Mastering Realism: A comprehensive Guide to Advanced Sketching Techniques

1. Mastering Realism: A comprehensive Guide to Advanced Sketching Techniques: Are you ready to take your drawing skills to the next level? Join this comprehensive sketching course, master and realism, a comprehensive guide to advanced sketching techniques, and learn the art of capturing intricate details and textures with precision. In this drawing course, you will gain the skills and techniques necessary to bring your portraits to life using just a few graphic pencils and a single eraser. Each module is designed to focus on a specific element of portrait drawing, ensuring detailed understanding and practical proficiency in applying the perfect combinations of hatching, cross hatching, and shading dyers? Through carefully designed lessons, you will master techniques that include analyzing reference samples, using great method, free hand drawing, and measuring with pencil from realistic artworks. You will also learn how to use tracing paper effectively with various examples. Hi, Remand. My name is Ava Madi, and in this course, I will guide you through the art of observation and pencil techniques, enabling you to transform basic sketches into lifelike portrait masterpieces. Let's dive into the word of rendering life like eyes, nose, lips, hands, and hair, and master various skin textures using only pencils. You will learn how to control your hand movements and pencil pressure, essential techniques for capturing the sense of each subject. Whether you're a beginner or looking to refine your skills, this course offers something for everyone. What you will learn in this course. The introduction section, each lesson is crafted to guide you through every step from layering down initial sketches to applying final touches that make your portraits outstanding. Skills that you will learn from this course include hatching, cross hatching, shading, and layering. We will go through these points. In the eye section of this course, you will learn to depict the human eye. We will cover everything from basic to advanced shading, and hatching techniques that enhance the eyes beauty and expression. We will also master the art of detailing to add lifelike reflections, realistic eyelashes, and mesmerizing iris. In the no section, you will explore the intricate structures of the nos from various angles. In the lift section of this course, we will guide you through the techniques, teaching you how to capture their texture and volume, adjust for different expression and apply detail shading to emphasize form and lighting. In the hair section, get better in wide range of hair types from wavy to bred the study, learning to sketch and shade each strand with life like detail. The hand section. This course will also guide you through the intricate details of drawing hands, focusing on anatomy, proportion, and the subtle movements that convey expression. You will learn to apply precise shading and picturing techniques to bring out the realism and character in each hand sketching. Full portrait and drawing and shading of discourse. In the full portrait drawing and shading module, you will learn to use light and shadow to highlight facial features and expression. You will master shading techniques like gradation, and cross hatching and explore drying methods, such as the grid techniques, pencil measurement, and free hand style. By the end of this course, you will improve your drawing skills and will be able to confidently create realistic drawings and complete lifelike portraits with each lesson filled with guided practices to advance your artistic skills. So what are you waiting roll now? Let's start your artistic journey today. 2. Shading Techniques Dark Tone: Hi, everyone, and welcome. In today's video and also in this course, we are going to use minimum amount of tools. For instance, we're going to use a few pencils like eight B, six B, two B, H pencil, or two H. Any of them you have, they're sufficient. I'm going to teach you all about them. We're going to use some needed, pencil eraser. And maybe with a little ruler. If you can draw need line, then you won't need ruler as well. Let's begin. In today's video, I'm going to draw these scores that you have seen here to show you how to do different gray scale, the value of the scale and the contrast. The most important and crucial topic for understanding and learning the basics of shading. Very important, please practice your introduction the most because you're going to use all these techniques later in many different topics and models that I'm going to teach you. A these squares that you see here. The scale that I'm going to show you, we're going to apply on different models. Let's go to start, I'm going to go through the first one. Have a look at my hand movements. I draw the table ten squares. You can see here two by two. Anything you do is fine, even on a circle or a square is fine. That's great. Now, let's start going through that. This time, I'm going to use pencil eight B. This is quite dark guys. It's very soft. What's the different between H and B skill? B collection, pencil. They're much softer. I'm going to tell you more a little about them later in this video. However, for now, please follow my hand movements. Always try to have your paper and pencil in hand when you start a practice so we can practice together. I'm going to start darkening the first square from the left side. I always start from left. It's extremely important guys that you follow from exactly where I'm starting. For instance, if I'm starting from left side and from a corner from the edge, please follow along. Make sure that your hand movements is It has the same speed. That's quite important because I see many of my students. That's one of the main reasons I started with introduction with such a simple introduction because I see many of you you're trying to finish the introduction so fast that you actually don't try to practice for instance, try to have this simple pencil in hand and practice with it. Looking at this pencil. Again, I mentioned, I'm starting from left, applying control pressure with slanted shading technique, drawing thin lines, guys, extremely thin lines to each next to each other. If there is much, I use needed arrays that you saw earlier in this video that I used it. Make sure that you I don't want your papers to get d. That's quite important. Even if it's a simple practice it's crucial to achieve a polished look. Have a look how slowly move my hand. I keep going back and forth from left to right, even my hands angle, same pressure. I go back from the left side and move my hand towards the right side and reduce the hand pressure. That's extremely important for you guys to follow along. Now, see how I don't have any bracken lines in between. That's the reason and why is the reason? It is because I keep starting from the left side. Now this is called circle um movements. After I have done the line practice, I go back and then I start moving my hand in circular movements. Slowly, there is no rush, and then I continue the rest of the square. Controlling your hand pressure is extremely important. Gradually please add the darkness to your layers. Look closely at my hand movements and repeat after me. See how I'm going through all the spaces, making sure that I leave no empty spaces. Try to control pressure so that the darkness is evenly distributed across the entire paper. I don't go out of the edge that's quite important practice. We don't care about the square or if it's a circle here. It just give you a discipline here, making sure that you don't go out of your outline. That, for instance, imagine this is ellipse shading that you're doing or eye shading you're doing. Is the same technique. This is exactly the same technique on the corner of the eye. Later on, you will see how much I'm going to apply this shading. On many different models. In this course, we're going to go through different facial features and also complete facial portrait drawing. You can see slowly. I'm going to fill up the corner of the square. Try to make sure that I'm slowly moving my hands towards the edges. I shade that from the top of the square towards the center using the same angle, maintaining my hand movements, the same pressure hand movements when it comes to hatching lines. One of the best ways to learn the techniques is to follow my hand movements. Please do that. Now, this is another part. Now, it started from the right side, the same angle, from the corner side and go to the middles. And then with circular hand movements, I continue and going forward. As you can see, we have a few other squares to go through. This is the maximum hand pressure I'm giving. I'm not overdoing it. This is dark enough, and also we are doing it with pencil number 88b, which is quite dark guys when it comes to B collection pencils. As you can see here, these examples, we're going to go through them, but even better techniques. And you're going to practice them when it comes to this taterial, we're going to go through all of them. A great, we talk a little bit about pencils as well. Why I start with pencils, for instance, with simple tools and not with something more complicated. Pencils are fundamental tools in drawings, everyone. Each type distinguished by its lead hardness, which affects its mark on the paper, like how you can see here. Understanding the different types of pencils and how they impact shading is crucial for any artists. Now you have started this. This is the beginning of your another artistic journey. It's important that you are completely satisfy and understand the pencils. Whether you're beginner or professional, we're going to go through some of the breakdowns of common pencils grade. While the one that we use in this course. The ones we are using now, it's B pencils and HP pencils. I'm going to start with them. B pencils, the hardness B stands for black or soft. The range from B, which is called a B soft to nine B, which is the softest. The more numbers you add next to the B, it will be softer. It has softer core. The characteristics, the pencils deposit more graphite, creating darker, denser lines with less pressure. As you can see here, this is what we are practicing. So you don't have to put too much hand pressure, but you have to be able to control the. That's quite important because they are dark. If you use too much darkness suddenly on some part of your lips drawing lip shading, it's not going to be easy to take them off with your eraser or needed eraser, which you're going to learn how to do it later in this course. It is perfect for creating strong dark lines and shading in drawings. So that's what we are often going to use for expressive sketches and add in depth and texture when it comes to different examples in this course. Now, for the next square, we're going to move and start using six B pencil, applying a shadow again from left to right side. With the same degree, like 45 degree angle, and a bit more hand pressure, but not as much as before. We want to make sure that it's slightly lighter than the first square. This is a great practice for you guys to reduce your hand pressure and make sure that you can compare the first square and the second square. Again, as you saw in the previous square, we did a few layers. We applied shading a few times. Now this time, because maybe it's your first time doing introduction or if you have taken my courses before, you know how to do this. But again, make sure that the first layer is not that dark and then apply less pressure. Then as you can see, I'm going on it for a second time, circular hand movements, second layer. Make sure that I'm adding a bit more pressure onto it. As you can see it is slightly lighter than the first one. I'm learning how to control my hand pressure here. That's the lesson that you're learning. Make sure that you fill the whole square up completely and don't go out of any of the edges, please. Great so far. If you're practicing at the same time, if great you send me your assignments, you can message me directly or you can share your practices, your artworks with the rest of our amazing artists, whoever enrolled in this course, we can look at them and see our practices together. As we were talking about different pencils, I already covered pencil B pencils, which I told you stands for black or soft. Now, a bit about HP pencils. HB is in the middle of B collection and H collection. That's why we call them HB, and it stands for in the middle of hardness scale. That's what it HB stands for. The characteristics of this pencil is offers a balanced medium between hard and soft producing a moderate blackness. Whenever I want to sketch something normal, like I don't want to use a lot of pencils, HB pencil would be the perfect example to go to. For instance, you don't want to buy a lot of pencils, especially H collection or a lot of B collection. HB is a perfect pencil to start with, especially if you don't want to spend too much money on your tools. For instance, with one HB pencil, and maybe four B or six B collection, you can create a lot of different examples and create a lot of artworks. For example, for this course, you don't need to buy all the pencils. For instance, you don't want to buy the whole pack, like what you are seeing here. You can complete this course with only for instance, these two pencils as well. However, I'm going to use multiple different pencils, just in case you have different sets. For instance, some of you might have only some H pencil or two B pencil or four B. We're going to use all of them. Don't worry about tools. Just the important part is to pats and your hand movement, hand pressure. Making sure that you stay within the lines. For instance, how I'm slowly going towards the edge from the middle part, and making sure that nothing has left over. We don't have any space left over. That's it. Now we have continued and finished the edges, that's important for this course. Please bear that in mind and let's practice together. Now I'm going to finish this square and moving to the next one, I haven't told you about H pencils, H stands for hard ranges from, slightly hard to nine H, which is the hardest one, the core of the pencil. The characteristic of these pencils, they produce lighter fine liners. The harder the pencil, the less graphite it releases resulting in sharper, more defined lines. If you have enrolled in my other courses, that I don't prefer to use