines to be on these parts, this would be the tip of the nose, the corners of the nose, and then the nose holes that look like a line when we look at them from above so they are barely visible. You don't see so much of them. Remember to keep your lines as light as possible. I know some of my lines are a bit darker. I'm trying to figure out the positions of everything. The tip of the nose here, also, little bit pointy. We continue drawing our base sketch and as well, once you've defined certain areas will be can we begin shading it? And we keep working on this nose as such. We have locked away scale decisions that may be here with us to stay here with us, to stay here with us today. We have lost control. Don't know where to go late to turn around his j for j, for j for the crashing down. We've got to ne never stood. See things your way and you probably feel the same problem. You probably fair to say we're going down in flames and just scream and didn't seem to care. A guess. Guess. Guess. We weren't. Crashing crashing down. Well, you've got to leave. Oh, you got it. Crash. But we've got to lay. You get to where we are almost done with drawing different types of noses and different angles. Remember that the pencils that we are using, if you're more comfortable in using alternate pencils to create different kinds of shading aesthetics. You can go for it. I'm using a mechanical pencil, but again, the core can be different than the one that I'm using. I'm using a four vCore here. Depending on the shape of the face and the age of the person, we're going to work on the area around the nose. Just to give a little bit of a contour more completion to the image of the nose here. Yeah. Now we're going to draw and shade another sample nose again from the three-quarter view angle. But this time we're going to change the way in which we shade it. We're going to use the pencils from the B-series and add the shading layers more smoothly and delicately. We draw our axis lines. First. I'm using my ruler here. So you draw two axis lines very lightly. We're going to do the initial sketch considering the angle all along. Make sure that your model image is placed comfortably next to you or near you so you can reference it easily. Remember that you can send me any questions, have along the way or even your final drawings are more than happy to give you some guiding pointers. Now on this sample here we are not going to draw the lines as freely as the previous ones. We can use circles to help us draw this nose as well. Or we can do it freehand. It's completely up to you. But the differences and the differences, we're going slower or being more accurate, more specific and more delicate. With shading, the more time you spend on it, the more patient you are. And you shade and you are consistent with the tonality and the texture. The more realistic it'll look. We want to pay attention to the details. We want to add all the details as well, especially on the main part. So when we reach the shading part, there would be no need to go through any modification of the base sketch. These baselines, the base sketch that our guidelines and their guidelines for the shading parts, just like the axis lines are the guidelines for the sketch, the base sketch that we're creating right now. Our base sketch is the guideline for us for shading. So we want to take our time. If you find that your lines are not as as delicate as you want them to be. Make sure you sharpen your pencil or lower your pressure. There's also, there's also the element of controlling your pencil or the way we hold our pencil or the way we apply our lines to the page. We can determine the shading parts while we're sketching like this. For instance, these circles that we have drawn on these parts depict the darkest and the lightest parts in order. This is followed by the next part which is dark and then it gradually becomes lighter. But I've marked where they should go or dressed as a visual reminder for myself. If you're uncertain at any point in time as to what the next step is. Just follow my lead. Now we're going to start shading with a pencil. I want to make sure that it's sharpened. It's important to have our pencils sharpened. Are erasers cleaned? So if you ever need that moment, just pause. Then play again when you're ready. If controlling a six B or AB pencil is difficult and shading you can use a for B pencil as well. Just because it's a medium pencil and easier to handle. Starting from the top here we're going to add very smooth and delicate hatching lines. I'm shading lines that are right next to each other very gently. Light to medium hand pressure on my pencil. Follow my lead. We're not going to use free lines. Are lines on this part or more controlled. So we've used free lines on the other samples. And like always, we move from dark to light. We can use the blending technique and add the small hatching lines very delicately and smoothly. Right here we're using a combination of both. So you can blend and use these circular motions and shade in that way or you can use the hatching lines. It's really up to you. It's a preference. It's also a matter of what comes easier to you. The paper we are using right now is the regular A4 paper. And it has a very delicate surface or the pencil marks do not remain on it and it looks very smooth in general. If we use paper with more texture, we can see the pencil marks on them better. As we are moving from dark to light. And right now we are becoming very much closer to the lighter parts. We must gradually reduce our hand pressure as well. This allows you to use the same pencil that just by reducing your pressure and maybe having more distance between the hatching lines. It gives you a lighter tonality. You just need to practice. And of course, every, every face or nose or facial expression you draw is going to be different. It's going to have different elements, but still there are, it will start coming to you more instinctively. The more you practice. Again, you readjust your hand pressure like you increase your hand pressure while you're shading when you reach the darker parts. And it's not a major increase, it's just a little bit of increase as you're adding another layer. Here's the approximate location for the eyebrows and we can draw some small parts of it as well. Then we have this dark shadow on this side, which we're going to add again very delicately and smoothly, just like what we did for shading. We're marking where the shadows are dressed to be able to also accentuate the highlights. Because the highlights are yes, they are the white of the paper and we avoid them and we leave them as light as possible. But it is an action in itself to preserve the highlight. We accentuate them by working on the outlines or the darker shadows. And we also work on the shadows by accentuating the highlights. We have a convex point on this part. Just a little bit. We keep shading, keep observing your model, and we keep shading. Now we're going to erase the unnecessary lines that we're not going to use anymore. They have served their purpose. Then we're going to shade the nose holes, which are the darkest part of the nose. And again, we are going to be very smooth and delicate here. Take your time. We're going to use the back-and-forth movement as I'm doing here, with a very controlled and low hand pressure shade this part. So it means that we are going to create this darkness by repetition and step-by-step, adding more and more layers and not by drawing thick lines with heavy pressure. We can use the free lines on the upper parts as the main focus is on the nose itself. It's not on the skin in-between. The eyebrows are the cheeks. So you can go for a more irregular shading or free lines here. Gradually we're going to add the line values by darkening the boulder edging lines as I'm doing here. They are thinner lines but they're just a little bit darker, a little bit more graphic. That's why we keep them very light. They simply bring more contrast and they help the nose a little bit more 3D, almost popping a little bit. So you want to be intentional and select where you're placing those value lines. And continue working on the nose and building those layers. Okay, hi. Now we're going to work more on the dark parts using the HB pencil. And also now that we have added the background, we can use the simple hatching lines on these parts. Keep observing your model. And also take a moment to look at your own drawing. Pull your head back, maybe look away, look back at your drawing. It gives us a chance to kind of, it's like moving away from the drawing because we might be really engrossed in it. And just that little break allows you to see what might be missing in terms of shading. Or maybe the highlights, maybe they need to be highlighted more. And as such. Now here we're going to shade the background was free. Lines. Follow my lead. Let's keep shading. Hi. As this line over here is not actually that visible. We're going to adjust it a little bit. I'm using my kneaded eraser. It means that it doesn't have that much shadow. And kneaded eraser is perfect instead of the other erasers in order to lift some of the graphite or the color off of the page without really erasing or creating that eraser mark on your drawing. And the way you use your kneaded eraser is up and down in this dotted motion to lift some color off of your page. Just like this. If you need to go in a line or, or Lyft color in a line along the bridge of the nose that is mimicking the shape that's also possible. With our mono eraser. Here we are determining and showing the lighter parts. And we keep working on both the shadows and highlights. I'm back to using my HB pencil. And we continue. So here on this sample we have added very smooth layers of shading, especially on the main parts. On the other areas surrounding the nose, we have added free lines, free hatching lines, just like we did for the previous samples that we worked on. We've practiced the free lines are more more relaxed application of shading with the other samples. This last sample is more controlled. It took longer. Our shading is smoother. We paid attention to the details. Do practice this technique, this, this type of shading. Again, I'm using my mono eraser here. The amount of details we decide on applying on our drawing is really completely up to each one of us. Now on the sample where we've drawn eyes in the past and other tutorials. We're going to create one more sample of the nose. We're going to draw the axis lines again. We can also consider the general shape of the nose to be like a rectangle. However, if we see the nose, we're going to draw from the front view. After drawing the axis lines like this. I'm going to grab my ruler to create my axis lines. But you can do it freehand if you want to. I like to use a ruler because it gives me those crisp lines very lightly. And it differentiates them from all the other lines that I'm going to be using or drawing or creating myself. Make sure your pressure is very light. Then if we want to consider our formula for drawing the nose from the front view, we can consider a circle here joined by two other circles right next to it like this. If you're unsure, just follow what I'm doing. And then looking at our sample model, we're going to draw the nose out of these circles. We do all the modifications in the sketching part, the base sketch part. And as mentioned before, you can erase as many times as necessary, redraw your sketch as many times as necessary until you are happy with it. The base sketch is important. It is the guide for our shading process. Now, using the circles and the circles guideline for the nose drawings is one way of creating a base sketch for the nose. You have the smaller circles intersecting with the big one. And then eventually you will erase these intersecting lines and draw the nose. But another way to do it is to draw the axis lines as we have here. And then consider geometrical shapes such as rectangles and combined with other shapes just to achieve a higher accuracy. Now this second technique is a way to get those lines to be more angular, I guess in a way, but more accurate to get the drawing of your nose more accurately. That's the whole point. So here I've created a sort of rectangle horizontally and vertically, and some triangular shapes on the side. And we will draw the three circles to shape the nose because we can still use the circles were just, we've just added some more geometrical shapes to them. This is the tip of the nose. These two on the corners to show the sides for the nose. We can either draw the nose freehand or depending on the shape of the nose, use different shapes to depict its form. For instance, to show where the nose holes start. Keep observing your model and try to fit the shape of the nose that we're trying to draw into a geometrical shape. That's essentially what we're doing. I'm drawing in the shadow for the nostrils here. Just locating the sides of the nose, the nostrils. For these sides of the nose, the circles we draw must be the same size with the corners of our sample model. Then gradually we will erase the lines that we're not going to use anymore. So we've made use of the geometrical shapes. With our mono eraser. We erase any excess lines, lines that don't serve us anymore. We have used them as our guide. We erase them because we don't want them to disrupt our drawing. You can erase in a circular motion as well. By the way, I'm doing it section by section here. 9. Drawing and Shading Lips: Hi there. Welcome to another drawing tutorial. In this tutorial we're going to learn how to draw and shape the lips. There are so many ways to draw lips. And one can use different methods to make this process easy, especially when we're drawing it from the profile view. One of the easiest of these methods is to use circles as your guide. You can draw the circles freehand or you could use the help of an object. But remember they're only guiding lines. We're going to draw a circle here in the middle, another circle on this point. And then another circle here to form the upper lip. The lower lip, we draw two circles down here like this. Take your time. Now, based on the shape and the form of the lips, we draw it out of the circles. The circles we have drawn up here form the upper lip. This part shows the lower side of the upper lip. On it would look like this. Now remember, this is a guide. We are meant to erase these lines once they stopped serving us. And you could draw it freehand if you've observed the drawing and you're able to do it. Now the lower lip would look like this, but it all depends on the shape of the lips. For instance, some lips have a curve like this in the middle. But