any H pencils, precisely, especially nine or eight H. They are so hard. When it comes to beginner level, if this is your first time, for instance, you're picking any pencils or you're just intermediate. Sometimes it's hard to work with just H pencils because you really need to know how to control them. Otherwise, you're going to leave a lot of traces on your paper. What I mean by that, for instance, imagine you're using a very hard pencil and you cannot get colors from it. You get frustrated, you use more and more hand pressure, and it's going to leave a lot of pencil traces. Sometimes you might even break your paper with it. Be careful when you are using H pencils. However, the ideal for technical drawings, detail work, and initial sketches. I prefer for initial sketches to use HB pencil, especially for beginners, so you can take them off your paper with just easily be eraser or with needed eraser. That will be okay. We know all about pencils now. Let's complete this one and move to the next one. Now, this time, we're going to use another pencil. We're going to start using two B. Make sure that your pencil is sharpen. If you have a sharpener, use it please now and then start right away, the same time that I'm doing. What I'm holding my pencil w is called pencil extender holder. You can buy from anywhere because I don't want to throw my small pencils away. They requi not that pricey, but you don't want to waste them. It's good that you use pencil extender, you can buy one and use it forever. I'm using the wooden one, which I prefer. I'm used to it. Maybe next time when you're going to your local art shop or any art shop nearby, even you can buy from Amazon or anywhere online, but maybe you want to try it first holding it to see if you're comfortable. Being comfortable with your pencil is very important. Also what kind of brand that you get, for instance, this one is Windsor and tin. However, next time that you're buying another version, which is fine, any other brand that you have, as long as you're comfortable with that brand and with the texture that it does, that's quite fine. This time, again, we use less hand pressure. I make sure the first layer is lighter. Again, with the same techniques, circular hand movements, I went on it the second time. I'm taking my time. This might be if you feel it's tedious, it's introduction. I know these things. Great. I know you know it. It's good even once you practice it, make sure that you have warmed up. It's like going to a gym. You have to do certain workouts before you go through the main ones. I don't go to the gym, so I'm not sure how should I give you examples. But Look at my hand moves again from the edges. I started. Have I need to start going to the gym. Again from the left side, I move slowly, going to the right one, right side. I'm giving a bit more hand pressure here because I don't want to leave any trace. Where I make sure that I'm giving those hand pressure evenly. See if I went out, I'm trying to be precise, I'm going to get rid of anything that I feel like shouldn't be there. This goes for your lips drawing or eye shading, nos shading as well. Now from the right side to the left side, I'm going to do it as well. Look at my hand movement, giving a bit more pressure on the corner, circular hand movements, slowly going towards the middle. Making sure that I leave no parts empty. While we're finishing up this one, I'm going to tell you about the next square as well. We're going to use pencil number F, which you will see how it's going to looks like. It's somehow between y is called F is called fine point. It's hardeners is slightly harder than an HP, but softer. I can say than an HB pencil. Now we're almost done with this one, going around the edges. A bit like circular hand movements, and again, more reduce your hand pressure and then go around the edges. We are almost done. I'm going to at least apply some more pressure to the previous one to adjust the color tone. Please have a look and follow along. The important tip here, whatever happens, If you feel okay, there are some uneven parts, use a darker tone, go on it, slowly without any too much hand pressure, darken the square. Try to maintain the pressure. For instance, you feel like this needs to be a little darker. You go on it. Imagine this is part of your lips, and you feel like the middle part is less darker. Apply a bit more pressure on the edges. For instance, if you're doing lips drying, and then go back on it. With a lighter pencil. Now, moving into the next one, guess which pencil I'm going to use. This is called F pencil. Is between B and H. Meaning it is not too dark and or too light with controlled hand pressure, I darken the The next square. First, slowly, same hand pressure from the left side, the same angle. I'm going to start hatching it. Or basically not becomes shading because our hatching lines is so precise, and we are doing it with sharp pencil, it becomes shading. Then after that, again, you learn this circular hand hand movements. We go on it. When it comes to the second layer or the third layer depending on your first layer shading. Take your time. There is no Please try to take your time when you're doing this. No haste. Now let's change our pencil to HB and then go on it second layer. We have already determined the lightness of the first layer. We're going to mix F and F pencil and HP pencil together. Let's continue. I have mentioned this before, but I'm going to repeat one more time, even in my previous courses, again, one of the most important points, guys that you need to take into consideration while working on any type of work is making sure that your work space, your paper, they are clear. You have a clear work space, have asors next to you. Make sure all your pencils, they are sharp. So when you start, it just you focus on your techniques and practice. Make sure that you use perfectly sharp tip of a pencil and work from the edges. We could cover all parts of the square, same level of intensity and hand pressure. Now you can see with more hand pressure, circular hand movement, I darken the area. You have to learn how to mix and match your pencils for better shading. We have been practicing for around 20 to 20 minutes to half an hour. If we would create every 30 minutes you give yourself a break, make sure that you're satisfied with your practice and then move to the next one. Initially, I wanted to put all these squares in one lesson, but it's always great after 30 minutes you give yourself a break. This is what we're going to do. After this square is done, let's take five, have a rest, go around some stretching, then come back straight away to continue the next squares as well. We're going to go through lighter shading and practice together. Just going to continue this part as well. You can see how I'm moving my hand. This is the real speed. I make sure that I'm not making this speedy enough. No twice the speed or 1.5 speed. This is real time. I want you to take your time and spend the same amount of hours on it. She from the bottom parts, the edges, and go up slowly. Just take your time, make sure you're happy with the level of hand pressure you're using. Great work so far. As you know, all my courses, we have downloadable resources that you can get access, download them, and practice from them, it includes outlines, grades, and assignments. When it comes to the assignments, you get to learn these techniques one more time there and also practice extra things. Now, When it comes to outline and grids, especially when we go forward, we're drawing facials, we're drawing portits, or facial features. All the outlines and grids are available for you, just in case you are not you're a beginner and you cannot do free hand drawing yet. There are means for you to practice faster and easier. Don't forget to download them as well. You can see, I'm just happy with the last square of this theaterial. Take some rest, and we come back and go through the rest of the squares. For now, take care, and I see you soon in the next theaterial. 3. Shading Techniques Light Tone: Welcome back, everyone. We just finished previous taterial, and we're going to continue with our shading, different gray scales. I picked up my pencil, which is F pencil. We talked about it in the previous tterial. If you have listened to it and practice, at the same time, you know what is F, which is a stands for fine pencils in between H and B collections. I'm going to go through the first square of this tterial, and the fifth square of the whole this scale that we are going through. Please look at my hand moves, making sure the lines are so fine. Also, this is the maximum intensity of darkness, you can get from F pencil. Let's compare this together and how much you can add to your hand pressure. But if you're using, for instance, I'm going to show you in the rest in this deterial, the difference and when it comes to hand pressure. However If you are using a two B or four B pencil, you need to carefully control your hand pressure because you don't know how much darkness you can bring on your pencil, but this is the maximum level of intensity and pressure you can get from your F pencil unless you keep giving different layers to it. For instance, this is the second layer, and this is how much I'm giving. For instance, the edge. I'm really trying to put pressure, but please do not add too much or otherwise, you're going to hurt the texture of your papers. Be careful of that. Go around, make sure first with the same angle, you finish the first and second layer and some circular hand movements that you have learned in the previous tutorial. Using pencils with different cores can be beneficial, as I mentioned, especially those who are not sure how to control your hand pressure, and it can really help you guys reach the level of darkness that you're looking for with a fixed hand pressure. If you're a beginner and you haven't taken any of my other courses, and you just started working on hatching and shading techniques, it's better to use maybe pencils with different coords. Even for instance, you borrow from someone or a friend, or sometimes when you go to an art shop, they have all these pencils. They can give you an example, you try them on. You can ask them, go to the counter and ask them. I use this pencil before I buy? Do you have anything in hand that I can just try it out? Try them because they usually have it. If you ask nicely, they can give you some. Or even you can ask them, do you have any spare? You can give them to me? I have asked them before, especially a few years ago when I went to artworkshop, I didn't want to spend, and I didn't have that much budget for my tools. I would ask, Do you have any extra that I could use for my artworks? You can always ask those from your local shops. You can see the different levels from the very intense one that we did in the previous eterial and to this one. Now let's move on to the next level of shading and hatching. Look at my hand moves and follow along. For this layer, I'm going to change the pencil to two H. You mentioned about H pencils and two H, how hard they are. The more you go towards like two H, three H, and nine H, nine H is the hardest one, and nine almost doesn't have any color. You'll see and we're going to use them soon. Make sure the tip of the pencil is perfectly sharpened. We use this pencil to add lighter hatching lines and create lighter and smoofer shading layers. Please follow my hand movements. It's even important how I'm holding the pencil from the middle part. Sometimes when I go more towards the t part, holding it like this because I need to focus more and to do circular hand movements. Otherwise, I hold it a little more towards the middle part. Let's keep adding initial layer hatching lines and clear lighter. To this part. Still I'm using circular hand movements and then I'm going back to the shading lines next to each other. See how sharp the pencil is and how I'm moving my hands left to right. No, please take your time. I wanted to say no haste. Make sure you have patience when it comes to shading. That's quite important. Sometimes some of my artworks take 50 hours to 100 hours, especially when you're doing realistic shading pencils. So If you see a charcoal or a pencil portrait, it's so nice and realistic. It doesn't mean you cannot do it. Maybe you need to do your technique practice. All these practices to start of going through and creating beautiful portrait drawing, beautiful, still life drawing. You need to make sure that you take your time and spend as much as hours that you can on your drawings and be patient. That's quite important. Now, let's move to the next one. The next pencil, we are going to use four H pencil. As usual, we're going to start this same angle, same hand pressure. Look where I'm holding the pencil, more towards the middle part because we haven't started doing circular hand movements. Also, whoever taken one of my really old courses when I was doing charcoal, course still one of my favorite ones. We can use other tools to create contrast. For esp, we can use blending stump or different fineness, even for shading or brushes. To create different shading levels. All depends on your taste and style. As you can see, this one is much lighter and harsher pencil compared to the previous one we have been using? Look moving my hand, going to add the initial layer. However, if you ever not satisfied with any of the areas, you can use your needed eraser with gentle taping movements. You can lift them. You'll see that I'm going to do this on different occasions and you can try and repeat after me and you will learn how to do it. Where is the best place to use it? Especially in lighter layers, it might happen to have spots like some spots that you need to clean them up with a needed erasor and take them off. You can easily just lift them up with needed raisor by tapping them. Can you see I'm using the tip of this pencil and to do some both lines and circular hand movements going Take your times when you're doing gradients, different shading layers, especially from dark to light. This is extremely important practice, guys, and I hope you are doing it this. Some artists only use pencils for their works, like Charles Bark. We have these artists and I have used his samples for one of our courses, actually. His techniques require a lot of control and knowledge when it comes to pencil. But you can become a famous artist only by using only pencils, guys. The