there are some forms of lips in which this part is like a straight line. After paying attention to how the lips are touching, the details are important. We're able to form the lips better, the better we observe our drawing. Now, there are different ways through which we can draw the ellipse. This is the simplest form or the simplest formula. Another way is to draw a shape like a teardrop down here. Instead of those two circles. If we consider this to be the lower lip, we will have a shape like this and another one like this in here. We draw, we draw them and we shape the lips out of these teardrop shapes. Another way of drawing the lips, which we're gonna do now is using axis lines. Now we're going to draw and shade this type of lips together. Today. I've erased the teardrop formula, and I'm going to use my ruler just to create my axis lines. I like to use a ruler and apply my axis lines very lightly. But I like to use the ruler because it gives me a very straight line that stands out from my own more organic drawing or drawing and shading gestures. So it's really up to you. It's a preference, a question of preference. We're going to draw the axis lines using a to B pencil. And then we can start sketching the lips. Remember that the axis lines help us make comparisons between both sides of the face. So e.g. the line on which the eyes are, maybe one is higher than the other on the left and on the right. These lines help us sketch different elements of the face in the right places. So as we, as we were drawing our base sketch, Let's check all the proportions. We are drawing with minimal pressure. With light lines. Follow my lead. Now we check and modify if there are any problems, then we will start shading. We want to make sure the base sketches as accurate as we want it to be. So make sure you have your model image set in front of you such that it's comfortable for you to keep looking at it. Remember to make use of your downloadable resources which have all the information for every tutorial you follow from the materials we use to the grid that we're using to create our base sketch. That's why you need to take your time for the base sketch. Because we don't want to make these modifications after we've shaded. Okay, Now we're going to erase the lines that we're not using anymore. And we're going to draw this part one more time. We erase the guiding lines that we're done with. So they no longer serve as they've helped us create the shape of the lips. And we don't want them to be disrupting our image. So they were the base or the guide for the sketch, the base sketch. And our base sketch is the guide for our shading process. We are going to use the six B pencil for shading. Now, we first determined the place on which we're going to apply the shading layers. Make sure your pencils are sharpened. That way you get the best effect from your pencil. And you get the delicate lines that you need. You're applying medium pressure. You don't want to press really hard on your pencil. If there are more shadowed areas, the technique to apply is to go over it again and again. I'm using hatching lines here. Before we actually start shading, we're going to determine and create the texture of the lips, which is muscular by drawing very thin and delicate lines. So we apply these lines and we can shade on top of them with a lighter degree so they still show through. And you can keep balancing between shading, either in circular motions and adding those details because those delicate details are just as important, you think that they won't show, but they will remember that. You can send me any question you might have. You can even send me your final drawings or your drawings at any point, at any stage. And I'm more than happy to share with you some guiding pointers or maybe address your questions. I'm here to help. I continue to add those details little by little. Now that we are done with the lines, then we can start shading. We're starting from the edge here on the right. We're going to add smooth hatching lines. Those are small, delicate lines next to each other. Very brief distance between them in one direction. It's better to sharpen the tip of your pencil all along the way in order to really get that delicate aesthetic that we're seeking. We keep on shedding very smoothly and gently. Shading needs patients. And when you do take your time, you get better results. We can use both simple and small hatching lines and also the blending technique while shading the lips. So these are two techniques. Another point is that we can slightly increase our hand pressure when it comes to the wrinkles and the texture of the lips that we determined before. Using lines and work on them repeatedly not to look like lines, but actual wrinkles. So they are, they're irregular, but we want to mimic, use our modal image as our reference and apply the texture on the lips. We need to reduce our hand pressure even more while working on these parts. As these are the lightest parts. These parts are two or three times lighter than the rest. It's important to determine where the highlights are in order to leave them light or the white of the page. We do this as we move along, you want to take your time, observe your model, and apply your shading and your lines accordingly. You're applying medium pressure. And for any darker shadows, you're simply going over them. These circular motions, as I'm doing. As mentioned before, we are going to use the back-and-forth movement as well of our pencil on the wrinkles and the texture, the areas that we have created. And we go over these lines again and again until we get the tonality that we need. These parts also have some lighter areas right next to each other. So you can have that contrast are these gaps in-between the little fractures in the lips texture. And we're going to keep working on these and use the eraser to accentuate the highlights. This is the lightest part in this model that we're working on together. So we have the source of light coming from the left side. All right? Now we start working on these parts which are the darkest parts of the lips using the repeated back and forth movement of our pencil. Follow my hand movements. And let's build these layers one-by-one. This part of the lip is darker compared to the upper upper lip. So we're adding additional shading layers on them. Remember that the best practice you can do is observing your model. Really looking at where the highlights are, the shadows are, but also where are the darkest tonalities and the lightest tonalities of both the light parts and the dark parts. You have the bits which are where the lips are touching each other. These have an outline here. They are the darkest parts because that's where they meet and that shadow is created in that place. So we want to work on that. We used the repeated back-and-forth movement of our pencil to make these parts darker and darker. And again, we're using medium pressure, not high pressure. And we're going over them again and again in order to maintain that smooth, delicate aesthetic. If you use a hard pressure, you risk creating a shrine on your paper and indentation. And you kind of lose a little bit of that delicate aesthetic. We are almost done with the upper lip here as we have sketched and also created the texture of it. Though we need to work on it a bit more using our mono eraser here on some parts to reduce the darkness or to add some details. You need to consider your mono eraser as if it's a highlight pencil like to bring the light back in and increase the contrast of it with the dark parts. And we continue working in this way. You want to maintain applying your shading smoothly and delicately. The point is to be consistent. Whether you are working on a darker shadow or a lighter area or a highlight, is that the technique, you're shading technique remains the same. It's consistent. There are more details in form of smaller lines besides the wrinkles that we have created. And we're going to add them as much as possible. But also considering the fact that we are drawing a realistic lip and not working on it hyper realistically. It's achieving us the needed result. We can even use our blending stump on these parts and feed them a bit if we want to. However, we are creating that smooth and faded look by repeating the shading process and adding one smooth shading layer on top of the other. Take your time. And every few minutes pull your head back, take a look at your own drawing and what you've created so far. And you'll be able to see better what adjustments need to be done on the shadows or the highlights. We are not just done with the upper lip, but we're going to start working on the lower lip as well. And we repeat the same process that we did for the upper lip. But now for the lower lip. Whilst keeping in mind the highlights and the shadows. As we can see on the sample model, the lower lip has a lot of light parts. We are going to determine the parts for the lighter areas as we start working on the lower lip from the right to the left, we need to be even more delicate on the lower lip. Makes sure that your pencils are sharpened. We want to be able to achieve those delicate, delicate lines. If you prefer using a mechanical pencil. That's also an option. Just because it can achieve you and even thinner line. But for now we need to add these details because they will show through even if you create shading on top of it with hatching or crosshatching. We can work on this part step-by-step and by adding the right layers at the right time. But we can also add a smooth background and then create the lighter parts by erasing these parts with the eraser. We are also considering the wrinkles that create the texture of the lips and we're determining the right place for them. So take your time. Feel free to send me any questions you might have or maybe share with me your final drawings. I'm more than happy to give you some pointers or some feedback. Now, to make the whole process easier, we can determine where the wrinkles on the lips are located from the very beginning. And we're still in the sketching part here for the lower lip, we determine them in a light way, but then we can go over them and darken them even more. We continue shading in this way. We apply our lines as we see them. So sometimes we're looking at our model and we have our own, our own perception in our mind of what the lips, what, what shade they need, what curvature they need. So we're curving our lines as well. But we need to keep looking at our model and applying, applying what we see as we see it on our own drawing. As it was mentioned before, it's very important to constantly sharpen your pencil as what we're working on is very delicate work and with lots of details. And we're going to continue shading very smoothly, delicately and gently. So do take your time. We can modify and reduce the color on the parts that have turned darker than they should. Using our eraser. The initial sketching layers that we add, it might not look like the actual result that we want at the beginning, but we can, and we should go back and work on them more to reach our goal. There are two ways of doing this. We can either work on this perfectly from the beginning and add every single detail on the spot before moving to any other part. Or we can work step-by-step and add layers on top of one another. However, in the latter option, we are actually adding the background first and then applying the details on different layers. It's really up to you. These two parts are the lightest parts. So we're not going to work on them that much. We want the white of the page to shine through. However, we can add these layers later on using our eraser because these lighter parts are not pure white. So we can add a very thin, smooth light layer, but we can do it in the end. There's no need to do it. Right now. Let's continue shading the lips and adding these details and building those layers together. We are gradually creating the texture here. If you have been doing practicing, looking at your own drawing, as mentioned before, where you stop and you look at it and you're able to see what might be missing, what highlights needs to be added. You can see those layers. We have different types of lips. But in the model that we are drawing the lips that we are working on, we have a heart shape right on this point, which is usually located a bit further than the other parts. So this is why it is usually lighter than the other parts as well. So it depends on the placement of the source of light. Even the shading part of it takes the form of a heart shape as well. It's just an observation. Really. Remember to sharpen your pencils or take a moment to do that, or maybe clean, clean your erasers. Just so they're ready for you whenever you want to use them. And to keep your lines delicate for the pencils. But the idea is to keep practicing, to keep using your pencils. And the more you use them, the more your confidence grows with the medium and the more we're learning the shading layer that we're adding now. It's taking that form the heart shape that we talked about. And it's the same on the other side, which is the right side of this lower lip. Let's keep shading. We are now working on the upper part, the upper lip and erasing the lighter parts are bringing back the highlight with the same head movement of the texture that we want to create. So you are applying the lines in the direction that they need to be in order to imply the curvature. Whilst also leaving, leaving space for the highlights to come through to appear. If you need to take a moment, like a break, to look away. Take a little break, maybe have a cup of tea and then come back and look at your drawing with fresh eyes. That's really, really helpful. It's one of the best practices we can do because then you come back and you notice things that you haven't noticed before because we're so focused on shading and drawing the image that we were too close to the image, so we need some distance. Now, we should pay attention to the texture of the lips, as there may be some lines like this vertically. These are the details that may differ from one person to the other and give texture to the lips while being drawn. These wrinkles might have different forms, so we have to be careful about them. So every set of lips you're going to draw are going to be different. We're darkening these parts here and these edges. Just to add a dimensional value to our work. It's important to create this sort of outline, but in a shading manner, we're not drawing a very straight line. Just increase the contrast as well. As mentioned earlier, after adding the initial shading layer, we should go back to the