next one we're using is five H right now, sharp tip. We are going to start adding hatching lines next to each other, but our hatching lines are so neat and so precise that creates that shading layer that we want. Look at my hand movements and repeat after me, please. Why you are practicing at the same time, using the same hand pressure and hand method. I'm going to tell you a bit of about like shading techniques and pencil grades and why they're quite important. There are several reasons. The depth and dimension guys. Different shades help create the illusion of depth, making a two dimensional sketch appear three dimensionals. Even here some of the squares you can see from the edge towards the middle part, it creates that effect. Also, for instance, now, I use the needed eraser here. That's what I was telling you. When it comes to texture and details, using various pencils and shading methods can introduce different textures, making the artwork more engaging and realistic. It all depends your hand movements and how you're doing this. Just use for, I just use my finger and use some to create that shading feeling and texture. So you can create many different textures with pencil and hand movements. Also, when it's come to emphasize and focus, through strategic shading, artists can direct the viewers attention to focal point within the artwork. That's quite important guys. Also, mood and atmosphere. Shading influences the mood of drawing where darker shades can suggest a not happy artwork while lighter shades can convey a more lively scene. For artists, the ability to manipulate pencil types and shaded techniques is not just about technical skills, but also about expressing vision and emotion through light and shadow. Whether you're sketching a quick portrait or crafting a detailed landscape or a detailed portrait, which we're going to do all of them in this course. These skills are integral to creating compelling and expressive artwork skis. Look again here with just tapping the needed eraser. I'm taking off both colors, and maybe some additional layers that we don't need. With a minimum hand pressure guys with either h6h pencil or eight H pencils, go on the last one. I'm going to leave the last call the square empty. Why is that? That's not shading? That's not a practice? Yes, it is. Why leaving some parts empty, just keep the whiteness of paper is important? I have mentioned that in some of my courses, how much you try, try to create highlights. For instance, the highlight of I or highlights of sunset that is happening. You cannot get the p, the perfect whiteness of your paper with any pencil. Even if you try to use, let's say acrylic, white acrylic. Some artists they do that to create that highlights when they have lost the beauty, the whiteness of their paper. For instance, they try to use either as a pencil eraser. We will use that later you'll see what is it? The whiteness of your paper quite important you leave them. For instance, now, let's go through these gradients now. From the very beginning. Always go back, try to with the pencils that you had, try to make sure that they are perfect. I perfection is when it comes to drying, even when it comes to lines, it's good that that becomes your habit. You don't leave even the simplest assignment, the simplest practice, leave it out, make sure even your simplest practices, they are perfect. As we can see, we're going back on our layers again. I started off with eight B pencil while I was talking about the whiteness of the highlights. We started with eight B pencil, the darkest part, then four B, then we use pencil two B, and then we're going to move to HB pencil. Then as you recall, for the 50 square, we have F pencil. L et's complete this. I'm even going on some of the areas that they were not done perfectly. This is the perfect shading. You could have ever done guys. Please send me your practices. That's quite for me to see which level are you and how much you have done this practice. I can for instance, say, if you have done shading on your lips and you feel like, my shading is not perfect, I I see your practice, we can correct your shading on any model that you have done. It's important for me to see your practices. H Minimum hand pressure. I'm holding the pencil from middle part. Barely the pencil, the H pencil is touching the surface. Now you know which pencil to use and how to use them, how to hold pencils, how much hand pressure and pencil pressure that you need to use. See how important this practice was for you. You have learned the smooth levels, how to adjust the level of darkness now. Take your time, work on different parts step by step. It's delicate practice. Other great practice to warm up your hands before starting your main model. As you can see, I'm fading the layers, do not forget sometimes you need to fade the layers at gentle hand movements, using your fingertips. Also if you didn't want to use your finger, you didn't like it, you can use some swab or something that is very soft, cotton soft, you can use them and fade them. If you have any questions regarding the tools and materials, right away, please ask me. This is the beginning of this course. I'm always so you know I'm always online to answer all your questions and I cannot wait for you guys to go to the next lesson and old lessons and learn how to use these techniques on real models. I'm quite excited. I hope you're excited as well. I have seen thousands of practice. Whenever you guys send me your practice, it makes me so happy that I see you are practicing at the same time and you send me your practices. See how much I could be done here. Sometimes you have to actually understand when you're done with your artwork, you have to stop, you say, Okay, I'm done. I'm not going to add any more layer. This is enough. I live it. If you keep adding, sometimes too much cutter, that's not good. That's another tip guys for you. Do not overdo it as well. Sometimes you leave it without complete, but sometimes when you really want to work on it and overdo it, it is not good. We're almost done with this titerial. Let's make it perfect, M our squares perfect, and we know that we are not going to have a squares. Why we are making this perfect, just that level of detailed that you pay attention to is quite important. For instance, for a tarias, what's important is for you to make sure that the outlines are done perfectly before you start your shading. That's why we are doing this. See, now it looks good better. I hope you enjoyed these introduction theaterials, the previous one and this one. In the next one, we're going to go through another introduction. The hatching one, different hatching lessons. Please practice this, send me your practices, and I see you in the next one. Make sure that your surrounding your paper is neat and clean as well. For now, take care and bye bye. 4. Hatching Techniques: Hi, everyone. Welcome back to another tutorial. In today's video, we are going to create a contrast table using hatching techniques. We have five square cells, as you can see. The first one, I'm going to draw a normal hatching. In the next two videos, we're going to go through different hatching styles as well. This is a quick video, a few minutes. However, it's very important you follow along. I'm going to start using my pencil, which is two B pencil, starting from the very first square. Please look at my hand movements, my hand, how the hand angle, pencil angle, and also pressure of hand pressure and pencil pressure. Please repeat after me. If you have a paper and pencil, we are going to start from the part, from the square. Step a step, I'm going to show you how to do it from the darker part to the lighter. More hand pressure to less hand pressure. Now let's start going through this. See how I'm going to start from where. Observe my hand movements accordingly. This one is going to be the lightest one. Now, from this part, it feels like I'm drawing the lines, the strokes. Very neatly, in a subtle way. Try to do it. Start again from the edge and repeat one more time to create a second layer. Extremely important practice, where you're holding the pencil is very important. Having a sharp pencil is very important as well. This is the third layer that I'm doing. Look at the difference from Some parts for ins here. Now we are having the same intensity. Look how I'm holding it again. One more time. Follow please exactly what you're saying. It's extremely important for you to do. Because if you know this, you can learn how to do this sample as well. Both this young and old person, you can see here, I have used the same techniques. You can see how important these techniques are and how much you need to practice before you apply them on these eyes in the future. This is one of the samples that we're going to work soon. Please practice this, and then we're going to move to the next square with less hand pressure. See how careful all the lines I have drawn them correctly. Now when I'm happy with the hatching, then I'm going to move to the next one. Less pressure than the previous one. I know this might feel like tedious practice. You feel like, I have done the first one, so I know how to do this, is on the line practice, but it's not. The more you practice, the better. Sometimes some of my students just send me, for instance, one square practice or two square practice. I'm like, Okay, this is not sufficient. This is not enough, you need to do more. You need to fill up this paper with not just this paper, maybe ten papers. With hatching styles, hatching practices for you to warm up your hands to realize your hand pressure, you understand your pencils and how they work. Hatching is a fundamental shading technique used in drawing skis to create tunnel or shading effects with parallel lines as you can see. It's very important to learn this. This method you can see here can vary widely in style and application, allowing all of you artists to develop texture, shadow, and dimension in your artwork. Understanding different styles of hatching that, for instance, we're going to learn in this eterial, and in next tterials, can greatly enhance your ability to convey visual depth and interest in your drawings. Look at the hand pressure, the difference between the very first one, and this is the second one I'm working. Same angle, how I'm holding my pencil. For instance from middle part. Now look how I'm holding it and I'm going to move it along from here. Now I'm going to go through this one. The lighter you want, you need to go further and hold your pencil. Practice this a few times, please and send your practices to me, so I can see your hatching. This was a simple hatching style, one way hatching. I can say. Next time, we're going to learn how to do it in a different way. Quickly, this was a short arial. Let's go to the next tarial and practice our next hatching technique. For now, bye bye. 5. Cross Hatching: Hello, guys, and welcome back. Let's quickly jump into our next hatching style practice, which is called cross hatching. We'll start with either HB pencil or two B pencil. I'm using pencil holder. Please look at my hand movements. This is quite similar to the previous one so far. Let's see the difference. Make sure that when you're drawing it, your strokes, your lines feels like you're throwing the lines. Now, this is the difference. Change your hand position, the direction of your hand from here to here, left to right. One more time, have a look. I'm going to create cross hatching here, opposite direction. Now, let's start. Look how it looks like. Please do it one time with me, and then let's continue going through the whole thing. Now we've created our cross hatching. Don't overdo it. First, make sure that you're happy with the first layer of your hatching style, then the next one. Now again, decide, do not bring too much hand pressure, make sure you understand your hand pressure. We talked about it, the introduction when we were going through shading a lot about your hand pressure. Make sure you know when to stop. Now, I'm quite happy with this one. When I'm creating this, I can apply this on many examples. For instance, look at this one, which is lighter. I'm throwing the strokes. I it's like a ball that you're holding it and then you're throwing it up to the sky. Now change the direction your hand movements. As you're repeating after me, sometimes try after this practice, change the direction of your hand movement. As you can see, for instance, again, on this example, I showed it to you earlier. When I applied this cross hatching on this nose, you can see some of the cross hatching, they are not too straight. They are somehow hatching. You have to make sure you understand this one first, and then you can apply it onto these examples. Make sure you're happy with your pencil pressure, guys. You make friends with your pencil. Try to use it gently, don't put too much pressure on it and hold it correctly. This one needs to be lighter, so I need to hold it from here. Control your pencil guys. Always maybe if you're sitting on a chair, change your position, try to move yourself to make yourself comfortable when you're changing your hand position, your hand direction. The lighter you get, you need to make sure you apply what you're seeing on this theater and apply the same thing. Now, for instance, if you want to go on it again, apply another layer to create more shading, to create darker shading here. This is how you should do. If you didn't need, for instance, on this example, you can see on some parts, you don't need to use too much pressure on some parts you need. So far as we're going back and adding more layer hatching, we have different styles. Single hatching. Which are lines that are placed in single direction. This straightforward approach is effective for simple shading and can be adjusted by changing the density of lines to create light and dark areas. This one that we are learning cross hatching involves placement a second set of lines over the first, typically at an angle, forming a cross pattern, as you can see here. It adds depth and more dynamic tunnel range by increasing the density of intersecting areas. I would like to go through another technique with you. Imagine you're not happy with one of the drawings, one of the hatchings that you have done. What you should do, get your needed eraser. Then either tap on your paper or slightly the way I did and go on it one more time and create your shaving. How I could do this in a very neat way is because I didn't apply too much pressure on my very first layer. That's why I can correct the extra ones like you can see here because I haven't damaged the paper. That's why I can erase the extra parts. As you can see here, every time I go back on it, I keep using fine hatching, which means uses very close wine fine lines that are often hard to distinguish individually. It creates smooth gradient effect, ideal for areas requiring subtle transition between light and shadow. We do have random hatching as well that lines are placed irregularly or in a loose scribbled manner, which we are not going to use it in this course for now. We're now doing layer hatching involves multiple layers of lines. We are done with this hatching theaterials. In the next one, we're going to use another method for now. Py and I see you in the next taterial. 