parts we have already worked on and continue adding more shading layers on the parts where it seems maybe it might need it. Just like I'm going over the line in the middle of the lips, the shadow which is the darkest area, which is, that's where we need to add more layers. Even if that means bringing out some highlights and whatnot. We're trying to create the texture accurately. We've worked on the darkest part and we continue working as well on these highlights. So we see here in the tone, the top lip. This part is not purely white. It has a very smooth shading layer on it. You want to keep your hand pressure light. And very delicately adding that tonality, you don't wanna go too dark either. Here we are using our mono eraser to create the very light areas. Later on we'll be adding delicately adding shading layers right next to these parts. So you can have a very light part and more contrasting part right next to each other. Now I'm using my four B Corps mechanical pencil. We are now going to add more shading layers and work on the wrinkles, adding the necessary shadings. But what I mean by necessary, it needs to be in the right places just to make them bolder. So if there are lines that accentuate the texture, those outlines that give you those irregular lines that create the texture. And some of them are darker and some of them are a little bit lighter in tonality. That's what we're working on. So keep observing your model, keep observing your own drawing and looking at what you've created so far and make that judgment. Because there's also the question of aesthetic. Maybe you prefer them to be a little bit lighter, but still you have that range of tonality. There's a difference between drawing realistically and hyper realistically. We are going for the realistic, realistic final goal and not hyper realism. With hyper realism, it would take even longer with more shading and it has to be very smooth and very consistent. Or mechanical pencil here achieves us that smoother surface, which is why I keep going back to it. This part here is a lot darker, so we're going to use our HB pencil with utmost attention. You want to really focus on it and care as it is a very strong pencil. It can very easily transfer a lot of, a lot of color are a lot of graphite, so you want to be careful and not. I'm spread it everywhere. If you need to practice on a sheet of paper on the side, just to give it a feel. Because sometimes even though we've used the pencil before, it's it's okay to give it a try again or get a feel for it after having used other pencils and make sure it's sharpened, we continue shading. We have more highlights here. Yet it's not purely white as we do not have a completely white area while drawing this image. But you can clearly see the highlight in the middle of the bottom lip. So we're going to add the light on this part delicately. And that could mean that we need to darken the lines around it, the darker details and leave the highlight as it is. It could mean going in with a mono eraser. We need to control our hand. And the pencil. The pencil we are using now is very soft and very dark. We're going to use either B6 or before for these parts, just adding shading layers that are lighter. Remember switching between your pencils, achieving those different gradients and different textures of pencils. It just allows your image to be so much more rich. It has that range, it has that depth. So don't hesitate to switch between your pencils. Have a sheet of paper on the side where you get to shade a little bit and see what it can give you. Here. Although I faded this part a bit with my fingers earlier. I don't recommend using your fingers because it's very likely to leave a stain. We are, we are much closer to being done with with shading these set of lips. However, we can always work more on them and make them more delicate and smoother. Shading is really a process that needs patients. Because in order to achieve it or really make visible all these, all these textures and tonalities and the use of the pencils. And you could achieve a very realistic drawing. You can keep going and adding those details and working on them for a very long time. So do take your time. Okay, Now we're gonna move on to work on the next drawing. And that's drawing and shading a set of lips from the side view angle. As mentioned before, there are many ways that can be used for drawing the lips. The simplest of them being using the circles as we did on the top sketch here. Now that we are going to work from this angle, we can use the cone shape to help us. We are basically using geometrical shapes that will help us create the form of what we're drawing. You can draw your triangle freehand. This shows the width of the ellipse. Now, this part is the concave point on the lips, the top part. And then based on the size of the ellipse we're going to draw, we draw a line like this. Then we're going to take the shape of the lips out of this triangle that we have drawn. So once we've made use of our guide, which was our guide base here, the lines. Then we remove, we erase this triangle. Remember that you can erase as many times as you need to in order to create your base sketch. Don't let it hold you back or discourage you if you have to do it several times, that's completely normal. If we consider the shape and form of the lips to be something like this, we're going to draw it in this way. We have a little bit of an opening in the middle of the lips. We have the concave part at the top lip. The straight lines as well as the triangle help us realize that there's more curvature and the top lip here, the triangle needs to be longer on this point here in order to draw the angle that we're aiming for. If we're going to draw the ellipse using the triangle as our health, as we have done here. From the front view, based on the size of the lips, we're going to draw triangles and add line on this point when it distances the upper part. And thus we draw the convex point on the lips. Take your time to practice this technique of trying to fit what it is that we want to draw within a geometrical shape or using a geometrical shape to draw the shape that we're trying to achieve based on different types of lives. This triangle may look longer or shorter. Now we're going to draw the lips from the three-quarter viewpoint. We can use the triangle again. If you're uncertain at any point in time, what the next step or how to start this base sketch, just follow my lead. Keep your hand pressure light. Use a light pencil for sketching here we can use both the triangle technique and the access technique where you have a vertical and a horizontal line. It's completely up to you. Although I feel that the triangle technique is easier. We will draw a shape like this as it is located in the three-quarter view angle, we curve this line as much as needed. We use our triangle as our contrasting these lines that help us create the curvature in contrast to it. Now we see the triangle from the three-quarter view. And on this triangle, this would be the lips we want to draw. Take your time if you need to pause the video and then play again when you're ready or continued together. As this part usually has a curved shape, we're not going to draw it completely. This part which is not close to us, would be longer. And this part which is closer to us, we'll look a bit bigger. So we draw it longer. And then to help us even more, we're going to draw the line like this. Again, if you're uncertain at any point in time, what the next step is, just follow my lead. Follow how I'm creating this sketch. This is the part which is located inside the triangle. Now we're going to draw the lips as they are right out of this shape. You can add a little bit of detail on the lower lip just to imply the curvature there. But we're just creating different samples in order to create lips from different views. It's really to practice. And again, the more you practice, the better you'll get, the more confident you'll get as well. Now we're going to draw lips from, again, a three-quarter view angle. However, we're going to use the method we just discussed to draw it and the axis lines. And we can erase the lines we're not going to use anymore. We can also use the access method and draw the axis lines as our guide to measure different parts and compare the proportions like splitting an image into four using your axis lines gives you a chance to make comparisons right to left, top to bottom. That's the idea. Really. Make sure your pencils are sharpened. Then we're going to start. Now we're going to start sketching and shading. The set of lips are referencing this modal image. It's in a three-quarter view angle. Remember that you can make use of your downloadable resources. Have all the information you need for every tutorial you follow. You will have all the model images on the downloadable resources, all the materials that we're using. And basically any information it's there to help you. I've created an axis here, horizontal, vertical. You can draw them free hand, or you can use a ruler. I prefer a ruler because the, the straight line, the geometric shape helps me see the contrast between my own drawing where my lines are more organic and my guiding lines which are the axis lines. And now we are drawing the lips from the three-quarter angle, as mentioned earlier. We can draw another curved line like this to help us. The idea with the drawing, what you see is that you see it on your model image. You draw it exactly as you see it on your paper. It's just also a very straightforward technique. Draw what you see. It takes practice. Observing our model is very good practice to be able to see where the highlights are, where the shadows are, and where the lines are and how they're curving. That practice is very, very important. That's why have your model image placed in front of you in such a way that it's comfortable for you to look at it as, as often as we need to. We can also draw the axis lines on our sample picture, by the way, just for better measurements. So you can draw these axis lines directly on your model image that's in front of you. If you print it out, you get to see the four different sections. Because the axis lines separate your image into four sections. And these sections basically help you make that comparison between left and right, top and bottom. And each section in comparison to the next. That's really the guiding powerful element of the axis. As the mouth is partially open in this sample, we have the lips that are parted. We can see some of the teeth. And the teeth are, the brighter part are very white part. So we want to keep that the white of the page for, for the most part of our drawing here. Just because it might be difficult to achieve that brightness or with an eraser if you shaded it in. So do take your time. A race as many times as you need. You can pause the video, take your time to create your base sketch, and then play again when you're ready for us to complete the image together. Just drawing in some of the teeth here that I can see. We're almost done with the sketching part. Then we should erase any lines that we are no longer using, any guiding lines. We need to compare the different parts together and their sizes. So when I say we're comparing left to right and top to bottom, it's comparing e.g. on the top lip, the right side to the left side. And that differentiation automatically gives you a better reference and a better idea of how to draw the lines. Now we start shading the lips. We can determine the right places and draw the initial lines to show the wrinkles that create the texture of the lips while we're working on this part. Although it's the base sketch, you can add a very light indication and the lines that you need to build those layers. And I've started from the right corner of the bottom lip and I'm moving towards other sections. Keep in mind that the axis lines we drew are the base or the guiding lines to create this sketch, the base sketch. And now we are creating the base sketch, which is the guide for. When you want to start shading your drawing. So we've erased the axis lines once they've served us were done. And now we are working on the base sketch. We're determining the place of the shine on the lip as well, using a six B pencil. Then we continue sketching. We need to keep in mind that these lines here have a semicircle look just like this in the three-quarter angle, so they are a bit curved. You want to show that the shape of the lip or the curvature of the lip. More specifically. We are making our lines bolder at this point. We want them to be a little bit clearer because we want those details to show. We're shading. I'm using these long circular motions. We use the six B pencil for the sketch as well, but we could have used the HB or to-be pencil. We're going to add a very soft shading layer on these lips as they do not have them many wrinkles on them. Take your time and enjoy the process of shading. We are now adding a very soft background, paying attention to the lights and shadows and the darker parts created on the lips. We need to be very accurate with our sketch and observe it several times before moving on to the shading part, as it would be much easier to modify the little problems stage now before we enter the shading part, because when you've entered the shading part where you've built layers, it's difficult to, It's a shame to have to erase through them. So it's better to make the changes now at this point and make that modification. They are very delicate and thin lines on these parts which we are going to draw later on. Once we're done with our shading, as they can easily be added using a sharpened tip of our pencil. However, the lips texture is much softer and the texture is totally different from the previous lips we have worked on. There are some linear lights on these parts which we are going to draw using our pencil, determining the right place for them. However, we can always add these lights later on using our eraser, specifying them even more. Remember that we can also add these lights using the brush. Also the white gouache with a tiny bit of red and gray would also do this job for us. When applied in the form of the very linear lines with a small brush. We can use that technique to help us in terms of the, the highlights. However, we can easily create these highlights as well around the shadows using just our pencils and our mono eraser. It's a matter of preference really. We're going to shade this part just like the other section, As they have similar texture, but we need to build those layers here and increase the contrast, which increases the depth of perception in our drawing. The lips have taken their form and now we are going to work on the lower part of the lips. We're going to shade it and show the convex point on it. It's just a little extension of the drawing to show that curvature down here. This over here is the darkest part. But we're not going to add a very dark layer all over this area. Instead, we're going to add the shading layers from this point and gradually move upwards. When we reach this point, we are going to fade the shading. So whatever lines we've created that might be or shading, there might be a bit too dark. We need to fade it because there are these little details that we want to keep showing. So let's continue building those layers. On this point here, on the bottom lip on the right, we have the bigger shining part which reduces as we move towards it. However, it is still lighter than the other parts and we can see the highlights that I created. It's almost like an irregular shape, but we want to, we want to hold on to that and keep it bright. Let's work on the shading around it. Be at the edge of the lips which has an outline. But it's still shaded in. Even the details are shaded in whilst leaving the highlights nice and bright. We are now going to shade the teeth because the teeth also are not purely white and have a very slight, slight gray shadow. So we want to, we want to work on that and we want to work on the outline, that line that is on the top of the bottom lip. Just to give it that contrast right there. If you're unsure at any point in time where to apply the line or how just follow my lead. We need to be very patient when we are shading in this way using our pencil. The beginning when we are first applying these techniques in these ways, it is normal that we spend more time to be delicate and precise. And it's, and it's truly with practice that we can speed up this process because our decisions become more instinctive. Once you've practiced enough times you have that information, you make that selection in terms of pencils, you decide on your hand pressure instinctively. And therefore you work a bit quicker. But do keep practicing. It's the only way to gain confidence and to use your medium better and to understand it better. So the more we use our pencils, the more we know how to manipulate them, and the more we understand what kind of aesthetic they can give us, what tonality they can give us, what shading effect that can give us. So here we have worked on this light over here with our pencil. But it must be lighter than this. So we're going to use our eraser on it and create the light. So all the highlights that we have here, they need to just be accentuated a bit more. Now to make the linear lights even bolder, we add smooth and delicate shading layers on their edges, especially here on the wrinkles, on the lips. There are some white parts left which are not supposed to remain white. We should work on them. We can fill them up using very delicate hatching lines or by adding dots on those areas. And we do it very lightly just to add the lightest tonality and to avoid having that stark whiteness on the page or in the general drawing. We have added some small lines using our eraser here. And now we're shading the corners of these lights to add more depth to them. By shading the corners, you're accentuating the outline around it, but you're doing it in a shading technique. At the same time, we keep in mind that these lips that we are drawing have a very soft, delicate texture here that we see. It's very uniform. So we're trying to work on that a little bit more. Our drawing is almost completely done. We use two methods for drawing the lips and applied them on two different samples. One of them is to use the circles, three at the top and two on the lower part. Then we can draw the ellipse out of these shapes as we did in the top sample. Another method was using the triangle as are helping guide, which is most useful while drawing the lips from a three-quarter view angle. These shapes and forms can change sizes depending on the shape and the angle that we're drawing the lips from. We just need to practice and choose our preferred method. Thank you so much for joining me and see you in the next tutorial. 10. How to Draw Different Hands: Hi there. Welcome to a new tutorial. Today we're going to learn about sketching hands. But at first we're going to learn about the hand anatomy. There are 27 bones from the fingers to the wrist that include 14 finger bones, five palm bones, and eight bones of the wrist. Let's take a moment just to observe our own hand. So we have the finger bones which are separated into three sections each. We have our palm bones, which are five bones. Then we have our wrist bones here, which are eight. Now we're going to sketch the hand anatomy. We should know the anatomy of different parts of the body in order to be able to draw it perfectly. Before we start, I just wanted to remind you of your downloadable resources which have all the information for every tutorial you follow. Now, every finger is formed of one tall bone at the palm and then the top, which is the finger, has three bones. We know that the fingers of every hand have 14 bones. Understanding the anatomy of the hand will help us draw it properly because we know the form or the shape of the bone or the way the skin is sitting on top of the bone. So you can achieve a lot more detail by having this understanding of the subject. Let's start with the bones of the tip of the fingers. These and add the nails. We are now drawing the bone of the pinky finger. Every finger has three bands, except for the thumb. These bones of each finger extend until the palm. There are five bones in our palm. And they extend on the top here into three sections, which are the fingers, except for the thumb which has two bones. All the other fingers have three sections on top and a long bone into the palm. There we have it. This is the pinky finger bone. Now we're going to work on the other bone. The next finger, this one is taller than the pinky. This is the same as the last one, except this one is more extended and a little bit thicker. We continue drawing every next finger in this way. Here we have it. This finger is what we call the ring finger. The one right next to the pinky. Now we're going to work on the middle finger. This finger is taller. The size of the fingers is different for every person of course. But also the size of the fingers are different from each other. This part is like a puzzle. It has a hole and a knob that match together, and it has a joint spot between them. It's very good that we know the anatomy in order to properly make a drawing of the hand. As mentioned earlier, it gives you the right information to know how how the muscle sits on the skeleton and then how the skin sits on the muscle. Understanding that structure helps us make our drawings more accurately. Make sure you're using medium pressure. And these parts at the bottom of the fingers, they're connected to each other. Now we're going to draw the next finger, the other bone. This is the index finger that has almost an equal size with the ring finger. For the majority of people. In terms of length, that is width or thickness, that of course can differ. I would advise doing a little bit of research, are looking at some images of the anatomy of the hand. Just to familiarize yourself with the way it looks, the shape, the you might get more information from a more 3D picture or photograph. And it just helps us learn a little bit better what we are drawing. Now, this is the connection of the fingers at the bottom here. And on the top knuckles, There's a sort of curved alignment across horizontally. I'm using my eraser to make an adjustment. Use your eraser and go back and forth and redo your sketch as many times as you need to. It's not a problem. Don't let it discourage you. It's something very normal. As we know, the thumb has two bands, that's two bones. We're going to work on that in a second. Just trying to determine the place for it. Make use of your model image that's available on your downloadable resources if you've printed it out or maybe you have it open in front of you. You have these images and some outlines to help you make this base drawing as we're doing here. They're there to help you. I'm just completing my drawing here. Now. If we count the bones, we will count 14 bones. And then we will be drawing the five long bones in the palm. Take a look at the different bones here, the different sections. There's similarities, dissimilarities, their alignment. All of this helps us. We also have the bones in the wrist. We're going to draw them as well. Here we are drawing the connection between the fingers and the palm. This bone here supports these two fingers, that pinky finger and the ring finger. So in total we have eight bones in this section here. One of them is supporting the pinky finger and the ring finger. Then next one is under the middle finger. And then we have one that's underneath the thumb and it's there and underneath the index. So in total we have 27 bones. This part is called the fella and just this tall. I've just marked the different sections just to be able to show them. This part is the middle phalanges. This part is the proximal phalanges down here. This part is the metacarpal. This part is carpel. So these are their scientific names, phalanges, distal, middle phalanges, proximal phalanges, metacarpals, and carpel. Now we're going to sketch different models of the hand. We learned the right places of the hand bones at this point in time. So we can go ahead and create sketches of different hand models. Let's make sure all our pencils are sharpened. We have our eraser nice and clean. When I grab a new piece of paper. And I'm using a to B pencil to begin my sketch. Okay? So we can use symmetry lines for our model or paper. We can also do it without any symmetry lines. That's completely up to you really. But if at any point in time you're unsure as to what the next step is, just follow, follow my lead. But let's start with a sketch of a simple hand. Remember that the base sketch is very important. So erase as many times as you need to until you're happy with your base sketch. Take your time if you need to pause the video and then play when you're ready and we continue to gather. Just take your time. Now. Look at the form of this finger and thumb. Observe your own hand. Let's take a closer look at our model image. Look at the curvature here in this thumb. Look at the shadow and the light. Place your model image in front of you in such a way that it's comfortable for you to look at it as many times as you need to. Let's continue sketching. Make sure you keep making measurements. As you create your sketch. You have the width of the hand, but also the distance between this part until that part here from the thumb to the top of the index finger and the space between two fingers, e.g. these measurements can be done using the pencil measurement, or you can use a ruler. If you've printed out your model image like on a paper, you could also measure it in that sense. Either way, just keep sketching, keep drawing. It's not going to look perfect from the first time, even, even when you do achieve a really good drawing, it's not going to look like your model image unnecessarily. The idea is to not just practice, but also learn from the process and to enjoy it, enjoy the process. There are things such as happy mistakes. So you've used a certain technique and then realize that it gave you a really nice effect and so on. So just take your time and enjoy the process. Now on our current drawing, we have to pay attention to the details. So e.g. these two parts, they're connected together and yet there is a space between these parts. We should consider these kinds of details. They, they bring us closer to creating an image that's realistic. Now as we're creating the general form of the hand here. For me, it's almost like it's almost correct that I'm happy with it. And if you are happy with your base sketch, just check, check all the details. Make your measurements again in order to make the edits. Now, before we move on to the next stage, it's always, it's very good practice to double-check. Here we're going to sketch the nails. We continue working very lightly. Adding any details that you feel you want to add, even if they are really light details, at least they give you an indication of where you might want to remember a certain shadow or certain highlight to avoid coloring in and so on. Now the tip of the fingers is flat and has a relatively squarish form. We have different forms for the hands as well and nails there are different each hand that you draw. But this is the one we're working on now. Now we are working on the wrinkles and the lines of the back of the hand. Just apply your lines as you see them. Now we're going to start the sketch of another, another hand model. From the side view. We repeat the same process. You're very lightly with light pressure creating the base sketch. And we're just trying to study the form and the perspective of different angles of the hand really. All right. We have to pay attention to the position of the fingers here. As mentioned earlier, we want to double measure, make our measurements more than once. Keep observing our model. This part here is for the second finger. We continue sketching. We're sketching different models based on the anatomy that we've learned. We should practice in order to imagine the correct place of every bone and joint and the bending of the fingers as well. It helps us understand how to create these lines. That's essentially what it is that we are practicing. The more you practice, the easier it will come to you. It'll instinctively come to you. Now keep in mind that you can use your own hand in order to practice drawing different samples or different models of the hand. Because it's your most primary, your most primary model like you can observe your hand and make the drawing according to what you see exactly. A live model is always so much better than a paper model because it's 3D, it's in front of you. You get a lot more information visually. So those are all important parts. I'm just completing my sample here, the second one, because the fingers are right next to each other there, they are forming a shape, but you need to distinguish the fingers from each other. The first finger here, the index. It goes along the same curvature or the same line in terms of drawing with a thumb, they're almost connected. Remember that there are various and different models for practicing drawing hands and we can use geometrical shapes to help us Draw, draw the hands as we've done in previous tutorials. It's important to