6. Square Cross Hatching: Welcome back, everyone. This is another criteria. We are going to use our two B pencil and go through our cross hatching. With a sharp tip and two B pencil, first draw horizontal lines, as you have learned in previous lessons, how to hold pencil, and how to draw the lines with more and less hand pressure. Again, horizontal lines and vertical lines in a cross hatching manner, left to right. Do not bring too much hand pressure at the beginning, and just to do your fine line hatching in a subtle way. Please follow my hand movements. Always have your pencil and papers on your next to you. While you're watching the TT, you can practice at the same time. Now you can see, I have used all the hatching techniques you have learned, for instance, on this particular lesson that we're going to learn soon. For instance, I see that some of the lines that they cross the edges, they cross the main outline, it's very important you stay within lines. Either use your needed eraser or pencil eraser. This is called pencil eraser and go through it and make sure that everything is neat, everything is clean. Keep this manner for your entire drawing practice. For instance, this part, I added too much pressure. What should I do? I'm just going to get my needed eraser and reduce some of the pressure too much color, too much shading that I had on it, and I took away with just a few tapping with my needed eraser. If you are not sure about your tools and materials, please ask me, send me your messages, your questions, you can get access to your downloadable resources. Well, all this information are there as well. This time, again, we're going to go through another one and less pressure. If you want to add, you can go on it and add another layer of horizontal and vertical that they cross each other. The importance of this hatching is about control offers you precise control over your tonal variation and textural effects within a drawing. Another importance of hatching, it can be adapted to a wide range of artistic style from very detailed and realistic renders that you can see in this course to expressive abstract compositions that it actually belongs to one of my courses, this one that you can see. Let's look at the examples, for instance, this one, and also another one. Have a look how I use hatching style in a lose and abstract manner. You can see there are more towards expressive and abstract compositions that I have used. Let's keep practicing. We can understand that this kind of hatching provide a powerful tool for visual story telling, and expression. Each style that we have learned so far can contribute differently to the mood, texture, and overall impact of our drawing. This one, this kind of hatching, the previous hatching that we learned. Making hatching a critical skill in the toolbox of what you have learned of both novice and seasoned artists. They need these practices. I hope you have enjoyed these last few taterias. In the next one, we are going to learn another different shading, which learn how to do fa fait shading, I have to say. For now, I'm done with this tateria almost. I keep adding layers. You can do that as well. Try different layers and experiment more with your pencils and send them to me, please. For now, take care, have a rest, and I see you in the next taterial. Bye bye. 7. Fading: Hi, everyone, and welcome back to another theaterio. This is going to be the last shading technique that we are going to learn. In this shading technique, I'm going to teach you how to shade and also fade in order to have a very nice and subtle layer. Continuing on the topic of shadows and contrast, let's have a look. I'm going to go through the first layer with r2b pencil. I'm going to start drawing the darker section with heavy hand pressure from the corner, reducing darkness as I move towards the top part of the square. The way I'm going to rotate and repeat that motion. I'm going to create a faded effect really soon. Please follow my hand movements. As usual, please have your paper and pencils in hand. Now I'm going through circular hand movements from the corner, the edge of our outline. You have learned this technique and the very first introduction that we went through. First you add the layer, then you add circular motion on it. Let's have a look, how I'm going to create this and with another tools, which is called stump blending or blending stump. Different website, you can find different versions of it. I'm going to make sure that we have a very nice and smooth layer after a while. Now, have a look, I'm going to create the first one, and then after this, the way I'm going to go to the next square, I'm going to make sure that they blend so well together that we don't see the lines in between each square. Please pay attention to my hand pressure that it drops when towards the lighter parts of the right side. Again, the second time, I'm going to do a repeat myself. I'm still using the same pencil. We're doing a flat shading, involves applying an even pressure every time we are going through each square across this area to create uniform shading. Is ideal for backgrounds or when smooth texture is needed without much variation. As you can see, involves gradually the pressure to transition from dark to light. We will create a smooth gradual change that helps in rendering spherical and also different forms as well. We do have different forms in this course as well. Especially the sphere, which is very important for you to learn. Shading specific direction to emphasize the shape and contours of the subject. It's very important. That's why we are learning this method. Now, this is the stump blending that I was telling you, which is again, stump blending, a tightly rolled pieces of soft paper or felt to smooth and blend pencils. Look how I'm using it every time if you feel you need to have a smooth layer, please use that. Now, another method, use your needed eraser tap on any part that you feel it has too much color, take it. Again, repeat after me the way I'm holding our stone blending here. Now I'm going to keep repeating this process a few times to ensure that we're happy with our layer. With our stump blending, we can. There are a few ways. We can use it. First, softening hard edges, as you can see by gently rubbing blending stump over pencil lines like here. In this way hard edges can be softened, which is crucial for creating realistic textures like skin or sky, as I mentioned, or the background. This is a perfect tool in order to achieve seamless transition between different shades. This method is commonly used in porches to blend skin tones as well. However, when it comes to skin tone, when I want it to be extremely smooth, I use brush. I don't use this one. As you can see, this is a perfect smooth layer that we have, compared from the the moment we started this and now, if we go back to the beginning of this lesson, we realize it can help us to enhance realism, control focus and mood. As we are talking why this is important. Let's make sure that when we are working on any sample, even the samples, we are doing it in a neat way, have this discipline. When it comes to your work. Now I'm going to make sure that we don't have any additional shading underneath as well. This is a normal eraser that I'm getting help from. Se it feels much better now. I hope you enjoy this tateria as well. Have a rest and I see you in the next one. For now, bye bye, take care and see you soon. 8. First Layer Sphere Hatching: Hi, everyone, and welcome back to another the materials. In today's video, we are going to go through this sphere that you can see on the screen. As always, please have your papers and pencils ready. You can use any kind of pencils such as Fabriccle, or Windsor anion or any others that you have that belongs to HB collection or B collection. This one I'm using is HB or two B. First, we're going to go through the initial pattern with our pencil. I draw a perfect round or light sphere. If you had any issue drawing the circle for now, either sometimes try to clean it up and draw it again, make sure that your outline is not too much. Now I'm going to go through the shadow, have a look when I'm looking at the sun, when it's coming out. And doing the measurement. The crucial aspect of shading this sphere, as you can see, is the direction of light, as I mentioned. Determining which side of the light is coming from what side. The more the light hits horizontally, the darker the shadow behind the sphere will be. Also, if the light is more vertical and from a valve, the sphere shadows will be smaller. Bar that in mind, please. Considering the light direction, I'm going to draw the shadow underneath the sphere. Please look at my hand movements where I'm going to do the highlight and where I'm going to cast the shadow. Look closely at my hand movements and try to repeat after me. Please pay attention to the way I'm holding the pencil that I'm adding these layers and how I'm working through. Let's define the dark parts and the darkest part of the sphere after this. My pencil is always very sharp, even when it comes to the hatching part. It's quite important you understand this because these example is going to help you for instance to draw this example. After you have seen the example, I'm going to define the darkest part of the sphere. In the next step, let's draw curve lines for the gray shadows, the grayer part on the sphere. I start shading from the bottom part of the sphere with me and medium hand pressure and medium pencil pressure, creating mid tone shadows, not too dark, not too light. We need to keep in mind where the sources of light coming from throughout the work, and then add our layers one by one, building them up to show the lighter and darker part of the work. Why we are doing this because this is going to help us. For instance, when we are drying and shading an eye, that's going to help us a lot as well. We have started darkening the underneath this shadow, the bottom part. Follow my hand movements. I'm going to apply lighter gray on this part as well, reducing hand pressure to create a lighter shadow. It's extremely important you follow the way I'm doing the hatching parts and the shading parts. You have learned more about these shadings and layers in previous in the introduction parts. Make sure you have done your practice on those lessons. Very important, the way I'm holding the pencil, the way I'm moving the pencil. All of these are extremely important. Try to do the same layering that I'm doing. Also, if you had any questions, you know that I'm always online to go through your messages, please DM me, and I'll get back to you. Feel free to send me your practices and assignments as soon as you have done them as well. Slowly, you can see that I reduce my hand pressure when I go towards the top part of the sphere. Slowly, I go back and forth on this area. These are very close and fin hatching lines under this part of the sphere I mean. Then I'm going to darken it further with more hand pressure. Bear in mind, I'm shading in different directions for the shadow, but still my hand is over here. Now, I moved my hand towards here to start to cast the shadow. You can see the difference of my hand movements, I'm going through the hatching lines. Now I did it here. You can see the lines, even though the way I move my hand, they're quite neat. First of all, I don't go out of the outline. I try to stay within and draw neat hatching lines next to each other parallel lines. Now look at the way I'm holding it. Let's do cross hatching here. Excellent job guise, considering the right placement for the source of light also enables us to determine the placement and the accurate form for the cast a shadow of the sphere on the ground. You have to bear that in mind. I just define the border line between the sphere and the shadow with darker line. We need to carefully distinguish between the two. Please make sure that the tip of your pencil is perfectly sharp sharpened and follow my hand move so add these lines and layers over here. Now, with a bit less pressure than the main line that we did, with less pressure less shade and darken the shadow underneath the sphere using hatching lines. Again, you have learned this. The way I'm doing the hatching lines, it feels like I'm throwing them up to the sky. You have to make sure that you're comfortable with doing your hatching lines. It's quite important you practice them as we have practiced in the previous lessons. Please keep lower your pressure. When you get away from your main outline, that's quite important. If you do all of it the same hand pressure, you're not going to get the effect that you want to. Sometimes you ask me why my shading, all have the same color. It's all about your hand pressure and pencil pressure. I proceed to shape the lighter areas under the sphere with lighter pressure, creating smoother transition. Please look closely at my hand movements and try to repeat after me. Just clean whenever you feel like you have done something that you shouldn't have, it's okay. I use pencil eraser so I can do it accurately. Here is very important to control your hand pressure because it's lighter parts. One of the very important steps of our works, and we need to learn how to do it with more and more practice, the hand pressure army. You practice makes perfect and after you're comfortable with your hand pressure and pencil pressure, you can do magic with only one or two pencils. I'm doing cross hatching here. Try to work as delicately as possible on these parts, we want to adjust our layers on the edges, but we do not want to damage the rest of the parts. Again, another cross hatching, another layer on it. Look at the difference. Please follow exactly as you see throughout this taterial. That's really going to help you to create a wonderful sphere. I know you feel like, this is introduction. Maybe I would like to move to the eye lesson. I want to do portraits, I want to do this. Is all we're going to go through them one by one. We have all of them in this course. It just you have to practice this first, warm up your hand, make yourself comfortable with your hand pressure, with your hatching lines, with your shading techniques, then we're going to move towards those lessons. Now darken the shadows under the sphere using H pencil. We have talked about what pen. What is H pencil, the hard one, creating different angles of hatching. The reason is that they have less color. Comparing to the HB and the two B pencil we're using. As you can see, we are gradually building up the layers. I'm just taking off some of the outlines to make them less visible. See I slow down my hand movement for here. When it comes that you need to pay attention to the highlight area. Just take your time. Any of subjects that you start do and try to enjoy it, see how slowly I'm moving, there's no rush. Sometimes I receive a lot of assignments and artworks from my students. You tell me, for instance, there are two questions, common questions I hear, especially when it comes to shading and. One of the questions, our artworks are not as dark as yours, why we cannot get the darkness like you, Why for instance, ours doesn't have that three D dimension feeling, is all about what you're seeing here. First, do not rush your any of your assignments. Make sure that you take your time. That's the beauty of art because it gives you that art therapy feeling. You need to enjoy the process. When it comes, y is not dark enough, you haven't done your shadows a few layers properly, and that's the reason. As you can see, continuing with this pencil, going through the top part of this sphere. Just a bit at darker ones from the main outline. Slowly, please don't overdo this part. You need the whiteness of the paper, please place for instance, the exact parts of the hatching, place it exactly where I'm putting them. Now you can see the cross hatching here. I'm going to apply these shadows the hatching lines until middle part of the sphere where the shadows should be darker. I use hatching to blend them into the white paper. Make sure you're using just the right amount of hand pressure for these parts. Also, don't forget to go through your downloadable resources. You can find different information that will help you to go through the lessons in much faster and smoother way. Make sure that you check them out. I also have lots of different e books that I'm going to write the names down in your downloadable resources. If you wanted to have any of them, please let me know and I'll send you the link for you to download them. As you can see here, I'm shading around the sphere with various hatching, especially hand direction here. Pay attention to the movements of my hand, especially now and how I'm holding the pencil more towards the end of it. Keep changing it according to the roundness of the sphere. I keep changing. That's quite important guys, especially when it comes to for instance hatch or shade the lips drawing, nose drawing and eyes drawing. They all have this roundness. Either like lips, they have it, the tip of the nose, it does have that. This part of the hatching is not just a background for this sphere. It just is preparing you for the next lesson that's coming. Please make sure that you practice this hand direction and hatching properly. Continue shading all around the circle with lighter and darker hatching, the way I'm controlling my hand pressure, based on the different parts of the sphere as well. If it's darker or lighter according to the light. If any time videos are too fast for you, please watch the part, pause the video, apply the same hatching lines. Use the same technique, please, then resume the video and continue the lesson with me. Excellent work so far, I hold the pencil from almost towards the end. I have reduced my hand pressure here significantly, I can say, or you can use another pencil like two H or H pencil to make sure that you're comfortable at the beginning. I still you're not comfortable with your hand pressure. Holding the pencil like this also leads me to move my hands free in a free way in a way that I could add layers accordingly. As you can see, I'm using looser hatching for the shadow, even underneath the sphere, then I switch I have switched back to two B pencil to darken some of the areas for maybe second or third layers. Or you can just change pencils. We need to carefully learn how to control and hand pressure. How many times I changed my hand direction here? I just want you to follow along, please. Now I'm changing the pencil. You can for instance use HP pencil for here. Look how I'm doing this part. Either creating diagonal or vertical hatching, around the sphere and darken it. Take your time. Do not rush any of these parts. As you know, we need to take and create this step by step, work on the lines and layers gradually, building them up. This is the right way of practicing, making sure that you enjoy the process, you take your time. It's a great practice for now. Just going to add a few more here as well. Great job so far. This is the part number one of this lesson. In the next part, after you have some rest and maybe take some break, we come back and go through the main hatching parts. Make sure that everything is darken, everything's correctly done. Well done to you all that finish part number one. After some rest, let's start part number two. And see you soon, take care. Let's continue this in part number two, bye bye. 9. Second Layer Sphere Hatching Completion: Hi, everyone. Welcome back to part two of this sphere. Right away, let's go back to our practice and continue. I've started using my pencil closer and darker this time. Go through the line around the sphere, making it faker. Make sure the tip of your pencil is sharp as usual, and you have perfectly sharp ended. Let's work on the lines as delicately as possible, like previous lesson that we have done. This time we're going to use it with a bit more hand pressure and a bit more pencil pressure. L et's darken the shadows. What we have done. We're just going to go on those areas one more time. A few more times, I have to say. Let's use the same pencil that we have used, our two B or HB would be sufficient as well. I shadow over the sphere from right to the center part. Look closely my hand movements and repeat after me. From time to time, it's good to take a step back from your work and look at it from general point of view to see what you have done and how we need to move to more areas. Make sure you check the process of your work constantly. Please follow my hand movements here at diagonal and vertical hatching lines. This way. You can see I'm still carefully controlling my hand pressure and I'm adjusting it to the level of darkness that we need for each part. You have seen in part number one, how many times we have added different layers here. Now it's the same thing. We're just adding more hand pressure on these areas. From hatching skills, now we're moving towards shading. Now look at this part. With H pencil, I continue shading towards the center of the circle to plan the lines. I use needed eraser as well. Sometimes if you want to get rid of extreme harsh in between lines, it's good that you use some needed erasor. Please look closely at my hand movements and follow along. Now with much less hand pressure and the way I'm holding the pencil towards the end. You have learned more closer to the tip, it's more hand pressure and more away from it, less. I just took away some pencil hatching from those areas because as you recall, I mentioned that the whiteness of the p would be the best highlight that you can create and have. Look at the angles of the hatching lines, horizontal, vertical, diagonal, and how I mix them together. Please follow along. Going through this lines, making sure that I'm happy with the outline. You can see when the main outline of the sphere, I just read it. Then from that part, I went a little out towards the background. That's going to blend them perfectly. Please practice this as well. Here again, follow my hand movements with less pressure, especially for this area. I'm going to go on it again. You might say, I know that I have to do this. I'm just going to do all of it at once, I'm going to put much more hand pressure to be done with it. No, it's not how it's done. If you want to just get to that level of realistic point and make sure that your artwork looks good, you need to take the steps. You need to apply this amount of layers. All step by step should be done. Again, I have mentioned this before, considering the light angle from the upper right, this part of the sphere, should be a little darker and top part of the sphere, should be brighter. That's how stands out and it should be done. Always know the source of the light. Let's look closely at my hand movements. I'm holding the pencil here. Keep moving between your pencil, to B pencil and just your H pencil. Also to everyone who send me your practices amazing job for part one. Hope you are doing Part two as well. Soon on the cast shadow, the main shadow of the sphere, we're going to darken it much more, and you see you will see how we should do that. Let's just go through the midtone of this area. Look at the general form of the sphere now. I have already darkened the area underneath the sphere, but this darkness is less than the shadow beneath. These are all important points that we need to keep in mind while working so we can easily form the shape and differentiate between different parts of the work. Now, the way I'm holding the pencil, more towards not the middle part, but two third of the pencil. I should a bit of the outer edge of the sphere and mix them with the main outline. Lo closely has done. Working on these parts, which are the lighter side of the sphere, our hand pressure should be on its minimum. Continue. You can see layer by layer, I'm adding more hand pressure, a bit more, not too much. Now, make sure that your pencil sharpened. I just did that. Now let's go through the shade underneath this er, making it darker. Much more hand pressure here. Lines have different angles, horizontal vertical and diagonal. Step by step, we're building up our cross hatching layers. Follow long here. Now let's do the main cross hatching parts here. Again, from the beginning part, next to the outline, we add more hand pressure for the second layer. A bit reduce your hand pressure towards the outer dis part, as you can see. Create some cross hatching here. Follow my hand movements and also my hand direction. Please remember to keep the form in mind how the form looks like and also make the line distinguish the sphere and the cast a shadow, which they should be darker than the rest of the parts. It more feels toward shading, but it does have that effect of hatching underneath. This is what we are creating here. With back and pencil strokes, just creating the shadows darker and darker, adding more depth until it's completely dark. I'm using two B pencil guys, by the way. Now. From this part that I just put for you needs to be darker. That's how it should be done. Should be darker than the rest of the parts of the form. Keep working on these lines, add more hand pressure. Very important to do exactly how you see On this part, especially, let's maintain our hand pressure, and the direction as well. Let's move forward. One or two more minutes working on this area and we are done with the cast shadow. Let's just take our time. I just change the direction of my hand movement. Excellent work so far. Hope you're following. Great job, and we're done with this part. We're going to finish it now and move towards the rest of the areas. Now we have done the shading the darker for the darker shadows park. Parts. Let's move upwards from the underneath the sphere. From the right side of the sphere, I add hatching lines to make it even darker. Look at my hand movements, try to repeat after. Now moving towards the left side, and we are done again, from the right side. We go through the left. Just change my technique to more shading, sometimes circular even hand movements. You have learned these in introduction parts. Now more here, more straight lines. Let's do a cross hatching on it diagonal way. If you go back to the beginning of part one of this lesson and compare it to this very minute, and then you go towards the end of the lesson. Again, compare it, you see the difference. Sometimes it doesn't show because you keep following every second every minute, but if you go from the beginning and look at the middle part and the end part, you will see how your effort, how much you have put here, you can see the difference, especially if it comes to all this layer layers over layers. You're adding another layer of hatching lines to make it darker. Here, don't forget to keep the form of the sphere in mind. Do not go out of the lines, please. As you can see for now, I'm holding the pencil almost in the middle part. More towards the tape to make sure I'm adding more pressure suitable for darker areas that I'm working. As you can see, we move forward, list some of the hand directions in hatching. We do have horizontal hatching. Lines are drawn horizontally across the surface of the paper, and they create a sense of stability and structure guys, often used for depicting calm and static scenes. Also, after this, after horizontal hatching, we have vertical hatching. Lines are drawn vertically from top to bottom or button to top. They convey a feeling of height or upward movements, suitable for depicting trees, buildings, or tall structures. As we talk, we do have diagonal hatching. Lines are drawn at an angle, either uniformly or varied in direction. Adds dynamism and energy to the drawing. For instance, here, you can feel that dynamism here. Commonly use for depicting motion or creating visual interest. I have used all of them in this practice. It means you have used all of this as well. Now, we do have curve touching. Extremely important, we going to use it a lot in ports drawings. Lines that follow the curves and conto of the subject