know the anatomy for sketching. And it's important to also maybe try and apply those geometrical shapes like circles for the, for the bones connecting or maybe rectangles for the different sections of the fingers, the three bones on top. So the idea is to simply practice. Now we're going to sketch the next model. Just want to complete this one here, the nail. And we move on to the next one. The thumb finger in this sample is more extended. Remember to keep observing your model. It has, it's the best reference, it gives you the best reference in terms of where the lines are in comparison as well to the fingers, to each other. Where their placement is, what the curvature of the lines is. Keep looking at your model and keep looking at your own drawing and what you've created. This sample is almost done. We need to check and adjust the wrinkles on the lines of this part. In this lesson, the general form of hand is more important than the details like the wrinkles on the skin itself. So that's why we need to work on the line values to specify the form or the lines that define this form for us. This is what we're practicing here. Now we're going to sketch the next model. Makes sure that your pencils are sharpened. We're just getting in closer on the image here. We continue creating our next sketch. Feel free to send me any questions you might have along the way. Also, you can share with me your final drawings or final sample that we're drawing today. I'm more than happy to share with you some pointers, some feedback. I'm here to help. Remember that we can also sketch the wrist at first and then draw the lines from the wrist up to the fingers and complete our drawing in that way. I feel like sometimes when I start from the wrist, it helps me sort of anchor and view the whole, the whole image of the hand better so I get to draw it even better. There you have it. This is the form of this hand. The natural form of the thumb is like this. I'm just trying to look at our model image again, just to take a look at the hand here. It's very good practice to keep measuring, keep looking at our model, keep observing. It helps us create an even more beautiful final image. Remember that you can also use the axis lines technique as a guide. So sometimes even if you draw the axis, not, not a straight lines but a little bit curved. These guidelines help you make comparisons between the bottom part and the top. And making those measurements as it helps you get as closer, closer than without them. Especially if you're at the beginning of your art journey. We are checking the measurements here. Again. This should be shorter. We can remove the thumb or this entire part and redo it really. Just trying to make a decision. It's better to edit the thumb because the top part looks okay, closer and proportion. So let's work on this part. You might have done it really well already. It's just me who needs to redo it. Please remember that it's completely fine to make as many edits as you need. Take your time. Pause the video, play again when you're ready. But making edits is completely normal. It's necessary. And it essentially helps us observe our model even better. Because the more we were drawing the sketch, the more we're actually looking at our model image and not just looking at it. That's what I mean by observing that you can see the highlights and the shadows and you can see the lines even better. And that only gets easier the more we practice, it becomes more instinctive. Let's continue sketching this sample, adding a little bit of detail on the knuckles and the fingernails. And then we can go over the other ones. In this sketch is almost completely done. We need to check it again. And you check simply by observing, pull your head back, maybe look away and then look back at your drawing and you'll automatically see what highlights or shadows might be missing. We can also make comparison with our model image here. Look at what, what we might have missed out or maybe some lines can be more correct. Creating these outlines is very, very important, especially if you're at the start of your journey with drawing in pencil drawing, these outlines are just as important as adding more details later on, such as sketching and shading and harmonizing between the tonalities and using all the different pencils. So it's very good to use lines at first. It's very useful for different parts, especially if you're trying to create those quick sketches like 1 min sketch or five-minutes sketch where you must get the lines right in the right place. So very good exercise. I'm just erasing any unnecessary lines, cleaning up my paper here. Drawing. Now we can add some line values. For this part. Line values are more definitive lines, lines that you decide to make darker because they're exactly as you want them and they help your image gained contrast and look closer to being realistic. Now, let's work on a new set of samples for the hands. This first model has a fist form, but it's not completely closed. We're creating these different samples in order to practice. And to get a little bit more familiar with the hand, the hand structure or the hand forms and the lines that we could create. And to get a chance to maybe if you want to switch pencils. But in general it's to practice and to get a better idea and a better set of samples that you can reference in the future for your future drawings. Remember that we can use different diagrams for the forms of hand, e.g. after drawing, we put our, our index finger on this part, then format. We can use a square or a cube shape as well. If you wanted to use geometrical shapes. It's really up to you. As we are adding the details. Let's remember that we can also practice with different models that have finger forums like this. And as mentioned earlier, we can use our own hand as a model. The form of the index finger is not completely straight. We should pay attention, consider all these things. There's a slight bend in the knuckle and the second joint there. So it's important to add these details as they bring us a bit closer to making our drawing and look realistic, even, even if it's just mainly lines or outlines. Add all the details necessary in order to make your drawing look more complete. So a little bit of shading on the knuckles. Maybe also the outline itself is shaded and not just a straight line that's on there. A little bit of the detail with the bones, the palm bones here. We do this in order to create the form better. Now we're going to sketch the hand from the front. This is our second sample. I'm starting here from the bottom, which is, as we talked about before, starting from the wrist. I find this, this strategy to be helpful because then I'm anchoring the hand with the size of the wrist. And obviously changes can be made. But starting off with just the basic simple thin lines, we can move forward to create our drawing. We can also use geometrical shapes like a square and an oval for different parts of the hand. These can be really, really useful. Remember that you can place the position of the fingers using lines. So you can use your ruler. You can also make measurements on your model image if you've printed it out and mimic those measurements on your own drawing in order to get a closer, closer, more accurate drawing in comparison to your model. Take your time. Keep observing your model and draw the lines as you see them. The more you practice, the more we get better at looking at our model and creating those proportions and drawing these distances. We can use circular shapes are circles. When we start sketching from the palm, you have the poem as a circle and then you have rectangles that can point out of it. It's just an idea to, if you're using the geometrical shapes guideline. And every hand you're going to work on, it's gonna be different. Just keep practicing. Other than adding the details such as the Neil's, we want to add wrinkles or lines that you find are giving your drawing more characteristic. If you find that the wrinkles, obviously, wrinkles on every hand are very different and the texture is different. But here since we're dealing with lines and some, some creases in the hands can be very specific to the model you're drawing and it gives it more characteristic. We go ahead and redraw it. And palm lines, of course they are different but they are more prominent, let's say. So it's good to add them even if lightly. Now that the drawing here, the second one is almost finished. Then we're going to add the airline values are aligned values, as we said before, they are more definitive lines. They're a little bit darker and the sort of bring that height, heighten the contrast in your drawing. Now we're going to sketch another model. This model is from the front view and with the index and the middle finger pointing upwards as well as the thumb is pointing, but it's those two fingers that are grabbing the attention here. Let's start as we have been from the bottom, from the wrist. Let's create our sample. Again. Remember you can use any guideline technique you want, either that axis, axis lines or the geometrical shapes. It's completely up to you. This model is now finished for us and we start adding our line values. Again, these are the lines that sort of finalize your line drawing or you're drawing of the hand. They are more definitive and a little bit darker. This part of the pinky finger here is sitting right next to the ring finger. We're just creating that detail. We also have to add the lines, the lines of the poem. These help characterize the front of the hand, from the inside of the hand, from the back of the hand. I'm just referencing my model image here. Looking at the details, maybe I've missed something. And then we're going to draw the next sample. It's going to be a fist at hand. Makes sure your pencils are sharpened, your eraser is nice and clean. And let's take a look at our model image and start sketching. As we're creating the general form here of the hand, the hand. We have this part that is not completely straight, is slightly curved. And I'm using my own hand as a reference. I have my model image, but also our own hands can give us extra information as to how a certain curvature, certain line might look. We keep drawing. We need to make some edits here, so I'm going to use my eraser. Then we'll add some details to the nails as we have done with all the samples and maybe some wrinkles increases. This model is completed. Now we have our second set of samples. And let's get ready for the next set. We're going to draw the signs of good luck, okay. Here we are starting with the first sample of a set of hand signs. Good luck hand signs. We're repeating the same sketching process that we've been doing for the last samples. And we're continuing to practice not just drawing, not just creating the form or the general shape of these hands, but also practicing looking at our, our model and adding the necessary details to bring its characteristic forward and then adding our line values. Take your time. Even if the results are not as perfect as you want them to be, don't let it discourage you. It's a process. It needs practice and you'll get better the more you practice, the better you'll get, the easier the process will get, and the more instinctive you'll become with your choices. Okay? As you can see, the sample, the hand is not completely fist ID. Now we're checking the measurements. It's better to practice our eyes for measuring instead of using a ruler or the pencil measurement technique. But it's okay to use the measurements especially in the beginning and especially for a long time whilst practicing. Try to look at a model and sketch at the same time. That's very good practice to try and do it freehand without any guidelines, you just draw what you see. Now we are specifying the nails, the positions of them. And then we're going to add our line values, which, which are the darker lines but more definitive, and bring out the form of the drawing. Now that we're done this for sample, we're going to start a new sample of a hand held out as if taking something from someone or maybe trying to catch some droplets of rain. As this drawing might be a little bit more challenging in terms of the form of the hand, the perspective. If you're unsure at any point in time as to what the next step is. Just follow my lead, follow my hand movement and pencil gestures. And let's take it from there. Hi. We're just making some final adjustments here. Remember that all these samples that we've created, if we're happy with this base primary sketch, we can go in and shade them. And especially with this one right here, it's one of those, one of those samples that kind of inspires me to shade it and work on the highlights and the shadows. But essentially any of these samples are ready for you to sort of maybe attempt shading them. Now we're just adding some value lines to our drawing just to make it stronger and give it more characteristic and presence. Now our next sample is a handshape that is inspired from a yoga yoga stance. This handshape is essentially the index touching the thumb. And the remaining three fingers are in alignment or in a sort of opening sideways. It is a little bit of a challenge, but we can do it. Start off from the rest. Keep observing your model. If you need time to take a look at your model, just pause the video and then play again and we can continue together. And remember the point of doing these different samples is to yes, practice and get more confident and familiar with making such drawings, the line drawings and the minimal details that actually bring out the true characteristic of what we're drawing. But also to build your own confidence with the medium. Just go at it no matter what the result is, just enjoy the process. And you will learn along the way. We're trying to sketch all the fingers as we see them. We continue building our drawing as we move along. This sample drawing is almost complete. We're just adding our line values here just to have the general form and shape of the entire hand more definitive. Now that we're done with these three samples, we're going to go on and create one more sample. I want to look at my model here. Just observe it really well before I begin my sketch. And this model will be the last one in this tutorial. This model is almost done. We're just finishing up our line values. Now today we learned about the anatomy, the hand, and we've practiced different forms of the hand and drawing them. I really hope you've enjoyed the process and you didn't feel overwhelmed because of the many samples. But it was essentially repeating the same technique, but trying to achieve these lines and observing our model really well. Remember keep practicing. Use different pencils and play around with their medium and discovered more. Thank you so much for joining me today and see you in the next tutorial. 