enhances the sense of volume and form ideal for rendering rounded objects or any facial porches drawings. Also, we have talked about pencil techniques in hatching. The pressure variation. Adjusting the pressure guys applied to the pencil can create different lines, weight, and tones, as you can see here. Light pressure produces lighter nal lines while heavier pressure results in darker and fier lines. Then we have line density. Spacing between the lines. For instance, sometimes you can see the background has wider lines. It has different line drawing than the sphere which has thinner line. Lines can affect the overall texture and depth of the shading. Closer line creates darker areas as we have done underneath the sphere, more towards the bottom part with less visible paper texture. While wider spacing allows more of the paper to show through producing a lighter effect, which I'm going through right now, actually. Also look at the background. That's what I meant. The whole thing we are doing is called layering. We talked about it many times in this lesson and also in previous lessons. Building up multiple layers of hatching can deepen shadows and increase tonal richness. Each layer guys as complexity and depth to the shading, resulting in a realistic representation. Here we can know the results. We have light pressure, which on the top part, medium pressure, middle part, and heavy pressure. Which we can see exactly where I'm moving my hand right now and the shadow and the cast shadow of the sphere. The light pressure, delicate lines, produce with minimal pressure or with any light pencils. The lighter pencil and also minimum hand pressure is quite important, which they are suitable for creating subtle textures, soft transitions, as well as initial sketching and outlining. Now when we talk about medium pressure, applying moderate pressure, resulting in darker, more defined lines. Ida for feeling in larger areas with consistent shading, especially here, adding mid tones value to the drawing. We just talked about heavy pressure. Just keep pressing down the pencil, Cris bold, slid lines, and then move towards shading feeling. Adding dramatic contrast to the drawing. That's what we wanted, and that's what we achieved. It's actually important I talk about the importance of hand dire, pencil techniques, and hand pressure in hatching. Expressive range, I have to say, different hand direction, pencil techniques, and hand pressure of artist, offer artists a wide range of expressive possibilities. Allowing you guys to convey various moods, texture, and form in your drawings. Now when we talk about control and precision, master these techniques enable you to have precise control over the appearance of your drawing from subtle to bold statement. Also, let's not forget the visual interest. By having different hand direction and employing different pencil techniques. We can create visually engaging composition, like the background of here, the sphere itself, captivate any view and the viewer's attention and enhance the overall impact of the artwork. That's why we do all of this. That's why simple sphere takes for the mins to draw. If you combine part one and part two of this descans there are 40 minutes strand without in real time. I assume that you are taking the same amount of time. Experimenting with your hand direction, pencil techniques, hand pressure in hatching, which can lead to discoveries of new ways to manipulate line and tone. Ultimately like enriching your artistic process, resulting in more compelling and dynamic drawing skis. That's what we want to achieve in this course. That's what we're going to achieve. After you have learned this, we're going to do a few more of this practice as well, and then we're going to move towards the very exciting lessons. We're going to have some angled ball drawing, as you can see here, and also the square one. Then after this, we will move to facial porches drawing and then full porches drawing. First, we have learned the techniques. Then we're going to learn how to draw them actually, go through different drawing parts, and then we're going to have our full ports, which is our ultimate goal for you guys to learn it in different methods. For instance, free hand drawing, or how to do it precisely with different methods, or even grid how to use it and how to do it. So we're almost done with this tutorial. I hope you enjoyed it. If you had any questions about any of the parts, please let me know. Just doing some last touch ups here, and then we're done. I'll see you in the next tutorial, guys. Please take care of yourself and send me your practices. Bye bye. 10. Square Hatching Lighting: Hi, everyone. Welcome back, and I hope you're doing well. The simplest shape to shadow is a square cube. Here we go, Let's start by sketching it, the form, and then we're going to add the shading and all the techniques that we have learned in the introduction. These are quite essential that we learn throughout this course before we jump through the facial features and complete portrait drawing. Please pay close attention to the way I'm holding the pencil. If you feel that your outline is not okay, just erase them anytime and make sure your outline are not drawn too bold. You will be able to erase them. Have a look. I'm holding the pencil in this way. I have a wide range of movement, and I can apply minimum hand pressure, try to work the same way as how I'm doing here. Here too. It's better to have the sample ready next to you, so you can keep looking at the shape, how to do. I'm using to be pencil. I sketch the initial drawing for this, draw the horizontal line and a guide, then drawing the opposite side with vertical line that you have seen. Next, just the angled line to shape the lower side. Measure the different parts. Simply with pencil you're using. You can determine the right angles for your lines as well. Just follow my hand movements. I'm going through them. We are going to use a lot of different pencil measurement techniques. In this course, this is one of them. Also, I'm going to teach you how to use the same pencil measurement when it comes to draw portrait. Let's go. It wasn't good enough, so I'm going to erase them and redo them. But you can see when I erase them, I don't see any trace of pencil because I apply minimum hand pressure in order. That's why I was able to do it again. Now I'm drawing this part one more time, but this one in a correct way. Again, first use minimum hand pressure when you draw the lines, then use back and force hand movement on your pencil to emphasize on them, but not too much. We just deter mining the right angle for the lines here. Even when it comes to s, if you wanted to look a three D, try to be as precise as possible, try to do your best, even with simplest shapes. That will make you to be become better and better in drawing guys. I want you to do your best in any kind of subject that we're going to go. Either is a simple square drawing or sphere drawing or any kind of even introduction. But doing the facial features, this practice is going to help us to achieve the best results. Now, follow my hand movements for this area. Look at my hand movements, I'm holding the pencil, that's quite important guys you hold the pencil the same way I'm doing it. Look at the angles line that I have done gradually the square takes shape. Always remember that whatever we add to the work needs to complement it forms. One of the best ways in order to learn is looking closely at my hand movements and repeat after me while I'm doing it. Here is quite important every time you look at it, maybe pause the video, follow along, and then resume the video. Let's draw the all the squares. These angles, they need to be the focal and have the same focal points. I'm taking my time, going through it, making sure that I'm happy with all the sizes. If you had any questions regarding the tools and materials being used or the techniques being applied, feel free to send me a message and ask me. I'm always available online, to go through your messages and answer them. Why I'm emphasizing on these lines? Because in the future, it will help you to, for instance, while we are learning this portrait drawing that you can see, exactly this practice going to help you to go through this one much quicker and easier. Again, I'm going to correct the edges one more time for you to see if you needed to erase any part, it's okay to do it, but make sure that your outline is correctly done. I have seen many practices, guys that you send me and the outline not ready and you have in an impatient way, you started applying the techniques on it, applying the shading and hatching. You really have to make sure your outline is correctly done. Otherwise, you're painting your drawing is not going to come out good in a nice way. After I make sure all the ss lines done correctly and I'm happy with them, then I'm going to bold the lines, not at the beginning. The most important is the minimum hand pressure. Now it's much better. Let's go. Put this together as well. Connect them. We're going to get rid of this line. Almost done. I have to make sure that the tip of the pencil is Ovals perfectly sharpen, so you can work on the lines and layer as delicately as possible, guys, especially when you're adding more hand pressure and making lines and layers bolder. Make sure you have all the materials next to you, the pencils that you want to use, for instance, if it's a two B or an HB pencil, they're sharpen. We do have different sharpeners. You have to make sure the one that you get is good so it doesn't break the core of your pencils. That's quite important. Now we're going to pull the lines. We're going to make them a little thicker. You can use maybe two B or if you're not comfortable with your hand pressure, you can use four B depending if you have the pencils or not. It really depends on you. But if you want to do it in an easier way here like here, please have a look how easy I just pull the line. It's maybe four B or six B pencil. You don't have even apply too much hand pressure. But the way I'm just doing the line is extremely important practice guys here. You might think it is just a simple line drawing, but I have seen a lot of my students when they're drawing line with one stroke from left to right one time. They do a very bold one. First of all, it cannot be a ras. Second of all, they're not perfectly done. It's okay to be broken. It's okay, but your wrist, your wrist movement, your hand movements needs to be correctly done like these, as you can see up and down, up and down. As you can see, repeating the process here as well. Drawing straight. You just have to do either diagonal or vertical lines. Every time I go on it, with needed eraser, I just tap on the previous outline and then use this one. I still can see the trace of the pencil. I just do it with a boulder pencil. As I mentioned, you can either use B or six B. I cannot emphasize more the importance of making sure you're using correct hand pressure on the sharp tip of pencil. After a while, after you have practice, you will have good way to analyze the sample, where to add and how to do. Or, let's start with shading it. Very important again, looking at my hand movement, I'm holding the pencil, and start the hatching slash shading here. Quite different from the sphere that we did. From the top corner start again, diagonal hatching downward, make the hatching irregular in different ways. Please pay attention to the direction of my hand movement, how I adjust it, how hold the hand. Every time c, do not go out of the line. Try to remember this and bear this in mind that I don't want to go out of the line when I'm drawing. Change the hand direction. This is in between hatching and shading guys. That's quite fine when we are doing this. Now again, one more time. Adding a layer. When you completed hatching on one side of the square, we hatch from a different angle. Still using sharp pencil for this. Let's look at my hand movements and the layers and the cross hatching lines that I'm building up. Again, I change. I'm quite paying attention to the side of the square. Quite different from the sphere, isn't it? Very different hatching style. The previous one was quite neat. It had to be done in a perfect way. It was all hatching and shading it became shading feeling because of all those layers that I added. It took 40 minutes to do the sphere one. However, this one, as you can see, different hatching is a much faster one. More varied, more irregular lines. Look closely as my hand movements and repeat after me. If you feel if it does specially disp guys, if it's too fast for you, just stop the video, try to finish one part, and then resume the video. Now I'm using diagonal hatching style and this part, the corner side. Now I change my hand direction one more time. Every time you needed to ewe needed eraser, tab, and clean up. Quite happy with this one. I love this irregular hatching, a lot of great artists use this kind of hatching. Try to Make sure your hand get used to this hatching as well. The previous one, the sphere one that we did, and this one quite, very important for you to go comfortable with the techniques and then apply them on more important subjects. I'm not saying square is not an important subject, but it's not as hard as drawing an eye or the nose. We're going to apply this on those as well. I just I want you to be comfortable and be ready when we move towards those lessons. For instance, have you look at this eye. You can see some of the irregular ones here, but most of them, it goes with the previous lesson, the sphere that we learned because they need to be done in a very systematic way. All these practices making you ready for this practice. Then after this practice makes you ready to go towards the full portrait drawing. A few more layers, then I'm going to move on to the top part of the square, then I'm going to move to the other side, and then we're going to do the background. This is how we're going to do. However, after I'm done doing some more irregular hatching on this one, we're going to do the same one on both sides that remained. However, it's quite important you see the amount of different directions that I use and it's so different from this one because this one has so many layers on top of each other. However, the other one is quite important that you do it in a very artistic, different way. You'll see what I mean in a few minutes, how to do