11. Girl with a Pearl Earring Portrait: Hi there. Welcome to another drawing tutorial. Today we're going to draw the Girl with a Pearl Earring painted by Johannes Vermeer in 16 65. Make sure your pencil is sharpened. We have drawn an axis on our page here. We first draw these lines both on our paper and our sample drawing like our sample model, in order to compare the different proportions and make comparisons between the top and the bottom, the left and the right. We also consider all the parts before we start drawing. So if you need a moment to observe your model, Take your time. We're starting from the forehead here. And we check the proportions with our modal image. Now remember to make use of your downloadable resources. They're available for every tutorial that you follow and they have all the necessary information for this for every tutorials. So the materials, the access that we're using, the outline you need in order to draw your base sketch, your model drawing, and so on. Now as I'm starting my drawing here, I already need to make a modification. Remember, making modifications is normal. Do it as much as you need to. Until you are satisfied with your image. Take your time, keep your hand pressure low to medium, and keep drawing. Our initial sketch remain need to draw an erase several times. So don't let that hold you back or maybe discouraged you. Not at all. We're going to build the layers. So first we need to create this base sketch. And it's very important because we want this base sketch to be as precise as possible. It's not meant to be like our final drawing is not meant to look exactly like our model. But we want to get it as close as possible in terms of measurements, proportions, and so on. We are checking every single section in proportion and in comparison to our model and also in comparison to every next section. So if I'm working on the top left here, I'm making comparison to the bottom left and making those measurements like how long is the knows how far does the forehead go and so on. The eyes are located on an oblique access. The nose here and the side of the nose and the nostrils are showing all these details. We want to go over and achieve them in the right places. Take your time. If you need to pause the video at any point. Do so and then play again when you're ready to keep drawing together. Although if at any point in time you are not certain about any next step, just follow my lead. I'm here to help. Feel free to send me your questions at any time or even share with me your final drawings or your drawings at any stage, really, I'm more than happy to give you some pointers, maybe some feedback, or some guiding notes. Now, we start sketching from the top of the scarf. So we've, we've worked on the face. And now we're sketching from the top of the scarf to determine where it is located exactly. It will help us frame, frame the entire, the entire head and the face. Now that we've drawn the general form of the head scarf, we want to work on the text style. We wanted to show some character like the characteristics of this cloth. Then we're also going to work on the upper eyes again. Just finishing the detail of the head scarf here. We need to check every single detail when we move from one part to the next. We're continuously looking at our model, but we're also looking at our own drawing. And within, let's see, e.g. the bottom-right square of r axis. How far down does the scarf go? How far in is the earring, e.g. add as many details as you want. But at this stage we're doing it lightly. We're not putting a lot of pressure on our pencil. And at any point in time, if you need to sharpen your pencil, go for it. It'll give you a more detailed result or more delicate or thinner lines. Even. I'm defining the ear here. And working on the upper part of the eye. We want to determine the shadow that covers her face here. There's a shadow that I see. I just want to mark on the face where it is very lightly dressed to keep in mind that that's the lighter area, the area that might take its brightness from the white of the page, right? So we want that to be as bright as possible. Now, here, at this point, if you've gotten to the same point as I have, then some axis lines we don't need anymore because they've served their purpose, they've helped me. I have created my drawings so we can erase these axis lines from inside our drawing. I'm just going over some details. But for now, at this stage we're able to, we're able to start shading if we wanted to. Because we have all, all of the all rounded information in terms of form and shape. And we've marked where the shadow is on the face and maybe some detail on the head scarf. And now we work on the eyes. We will observe the sketch carefully to see if everything is okay. If anything looks visually out of place. And we start shading, we're adding some line values here. Line value is a more darker line that defines the form of any certain part that you're looking at. So right now the eye, we have outlined the iris. And now given the pupil some detail. Now I'm going over the eyebrow just a little bit. So they are intentional lines. They are not lines that are light and everywhere they are more darker lines and they're more intentional. You, you know where you're putting that shade. Again, keep your hand pressure medium. You don't want it to be too intense because you don't want to make an indentation onto your paper. If you want to work on a shadowed area or a darker area, as mentioned earlier, you simply go over it again and again. With medium pressure. We continue working on our drawing in this way. Now we're going to make some edits to her lips. Make your edits and your adjustments as you see them. So if you're working in a certain part, Let's not postpone making that correction because our eyes are focused, we are working on these different parts. So we're editing this drawing here are redoing it. We can see the problem. Very good practice would be to stop every couple of minutes, pull your head back, maybe look away and then look back at your drawing with a little bit of fresh eyes. Just two, it gives you a chance to take a very small break. And this break allows you to see maybe what's missing. If something is out of proportion, maybe the chin can be different. Maybe some highlights can be outlined and so on. Now, we can start shading as I've, as I've started from the edge of the nose here, we're working more and more on the eyes. Now. Holding my pencil as you see, our pencil has become too short to be controlled while drawing. So it's better to use this pencil holder to control it better while drawing. So you can move your hand down onto your pencil. But if it's uncomfortable, we have a pencil holder like this one that helps you extend the length of your pencil. This is very important because it keeps your hand or your palm where you're placing your palm away from your drawing so you're avoiding damaging it. But also you're continuing to apply your lines very delicately. As I'm saying this, I realize I'm holding my pencil very close to the tip now because I want to create that detail on the eye. This just reminds us that in the end will always work with what we are comfortable with. So don't feel forced to use the pencil holder. I mean, I'm not using it myself. I'm going to continue because I'm paying attention to my risk not being heavy on my drawing in order not to ruin anything. But I'm holding my pencil a bit closer at the tip because I want to achieve those details for the eyes. They do need a little bit more modifications, so I'm working on that part. The eyes on this portrait are not located on a straight line. So they're slightly tilted. They are on a diagonal axis, in a way imaginary axis. This is one of the facts we consider while drawing and trying to apply our lines precisely. We have locked away. We can skip seasons that may be here with us to stay here with us, to stay here with us this day. We have lost control. Don't know where to go late to turn around his dream for the girl. Fall. Within this J folder. And we continue shading. And we also need to consider the fact that the portraits eyebrows are very, very light. We've got we've got some may never stood. See things your way. You probably feel the same. Probably fair to say. You probably going down in flames. I'm just screaming. Didn't seem to care. Jasmine. Jasmine. Guess we weren't. We continue shading and adding these details. Remember to keep an eye out for the highlights. You don't want to touch these or you want to build shades around them and leave the highlights for one of the last parts in case it needs a very slight shade. But for now we want to leave it the white of the page. And we continue shading one section after the next. So we've worked on the nose, we've worked a little bit on the eyes, and it doesn't mean that it's finished. We will keep adding layers as we move along. You just didn't seem to care. Guess. Guess. Guess we work with oh, we got to crash. Well, you've got to lay we have gotten all you guys. We're shading the portrait here and determining the dark parts using hatching lines. So in the past and other tutorials, we have used hatching lines, which is small, thin light lines that are right next to each other in order to create a shadow or a shade. You could use crosshatching as well. But here where e.g. we have the eyebrows that are really light. We were using hatching lines very lightly. We can't really define the single hairs just from this model. We are shading the portrait. We're working on the little shadow here. This part on the portrait is dark and needs more shading. However, we have used thin and small lines to show it so that no marks remain on the paper. We don't want these definitive lines showing we want it to be smooth and nicely harmonized with everything else. We want it to be faded. So take your time. Let's continue shading. We've got we got in the original painting, we can see this darkness on the face as well. This shadow here. As this is one of the most famous paintings in the world. Really, a movie has been made with Scarlet Johanson playing the role of The Girl with a Pearl Earring. But the important part here is to remember that these shadows need to be done very smoothly. And we need to feed them and work on them and build those layers step-by-step. Now we will start working on the lips. Keep observing your model. Take your time. And notice how I'm shading in these circular motions. These help keep the shading marks very, very delicate and smooth. We're still working on this drawing by adding shading layers to it. The more layers we add delicately, the more we add to the depth of perception of our work. Okay, hello. As we continue shading and working on our drawing, remember that we can also add cross hatching lines to shade this portrait. So here I've created diagonal lines on the side of the face, but then I'm creating a cross hatching. They are more vertical lines and horizontal lines that are crossing each other. But I'm doing it very delicately and very lightly on these different parts. It works better to build those layers step-by-step in order to create the darker areas and adding that shadow that we're looking for. We just want it to be smooth. Remember that you can send me any questions you might have along the way, or maybe any final drawings that you've achieved in a way that you find as interesting or might have questions around, I'm more than happy to address any of your of your concerns or maybe share with you some guiding pointers or just for sharing. I'm happy to receive your final drawings. First, we're going to erase the axis lines here that we drew at the beginning. Our drawing looks cleaner because you don't want these lines to. You're, you're, you're drawing here. So I'm going to use my eraser just to go over the face. So I want to remove these lines from inside my drawing because they've served their purpose. I no longer need them. Then we will work on any empty spots remaining on the portrait in order to add shading layers to them. Now we will work on the teeth. At first. It may look like we need to edit the teeth and draw them a bit higher. But actually if we add the necessary shadows inside the mouth that are caused by the top lip, there would be no need to erase anything. No need to draw them again. They are, they are looking okay. We're addressing the shading layers on the nose here as it looks like. It needs to be a little bit smaller maybe. And now we're going to add volume and dimension to it. From this perspective. I'm just taking a bit of time to observe my model, but also observed by drawing in order to create the nose or work on the nose a little bit better. We can see this light part on the nose here in the original painting. So we just need to work on the shadow that's that's next to it. In order to give it that form without using a sharp line. We should not see any clear definitive lines on these parts. They are here at first because we use them as a guideline and they are light. We use them to determine the right places for the shadows. So we added these lines. Now that we are shading the portrait, we must not see these clear, harsh lines anymore. So we're erasing them or removing them along the way. And we're adding very smooth shading layers on the sprites we want. So we won't see these. Ideas to shade these sharp lines away. And generally speaking, because we are working from dark to light, which is what you would do in pencil drawing or shading. That's how we need to work. We don't want any sharp lines. We want to shape them in or soften them or fade them. Remember that we can use hatching lines like this for shading. And we can also work on the background and the different layers step-by-step. Whether you're using only hatching lines or crosshatching lines. Either way, your application needs to be primarily light, smooth, and consistent. So whether you're working on a darker part or that has more shadows or a lighter part. The technique needs to be consistent. So visually our drawing looks logical and all parts look coherent. Hello. Now as these parts here on this car for a darker, we're going to add more shading layers on the hatching lines we have already added. So our primary hatching lines on the scarf, on the head part, they are more prominent. You can see, you can see my lines there. But I want to work on them a little bit more. Maybe heightened that shadow here underneath in the bag and increase the shadow using more layers. We can also fill these parts completely. I had a smooth shading layer on top of it all. So the white parts on top which are highlighted, you can have a very light, light, dark shade over there. But that's something we're building towards. We're smoothly adding the shading layers. Though we are not completely shading the whole portrait. It is like we are showing exactly in which parts we do have the shadows and the lights and looking out for them. Simply outlining the end of the scarf here where it's coming down. Made sure my pages nice and neat and clean. It gives me a moment to look away or look at different details So I can try and look at my image with fresh eyes. Here we are adding the lights and shadows on the textiles. We can add the shading layers in the same manner the painting was painted or the same way that we see them on our modal image. We can do that with more definitive brush strokes. It's really up to you. But essentially, I would prefer to simply continue with hatching lines or crosshatching or even the circular motion shading technique. If you've used that. If we are using the hatching lines, it is very important too, in an organized way. So take your time. That's why shading needs patients. Because also the initial hatching lines that we had added on these parts were not they're not necessarily well organized and they are the first layer when we started adding the shading layers. But then we've added more on top of them. And we want to continue being more and more organized so it can remain very smooth and clear. Also remember that you can also use different pencils in the process. The hatching lines and the shading layers must match and complete one another. And we want to be careful as to how we're adding them because we're basically creating a balance between these two. Even the cross hatching lines, they must follow this rule and be regular. That's what we mean by consistent. And we need to observe and keep that texture of the work all over. And it makes it better and clear and adds to the depth of perception of our work. We're now going to fill these parts. We could have used the hatching lines, cross hatching lines, and also shading layers to work on these parts as well. It's really a preference. Take your time. This part, which we are working on adding more dark layers two, is completely dark in the original painting as well. So we are trying to fill these parts completely using hatching lines. All right. We are going to fade these parts a little bit as well using our pen song. This is why we erase this part a bit just to add a smooth layer of shading. I'm doing it delicately and on specific parts. We don't want to erase everything very harshly. We just want to build on what we have here and make an adjustment. If you need to erase anymore. Using a more specific tool, you can use a mono eraser that's a thinner eraser. Just to get into these tighter spots. Make sure that your pencils are nice and sharp end because they'll give you that delicate effect that you want. And remember that you can use a mechanical pencil with, with a core of your choice, the ideas that you need to use. Pencils that are delicate and allow you to achieve that detail, but also you need to be comfortable with them. I'm just sharpening my pencil here because we've reached a level where we truly need to add these details no matter how small or thin they will show through. So let's continue building our drawing and building those layers. All right, here on this point we have a light spot is shining part. We're going to add it using the eraser. This is the Mono eraser here. This painting is famous for the pearl earring and also of course, every other element, the pearl earring has that shine, so we want it to stand out. Now we are working on different parts, making them bolder using well-organized hatching lines. I'm taking my time. If you need a moment to step away, pause the video, look away, take a minute or two, and then come back and look at your drawing. And you'll automatically notice more what might be missing, what shadows can be added or are lacking a little bit of layers. Or maybe some highlights that can be accentuated. Here on the head scarf. And the part here where it's nicely, nicely rotating. There are some, some, some crinkles in it that we want to add carefully. The original model or the model print out that we have. This part is slightly thinner and is not as wide as this and almost has a shape like this here. I'm just trying to achieve that part. We continue hatching and crosshatching in a very organized light and smooth away. Although there's more highlight on this part of the head scarf, we're keeping it very light but still applying our crosshatching lines. Remember that if you need to lift some of some of the shading off of your drawing, but without erasing it completely or erasing, you would use a kneaded eraser. We've used it in other tutorials, and kneaded eraser is used in this dotted motion up and down onto the area that you want to lift some graphite. And what it does is that yes, it lifts the color and it brings a highlight, like it brings in some light on this part. But it does it in such a way that it mimics the texture of the drawing. That's why it's an important tool. You can shape it as well in the shape that you need it and clean it up. Make use of it in that way. It's very, very helpful. I'm just going over some outlines here that define the edges of the head scarf, just like I did on the forehead. I'm doing it here. These are the darkest parts. We adjust the shading layers on them one more time and we will also work on the lighter parts using small and delicate hatching lines. Again. Now, looking at the eyes, they are actually the lightest part on this portrait in terms of how bright the white part is. Here, I'm just adding a very delicate layer on the forehead. Was very smooth hatching lines. And just by doing that, you automatically make the eyes pop. You make them stand out and more 3D. Because you've added that very slight shading layer on the bright parts of the cheeks and the forehead, leaving, leaving the eyes to really be contrasted. And it makes them stand out. Even here on this edge of the nose, which gives me that bridge. Very lightly. Take your time. These parts on the eye, the lightest parts, the white part of the eye, the eyeball. We're going to add another shading layer. I'm erasing with my eraser here just to brighten it up. But I'm gonna go in and add another shading layer to the forehead. Very lightly, very, very lightly. So you want to be careful. We don't want to take away from that lightness, that bright, bright, bright points in the eyes. Now the next thing is the lips. We are going to work more on the lips as well. As these inner parts are completely dark. We do have a highlight there, but these parts are completely dark. I'm adding the details, some lines over the highlights. We are just making the final, final additions or adjustments are drawing is basically done. As I always say, completing any drawing really depends on you. Because every, every person drawing, It's really depends on you and how much you want to add, how many layers you want to work on. Also, it's an aesthetic. It's a question of aesthetic. Maybe you like where it is right now and you see it completed and finished. So it's really up to you. You can take as long as you need to complete a drawing. The idea is to practice, enjoy the process, learn from it. Take your time, test your pencils and your tools. Maybe create the drawing again with a different set of pencils. It's a practice of observation and looking at the highlights and the shadows and being able to apply them in this technique on paper. Keep practicing. And I hope you've enjoyed today's tutorial. I find shading to be really meditative. I really get into it. But I hope you've really enjoyed this and you're able to try and use different shading techniques. So thank you so much for joining me and see you again in the next tutorial. 12. Complete Manon Balletti Portrait: Hi there. Welcome to a new drawing tutorial. We're going to start drawing this portrait by sketching the face. We're going to start by drawing the axis lines in order to assist us in creating our base sketch. It will be located in the center of the face to help us compare different proportions based on different sizes of different parts of the face. So splitting your image into four and you can draw the axis on your model, drawing like your model image on your page here. It helps you make comparisons for left to right, top to bottom, and also allocate which parts of the face are in every square. Now, we draw the axis lines just like how we drew them on the sample picture. I've used a ruler. It helps me have that very straight line differentiated from our drawing are more raw lines. Please note that the axis that I drew is not in the center of the page horizontally and vertically. It's slightly to the left. And it's because this side has the head of the portrait and it's tilted to the left. So we may want to draw some parts of the dress as well. And the bottom parts. That's why we move the axis upwards and slightly to the left. We begin the sketching of the face with a to B pencil. Remember to make use of your downloadable resources. There are available for every tutorial that you follow. They have all the information on every tutorial. So the materials you're going to be using, the base sketch, the outline to create your base sketch, your model image, of course, and anything that you might need. So do make use of them. Feel free to send me any questions you might have. I'm here to help you. Now as we're drawing the face, it just remember that the face has an oval shape here and it's a very long face. Take your time to create your base sketch. We want it to be as accurate as we want or as closely as we can get it to our model image before we start shading. So take your time. We sketch the overall look of the hair on this part. But later on we'll add more details. So we're giving it the form, like the space where the hair is going to go. But we'll add more details later on as we build up the image. We can add as many details as we want to in our base sketch. Just keep it very light. If we're going to consider the size of the face and the different proportions. This is, this is what it would look like. You would draw one part at a time. It helps to make the comparisons by drawing one square at a time that were aligned by our axis. It just helps when you're, this comparison is a form of measurement. So do take your time. We draw the initial sketch very lightly. And we can add, as mentioned earlier, you can add as many details. As you can or as you like, including not just the general form of the hair or the face or the eyes, but also shadows, shading, maybe marking where the highlights are. All of these are very important. And redo, we do the sketch very lightly because later on we're going to be adding line values. And that, that makes the necessary parts bolder it, it starts to increase the contrast of our image and giving it a depth of perception. Makes sure your model image is placed in front of you in such a way that it's comfortable to continuously look at it. It just makes the process of drawing your base sketch and making that measurement either visually or with a ruler or even the pencil measurement technique easier. There's a flower here, we're just determining the right place for it now. And later on we're going to come back to it and work more on it and all the other details. But we're just marking where it is. Just like the other details. The ear is located here. And we continue marking the different parts of the face and different elements for us to shade later. We are now going to observe the sketch carefully. If we are satisfied with the measurements, we continue our work by editing. Erase as many times as you need to. Don't let it hold you back. Erasing and fixing all these proportions is very normal. And it's a process. But don't let it discourage you in any way. We're, our final drawings are not meant to look exactly like our modal drawing or modal image. So it's just there for the references for us to know where the highlights are, where the shadows are. And we build our own image and we work on our own drawing skills. Now we determine the right place for the eyebrows, and we do the initial sketch for them. To draw the eyes and the eyebrows. We can draw something like this. Then erase the lines. This portrait, it would be located here approximately. If we consider the eyebrows to be here. We are checking the distance over here. As we move forward, we observe and do all the necessary edits, for instance, now on this point we need to draw it more to the side. Also notice the, the, how linear the eyes are. Are they on a straight line? Horizontally are the diagonal to each other. And also then you make that comparison between the right and the left square on top. And you continue adding the details as such. Now we start working on the eyes first, we measure and compare the distance and proportion with the eyebrows. So we use every other element around to mark the exact place where we should draw something. Remember that you can send me any questions you might have along the way. You can also share with me your drawings at any stage of the, of your drawing. Doesn't have to be fully complete. And I'm more than happy to share with you some pointers, some guidance, some guidelines. I'm here to help. I'm just trying to add details slightly. Now we move on to work. On the other eye. We compare the measurements and the distances with the other eye and the upper point on the eyebrows as well. We will come back to the eyes and modify some parts as we move along. Now we're determining the right place for the nose. We need to modify this part a little bit more. Remember that it's okay to do that because sometimes you need to draw it and look at it for you to actually notice what's wrong and how it can be done better. Here, I'm realizing as I'm looking at my image that we need to draw the eye a little bit lower. You might have done it correctly already, are that the proportions look well already. But on my side I have to redo that the face is a bit longer than it should be. It is important to know that we need to do all the edits and the sketching part, which is this part, because editing on the applied shading layers, which are layers, would be difficult. But it would also may cause the work to become messier or a little bit more dirty. And it's a shame to erase through so many layers. So that's why we take our time on the sketch. It's also important to note that we are measuring one-to-one. We can easily see how it should look like and where we