it. However, take your time when you're doing the top part and also the background one. As you can see, this side quite dark now, and we need to show the level of lightness, the right level of lightness and darkness in this work based on the positioning source of light, which is coming from the left side, the top on the top. Now with my pencil, let's hatch from here, different angle, start from the corner, towards the middle, and then towards the end, you should not have too much or basically none. This one is quite important, guys, as I mentioned to you. Much less hand pressure. We're going to do this one on the other side and the background much quicker. Now, another direction here, let's change again. Half ro, another one change. Just do the same thing. Look how holding the pencil to increase the range of movement and reduce hand pressure for the initial layer for this part. This way of holding the pencil also helps us to maintain a safe distance between our hand and the other side, so it doesn't make your work dy. Or if you couldn't do it, just put a piece of paper underneath your hand. Guys. You can see toward the edge. I just leave some parts a very fine line empty. Make sure that this part is neat. Just go to redo this one that got raised one more time. Now, again, with different hand direction. Second layer, I'm going to go on it. At this time, you can see distinguished. After I did this part, I'm going to do a little more hands share towards the edge special this part, and then we're done. We can move to either side of the square. Now look here a bit more. Hope you have done the same thing and you're comfortable with doing irregular hatching style. Continuing the other side. Darken the lines and then we're going to continue. See how many times I change my hand as well. Always start from the corner, Much easier for you than start in the middle because when you start in the middle, you cannot really control the movements. You need to have a good point of start here. Follow my hand movements. Also, you just noticed that I made the outlides darker. Please do that as well. Minimum hand pressure, adding lighter initial layer as we did on the previous one. Using cross hatching lines but irregular version. Continue adding hatching in different direction. Consider workings of the light and shadow skies. I just have fun when you're doing this. I'm having a lot of fun doing irregular ones. Quite interesting. Now, just change my pencil, you can use maybe H pencil because this part needs to be quite light. Again, consider the lights and shadows and the source of light that will help you. Because if you couldn't control your hand movements and hand pressure, for instance, I'm very light pencil. Pay attention to the way I'm holding the pencil, increase the range of movements, reduce. Again, even though I'm using for H, I have reduced my hand pressure and maintaining a safe distance between my hand and the work. Next step, I'm going to add a bit more hand pressure, but this time is fine. Just a add a bit here as well. Let's use another pencil. Maybe two B is better for you. You can use four B as well. The second layer and after this until we reach towards the mid part, we should be done, and then we're going to move onto the background, and then we're done with this. Okay. Example and this taterial. Next one is going to be a a longer one. However, it's a last one that we're going to do practice on our hatching skill and shading skill. After that, we're going to move on to more challenging examples for you guys. Please send me all these assignments. I know it be like too much hatching, but I promise you is for your own good. The more you practice this, the better you will get, the more comfortable you will get, and we can create better more realistic. Portraits. Look at these angles. Just bolding, I'll just make them bolder. The lines underneath the square, add more thickness onto them. Just because I wanted to start adding this part of the background. Very important the direction how I'm doing it, the angles. This one is just not irregular. Please repeat exactly what I'm doing here and try to remember. Two sides of the square diagonally and vertically to complete it. As you already know, it's not hatching only shape itself that we need to work on. We also need to work on the lines, the layers, surrounding the work to shape it. This one is like we are adding the shadow, the cast that shadow. Reduce the intensity of the shadow to blend the hatches uniformly, darken each side carefully and with careful hand pressure. Don't suddenly add a lot of hand pressure on one side and the other side, not a lot. Make sure you maintain it. With four H pencil, I'm adding, take your time to build up the layers, please. Excellent work so far. Now I'm going to add some on the top part as well as some hatching on top and front side. If you go back to the beginning of lesson, just looking at the outline and the results that we created with few hatching techniques, look how beautiful it got. The corner side needs to be darker guys to create that effect. That I'm going on it one more time. B pencil or two B pencil. You can see some of these badges, they cross each other. Excellent work so far, guys. If you had any questions, please send me. We're just going to add a bit more on this ones and then we are done. Just let's work on it, maybe a f four more minutes. Then we're going to go to the next lesson, a different shading tie and tie, and then we're going to move on to the portrait. Using four H pencil because I just want to make sure I control my hand, and I'm not adding this part needs to be as light as possible. Look at the contrast between one side and the other side. You can either use H pencil or four H pencil for the lighter parts and two B or four B pencil for this parts. The corner one of this one and the top part. If you needed to use needed erasers to clear up some of the areas, please do that. Make sure that everything is quite neat and you're happy with the lines. Just going around, amend some details, adding some details as well. Even when it comes to building at the main outlines, I do it gradually, not all at once. You can see I added more hatching style next to the line. These are the last details, guys. We're done with this taterial. I hope you enjoy these. As always, you know I'm always online to answer your questions. Let me know if you had any problem with any of the lessons or theaters or you were struggling with some of the techniques, so I can help you out with those. More hand pressure here, cross hatching. One more thing you need to know is when to stop adding anything. Otherwise, you have to keep going back on it and clean it up. We are done with this tia, as I mentioned. I hope you enjoyed it. I see you in the next one. Please sum your assignments. Go through your downloadable resources as well. For now, care and b by you guys. 11. Angled Ball First Layer: Hy Bon, welcome back to another tutorial. We're going to continue our lessons on shadows, shading, different hatching styles as well. I've chosen this multifaceted circular shape for shading. We're going to work around 10 minutes just drawing it. This lesson, we're going to focus on how to draw, take our time and go through the outlines correctly. Look at my hand movements, I'm doing the circle. I really care about doing the main outlines correctly and you take your time while you're doing. So look at my wrist movements quite stable. I just move my wrist and do this circle like this. You can do it with either HB or HB pencil or two B pencil. It's easier for you to erase them. The amount of time you go on the circle is okay. Just practice and make sure that you use your eraser or needed eraser and get rid of the initial sketch. Do back and forth for pencil strokes. Now, choose the one you like and go through them. No hand pressure guys, so you can erase them easily as you have seen. I'm holding pencil from the middle part. I have a wide range of movements and I apply low hand pressure while doing the initial sketch guys. Always have your need eraser ready next to you and don't be afraid of using it. It's okay. Just make sure that your initial sketch is done perfectly. From here and here should be the same size. Practice makes perfect. Try to do this as much as you can and practice as much as you can. Take your time, and warm up your hands and work on the lines and layers with minimum hand pressure. Just cut the circle in half from both sides. Now we have a plus sign in the middle. Draw vertical line, then horizontal, then diagonal ones. Subsequently, use diagonal lines to further divide it into eight sections. Now, while we have this, one of the best ways in order to learn is for you to look to look closely at my hand movements and repeat after me. Especially when it comes to the shading force and especially when even when it comes to the outline, take your time. Straight line from these two, again, we're going to repeat the process. As delicately as possible. Take your time while you're doing this. I'm just going to repeat this and connect all the dots together. I assume you're going to do this drawing a few times before you apply shading. Maybe even ten times or 20 times practicing the half line, drawing the circle, drawing the plus line on in order to make them to half, and then connecting the lines, that's quite important. Now, two third of the line on both sides. This one needs to be done a bit more correctly. Now, do a triangular from both sides. Hope you're following. Make sure you pause the video and then resume the venue after you have drawn it. Now this one, another triangular, just do it one by one so you don't get confused. While I'm doing this one, I make sure that they're correctly done. Now from here, let's do this one. Please follow along, and we're going to connect these two. Excellent work so far. If you had any questions, send me your questions online, I'm always there to answer you. Send me your practices as well, please. This one, let's connect them together. Great job so far. Look at this a bit further from the main outline. Make sure that your lines quite straight after you're done. L et's do this one as well. Minimum hand pressure, guys, please pay attention to have minimum hand pressure. Take your time when it comes to drawing this one. I'm going to spend nine, 10 minutes on drying it. Almost. Look at this line, It's quite straight from the top part towards this here. Now let's connect the ones together. Practice this as many times as you can. Keep working on the lines, try to keep an eye on your eye on this one and also the sample that you can find in your downloadable resources. You can find out lines, grades, and assignments there. Carefully sketch the triangles, connecting them in various direction as you can see exactly on the screen. Let's create a pattern, and then we're going to erase the extra ones and make sure they're done correctly. I'm just going to take my time and now correct it. Anything that you feel like it should be done differently with specific angles and a certain pattern. After we're done with the initial sketch and you're sure about your outline, then you're going to a bit den the outline, not at the beginning. I have received a few assignments previous lessons, which it was about sphere and square drawing. Again, I saw some of you guys draw it with quite bold outlines your initial sched. I have repeated this many times. Please make sure that you apply minimum hand pressure guys. This is needed eraser. Just making sure all the triangles are done quickly correctly here. Take your time while you're doing this. I'm not going to fasten this part of the theateria, even though you might think, we can go a little a bit faster. Now, let's watch it in real time and see how much time I put in in order to draw the main outline. I'm just taking my time, going through it for 10 minutes, then we're going to go through the shading and techniques. Continuing shaping and completing the lines. Great job, everyone following along. I'm just making the circular ones more towards angled half circle ones on the sides. Get rid of this double line. Make this one straight. Same thing here as well. We are almost done with the main outlines. Let's get ready to go through the hatching and shading techniques. You need to practice these outlines a few more times as well before apply the shavings. Let's correct this one a bit more, and then we can go ahead. Just analyzing where else. Maybe here a bit more. Now, this one, I'm drawing the shadow, the castle shadow. This one is quite different from the previous one we have drawn as well. Look at it. We have different all walls crossing each other. Please repeat after this, and then we're done. Then, let's move on to the shading techniques and hatching techniques now. Have your pencils ready and your raises next to you. Let's start from here. Now, what we're going to do? We're going to start with the darkest ones, go through all of the triangles that needs to be darker, have darker shading. Probably five to six of these shapes going to be darker than the other ones. Then we're going to go through the mid tones, a bit darker comparing to the last ones, which is going to be quite lighter. We can do them with H pencil or HB pencils or four H pencil depending the range of darkness we need and the lightness. Look at the amount of time I change my hand direction. This is between the first lesson for this one, the sphere one that you learn, and also the square one that you learn in between. Another very important practice for you guys before we dive in onto the more complicated examples. Make sure that your pencils are all sharpen. I'm going to do that and then bring them over. Now start from the line. Now I'm bolding it, you can see, initially, not at the very beginning. Please follow along. You should do the same thing, making sure that your outlines quite satisfied with your main outline. That's quite important. Now, let's do a cross hatching here. Quite parallel, quite next to each other, and then it will create a shading feeling. From the middle part, here, and then we're done. One more time layering. When I'm doing this, I'm adding different layers. I have repeated myself many times. Please do not art at the darkest hatching lines from the very beginning. By adding layers, by adding different layers, you need to add that level of darkness, not just by your hand pressure. That's extremely important guys in order to