need to edit it. So it's the same size as we are seeing it. We're not drawing it bigger or smaller. We can also use the ruler to measure some portions accurately. You can measure it on your model image and then measure it on your drawing. It's just a matter of practice and we've gone through several tutorials, but practice can take, you can keep practicing and drawing and testing your techniques and your pencils. It all helps with not only our scale in, in drawing, but our confidence and our approach. And it helps build our own style in the drawing medium. Now we're going to work on the lips. Make it a habit to always take a moment every couple of minutes. Pull your head back, look at your own drawing, the courts you've created. You'll notice what changes need to be made. We also need to work a bit more on the eyes. I'm noticing we need to make them a little larger, but we will work more on that later after we are done with the nose and the mouth. Now we're going to work more on the eyes. As mentioned earlier, they need to be a little larger. So we use our eraser to remove those light lines and re-apply our base catch. Now, as you might already know, so we use the axis lines as the guide to create our base sketch here. Then, once we have all the information we need, we erase the axis lines and then our base catch becomes the guide for our shading process. So it's all building up those layers and each layer is a assisting every next layer and building upon it. Now I've, I've raised sketch the right. I am going to move on to sketch the left one. Take your time and if you're unsure about any next step at any point in time, just follow my lead. We are now adding the details of the flower that we see on her dress. We want to add as much information as we can in our base sketch. It marks where everything needs to go and even if there's a highlight like a brighter spot, you can mark it very lightly, the shape of it, where it goes, just to know when to avoid it, like which parts to avoid because we want the highlights to be the white of the paper and we shade them very lightly, but it's important to notice where they are. We are almost done with the sketch here. Remember if you need extra time, just pause the video, take your time. This process can take longer than we expect, because drawing and shading, it takes time, it needs patience. And we want our base sketch to be great, ready for the next step. We are now going to do the final edit. And then we will start shading. I'm using my mechanical pencil. You can also use a to B pencil. Make sure that your pencils are sharpened. And we're going over every part. Take a look at your model drawing, model image. Take a look at your drawing, make the comparisons. It's very good practice to double-check, always double-check, double measure. Make that comparison add anything that might be missing. That's why it's good to stop every few minutes. Pull your head back, maybe look away, then look back at your drawing. And you'll notice right away what might be missing. Maybe some things out of proportion. Maybe some parts can be marked as highlights. Or shadows, of course. Now, we may need to erase and draw different parts several times, especially for at the beginning of our artistic journey. So it's better to train our eyes by practicing and not tracing the lines. So you want to do it freely and don't let it hold you back or discourage you if the result is not as you imagined or if it's not like your model image, that's not, not a problem. It's not a problem at all. The ideas to practice and to get better and to improve our, your own, to improve your own drawing skill. The only way to do it is to keep practicing. The hairs on the eyebrows are slightly facing down and the eyebrows are also a bit tilted towards the lower parts of the face. We just want to draw them in the right shape. And as we see them on our model image. Don't worry too much if your initial sketch is not exactly your precisely like your model image and it's just close or in the same, the same similarities and some aspects That's suffices because we still have the shading, the shading process and that in the shading layers, you can, you can add more accuracy to your drawing. But it doesn't mean that you need to keep changing your initial sketch if it's at a place where the proportions are right, you're happy with it. Then it's ready to move on to the shading process. Yeah. Now we're going to start shading, starting from the hairline. And the hair. Makes sure your pencils are sharpened. You can use two different pencils for lines that are lighter or darker. But again, continue to apply medium pressure on your pencils. You don't have to apply a harder pressure in order to, you want to avoid creating an indent on your paper or maybe placing too much graphite on your page that would be maybe difficult to remove. So go ahead and draw these delicate lines, mimicking the hair, the direction. So observe your model very well and draw the lines as you see them. And we're leaving little gaps between our lines here because we want to show the texture. We want to shade that texture and be able to see it. So we're gonna go over the entirety of the hair. So take your time. Now we're going to add some more line values to the hair. We want to draw the hair, the hairs and the hair texture in the direction of the curvature that you see. Just like the hair is curved here vertically but also bending towards the left. And that's how we draw our lines. But I'm adding more line values, meaning darker lines are more contrasting lines that allow for the image to become more 3D. Follow my lead. Now we're going to start shading the shadow on the right side of the face. And by shading that shadow, we're also going to outline the hairline and its third separating the hair from from the face itself. I'm going to start using the hatching technique to shade. You can also use crosshatching, but you want to keep it very light. We're starting off from the darker areas and we move towards the lighter areas, as you always do with pencil drawing. Because with a darker areas, the more shadowed areas, you go over it again and again and again to build that shadow as opposed to applying pressure on your pencil. You can also change your pencil to a darker pencil. But it's better to keep a light to medium pressure and go over your shadow. And if it's necessary to make it darker, to just go over it again. That's how we build those layers. The right side of the face, including the a little bit of the back of the neck and underneath the chin. These are the darkest shades that we have on our drawing. So they are the darker parts and we're gonna go over them. Now that we've, we've worked on our shadows and we can continue working on them a bit more later. We're going to start working on the eyes, marking the iris and the pupil. We want to bring that definition and there's a highlight inside the eye, which is a white part so you don't want to fill that in, so keep that in mind. And although the eye has a darker part, I'm still not applying a lot of pressure. I'm just going over it again and again. I'm marking the upper eyelid line. Now. I'm working on the I on the left. Just to be able to make that comparison between the eyes and their placement. And adding the color. The more we shade our drawing, the more 3D it becomes. We're not drawing in hyper-realistic style, but it is realistic. We're aiming to get as close as possible to that. Marking. The iris and the pupil here. Making sure that that look as well. You take a moment, look at your own drawing. Are the eyes looking visually logical? Their proportions are, well. Now I'm adding an outline to the, to the pupil. Adding a little bit of shading here. We're gonna do the same for the other eye. And then we're going to define the eyebrows. Let's work a little bit more on the nose and just bring those details in. We've added a very slight shadow, as you can see to the forehead underneath the mouse. And of course, on the curvature that's on the inside of the left eye. But now we want to define the nose a bit more. So the nostrils or the darkest part going over it and we continue observing our model image as we draw. Because sometimes we make assumptions in our mind that this is darker or something that needs to be lighter. But then when you look at your model image, it looks a little bit different or not as dark or as shaded as we fought. So keep looking at your model image and keep looking at your own drawing. And we continue shading. Let's work on the lips more. We want to add those layers here. There's a highlight on the lower lip. There's a texture to the lips as well. So you want to keep that in mind. You want to apply your lines lightly. You're hatching lines. You want to go over the top lip and then the bottom lip. And keep using those delicate lines. Take a moment to sharpen your pencils, make sure your image is nice and clean. And let's work on the eyes a little bit more. Defining that shadow right next to the eye because we don't want the look nor the aesthetic of the eye or the highlights that we've created to be disrupted. But we need to shade the area around the eye. Again, if you're unsure at any certain point what the next step is, what to do. Just follow my lead. And working on the shadow on the inner part of the eye here. Because the light is coming from the left side of the drawing or the left side of our, of our model here. That's why we have more shadows on right side. My lines are really light. They're very delicate. I want to apply them lightly and take a look at my drawing and see maybe if you've shaded a bit too much, you can lift that color with either a kneaded eraser. I would advise using a kneaded eraser because you can shape it however you want it to be shaped. And then in this dotted motion is up and down motion. You go over the part where you want to reduce the amount of graphite that's on your paper. And therefore, you accentuate the highlight or make a certain part lighter. Now we're working on the I on the left that has different different shading. They have the lightest hitting each eye very differently. Follow my lead. Now that we've defined several parts and almost most of the facial expressions and the hair and gone over those details. Let's add a little bit more detail to the clothing. And maybe the lower part of our drawing. We have some irregular lines here and there, meaning that they are not straight lines or their lines that we create and redraw according to the shape that we see. Because fabrics, you need those delicate lines and you need to mimic the direction of the curvature and so on. And they can be further apart than the shading you would do on the face, e.g. so keep in mind the highlights where the white parts, the parts that you want to be the white of the page. We continue adding those details and I'm using a mono eraser here to erase and bring some highlight back in. Just because a mono eraser allows to get into those smaller spaces. I'm using crosshatching here to go over that detail. And we work on the clothing as such. Yeah. Now that we've defined a little bit of the neck and a bit of the clothing. Let's finish. The shape of the face on the left side, especially with the chain. We want to bring that definition in. You want to work very lightly, very delicately and shade in those details just exactly like I'm doing these back-and-forth motion. And even when we're drawing a line like this, we're doing it in a dashed motion, not in one go. So keep your hand lied. We're defining the shape of the chin. Then we go in and we feed that line. You shade over it very slightly and you feed it because you don't want a very highlighted line showing the edge of the face. You want it to be calm and delicate and implying the curvature of that cheek over there, the chin, without it being too contrasting. Take your time if you need to pause the video and then play again when you're ready, just take the time that you need. Next, I'm going to add some shading to the neck and the collarbone. If there are any shadows that are missing or any shading you want to add to any part. We, because our drawing is at a stage where we've built some layers. You get to see even better what might be missing, what highlights might be needed. Just go for it, enjoy the process. Take your time. And let's complete this drawing. Now let's work on the flower down here. Let's give it some definition and maybe make it a little bit more 3D. I'm adding some line values. And I'm going to shade the leaves. Just keep observing your model and apply your shadows, your highlights, and your lines exactly as you see them. Now that we've shaded and drew our flower here, Let's get some definition or some texture to the clothing. Just to also bring in that outline and that form. And it differentiates it from the collarbone and the chest. We need to draw that delicate line here. They are irregular lines, so they are lines according to what you are seeing and they're not just straight lines or hatching lines or crosshatching lines. Giving some texture to the shoulder, the shoulder cloth here. Now I want to work on the shadow, the most shadowed part of the drawing. I want to work on these layers a little bit more. We need to just give them a couple more layers. And I'm continuing shading in this back-and-forth motion. And the most important thing with shading is to stay consistent. So whether you're working on the more shadowed areas, the darker parts, or the lighter areas, you're shading needs to remain consistent. The technique that you've used needs to remain consistent because you want your image to visually look logical and that all the parts belong together and nothing is standing out too much. Here. I've just erased that line that defines the neck. It was it wasn't 100% clear. It was mixing with the back hairs or the neck hairs. But I've defined it there with a very slight, very slight definition. Now, I want to work a little bit more on the shadow here. Just to give definition to everything and allow for the highlights to stand down by working on both the shadows and the highlights you allow them to shine, to really come forward. And it adds a depth of perception to your image. Take your time. Let's continue working on the different parts of our drawing. Adding our shading lines and anything that might be missing in order to complete our drawing today. Now that we're just about finished with our drawing, we're adding any last touches, erasing any extra lines on the sides, cleaning up our drawing. I hope you've enjoyed today's tutorial and you got to practice shading and drawing further and further. But thank you so much for joining me and see you again in the next tutorial.