achieve realistic shading effects. Now let's do this one. Please follow my hand move and see which side I'm holding the pencil, like for instance, how many times and also the level of darkness. Practicing hatching and shading techniques, why I'm emphasizing on this before we move on. For instance, why I didn't dive into portraits hatching drawing or hand drawings, which is hand drawings even harder than eye drawing in my opinion. Before tackling more complex subjects in drawing is critically important, guys. This foundation skills from the bedrock of most visual art forms influence textures, depth, and overall dynamism of the artworks of any artworks that you're going to do in the future. While I'm using my two B pencil, what we are learning here, precision and control. Learning to control the pencil with precision is fundamental everyone. By practicing hatching and shading, artists develop steady hand and intuitive sense of how much pressure to apply to achieve different tonal fix. That's why we are keep practicing this ones, and that's why I'm just emphasizing the importance of shading and hatching. Then we will understand the light and shadow. Effective shading and hatching requires good understanding of how light interacts with objects. We have learned square and spheres. Now we are learning this one and object with different angles. Practice helps artists visualize how light and shadow manifests on different surfaces, enhancing their ability to depict realism. Another important point we're learning here is we're exploring textures as well. Different thing and shading techniques that you're learning here allow you to represent various textures in a realistic way. Regular practice helps in mastering the ability to mimic these textures accurately. Everything you have you're learning here is an essential skill for drawing complex subjects like fare, metal or glass. Also another important thing we're learning here. Different tonal values. Shading allows for reacher palette of tonal values, especially like for instance, the first free triangle you learned here, and now we're going through different ones. You saw that another the second road that we draw, the triangles, they mid range, they're less darker. Look at this free. For instance, that's why the tonal value is quite important, guys. Practice enables you to create a range of shades from deep blacks to subtle grays. It's very crucial for volume and weight in drawing. For instance, if you learn this and you keep practicing practices, you will understand where to put more pressure when you're shading an eye and where you should put less pressure. If you apply all of them the same technique like the same level of pressure and tonal values, it's not going to come out next. It's very crucial to understand volume and the weight in drawing. Also, After you have done this, let's look at this one and the range of value for this. Now I'm doing a cross hatching for this one, so I have to add a personal style onto this as well. You will understand your personal style after a while. This might be my personal style that I have acquired over years of practice, but yours going to be different. As I'm applying the same range tone here, lighter. I have learned this through years of practice, the source of write, the tonal values. But maybe after while you practice, you will come up with your own way of shading and moving your hands. After your practice, you often develop unique ways of applying hatching and shading. It might be very different from what you're learning here today. It's great that you're practicing and repeating exactly what I'm doing. But after a while, contribute to your own personal drawing style. That's what we're looking for, and that's what we want to achieve in this course. This helps you set your work apart from other people and adds an authentic voice to your creations. Also why we are practicing shading and hatching so much before jumping onto any other difficult model is confidence in drawing. Regular practice such as this, builds your confidence, which is crucial when approaching complex subjects, and artist, which is you now. Should familiar yourself with your tools, techniques, then you take more challenging project, assuring you how to become more creative in the future. First foundation, basic hashing shadings, you master it, you explore more advanced drawing techniques like cross contouring, sophisticated blending. That's what we are doing. Sophisticated cross contouring here. These skills are often necessary when dealing with intricate subjects like human faces or dynamic landscapes. Also, speed and efficiency. You're like, I'm drawing the eye. Where should I put darker ones? How should I move my hand? Is this the right way I'm shading? You won't question those things anymore. The speed is beneficial after you practiced this ones when working on complex pieces. It's like a problem solving skills guys. Practicing with simpler subjects allow you to encounter and solve various artistic challenges without adding complexity of a difficult subject matter. These problem solving skills are transferable as well and it's invaluable and finally tackle more advanced drawings. Look at here, different range you have seen from the darker one and the mid range ones. We have different tonal range of gray. You will see the lightest one as well after this. After I've completed this one. Practice in this fundamental hatching you see here, like hatching and shading will enhance your technical abilities. Depends your understanding of visual arts, expressive potential. It also ensures that when you progress to the next lessons of this course, you're well equipped to handle them on your own as well. When it comes to creativity and skills. I'm sure that you will achieve this after you have completed more than sure. You complete these lessons exactly as you see, the introduction, you don't just jump over, and I promise you creativity and skills. Your approach and learning and development will be essential for any artists, your aim to grow and excel your craft. Now, with minimum hand pressure, I'm going through the last few pieces. Now, this one, let's have the same amount of pressure, a bit less maybe. Even my cross hatching became less. Emphasize on the outline a bit more. Now this one. Great job, everyone. Send me your practices so I can see your hatching and cross hatching and how you have done. So if there is something to improve, I could help you before we move on. Now let's go through this one. You can see it becoming dark. A I'm going to repeat, always good to start with lower hand pressure and add pale layer of hatching lines before we continue adding more layers and darken all those layers. Ensuring we have different shades of gray for each triangle, continue shading, and then we're going to move on to the shadow. The direction again, including horizontal vertical and diagonal. Don't delay any of your practices, just get into it. Make sure you keep doing your shading. I again cannot emphasize more, guys, please be careful of your hand pressure. It's important that all the triangles have add necessary layers on them based on the light and shadows. After that, we're going to. You have seen that be darken beneath the sphere here, applying shading. That's the right way to do. Now for this three remaining, look at my hand move as m holding it, should be much lighter. I'm not changing the pencil, but because I have that practice as you have right now. I don't need to have four H in order to control my hand pressure. You just can't control your pencil. Great job so far. We're almost done with the first part, part number one of this taterial. Have some rest. If you're not tired, let's dive in right away onto the second part and I see you in the next taterial. Bye bye now. 12. Angled Ball Second Layer Lighting: Hi, everyone, welcome back to the second part of this taarial. In today's video, we are going to continue and go through this sphere, almost angled so many triangle on it. What we're going to do today. If you have already continued the previous tiarial, we are going to go onto the shading, the cast shadow ones, and to go onto different layers as well to add more layers. So let's draw more lines underneath. With our two pencil. We're going to complete the hatching and shading beneath the sphere, a bit more hand pressure, more hand pressure next to the outline and less pressure when you go away from the main outline. Quite important you follow along. Make sure you're using sharp tip pencil while working on these darker lines and layers. W as delicately as possible. I just change the direction of my hand movements on the half vals here. Another important point is while you're working on these cast shadows, you still need to keep the general form of the ball, this sphere in mind while you're adding the layers. That's the tip, I wanted to remember to let you know. You can see the different direction of the lights and shadows we can see on it. We have to uplight here as well. They shouldn't be all the same direction. Just going to get rid of the outer outlines. It looks more realistic. We have mentioned the importance of shading and hashing in previous deuterial. It's precision and control. Understand the light and shadow guys, and also understanding the texture. Then here it all comes to tonal values. See For instance next to the line we have especially here, darker ones, when you go away, lighter ones, change hand direction. And different ones. It gives you rich a palette of tonal values here. It's essential for adding dimension to your artworks. So many range of shades I'm adding deep black to subtle gray. It creates that volume we need for this sphere. Angle sphere. Look here how many times I change my hand direction to make and to correct it. L et's add a bit here as well. Try to apply a practice a law so you have confidence. Now, going back on to the main one, I'm going to just add a bit a few more layers and then we're done with this tateria. You can see I really took my time if you combine previous tateria and this one, which they're continuous of each other. You see like we have worked on it for 40 minutes. I assume you're going to spend the same amount of time 40 minutes to 1 hour on this particular practice. Do have some rests in between because if you feel like every 20 minutes, it's good that you stand up, you take a walk, you look at your artworks while just going around the house, or if you're even doing this outside while sitting on a bench in a park, it's fine, just take some rests as well. However, do not rush the process. That's the important part. From darker one, we add one to two more layers and then we are done on each one. Look around, make sure that you're happy with cast a shadow. We have already done a lot of hatching and shading techniques. Next taterio, instead of like applying this, it's the best. We learn how to draw different facial portrait ones. We're building up our layers one by one. Look at my hand movements, please and repeat after me. Make sure when you're darken any of the lines, carefully assess the overall pattern as well. Before you do that, before adding more shadows. Make sure that also you keep an eye on the sample as well. Your sample is either this one or the artworks that I has submitted on your downloadable resources, which where you can download them and look at them. These parts needs to become darker. Make sure you're using the sharp tip of the pencil, and look at my hand move and just doing the line. It's just not one line. A few times I go back and forth and move my hand correctly. I can intensify the shading in the central triangles using hatching from different angles, stronger hand pressure, and here, less hand pressure. Creating that different shades of gray here. I refind the triangle here. You should do that as well whenever it's needed to better show the form, should be point t and sharp tip. You can see I'm emphasizing on the main outline here. While we are doing this as important to follow along, it's also important you enjoy the process as well. Any part of the introduction, even you feel like this is beginner level, is fine. Just try to enjoy it. Make sure that you understand this is part of you become a great artist here. That's why we need to enjoy every step, every lesson. Shade the left bottom triangle here, showing each triangle has a consistent shade, contributes to the volume and three dimensional appearance of the sphere. This follow along now. Here less pressure. From the outline towards the end. Make sure you have sharp pencils. Now, if you feel like you cannot control your hand pressure or you need a visible shading effect, use your four H pencil. This is the maximum darkness you can get out of this pencil. That's why it's good sometimes for beginner level or intermediate level. You use the pencils. I'm just tapping on it because we want to get rid of the layers to have a lighter one. It's always okay to correct it. Don't worry about like, because I have done it, I don't want to be wrong, so I'm not going to correct it. I use needed eraser, as I mentioned. We need to have a clean, clear work space while we are working on it. Also, if you want to be more accurate, you can use pencil eraser like mono eraser as I'm using here, is great tool to have guys. Even you don't want to use it that's fine, but I really suggest you buy one mono pencil eraser for you. It's great for hair drawing, creating highlights to get rid of some details that you want to be accurate. It has a sharp tip. That's why it can delicately remove some lines and tidy up the work. At this point, we just worked on the edges of the triangles, edges of the sphere to make them pointy. These are the last details I'm bringing in the last layers. Still using four H pencil. Now for the outline, you can see with just minimum hand pressure, just changing it to a two B pencil, the difference between this one and a four H that we just use. You can see these few different direction. Excellent work so far, guys. This one, the hatching lines the more visible. As we are reaching the end of the taterial, I hope you enjoyed it. Looking forward to receiving all your artworks, your practices, what we learned here, how to combine horizontal vertical and diagonal hatching in a uniform and also irregular war in different direction. We worked on our pencil pressure, line density, and different layering. We have applied all these techniques. I assume you have learned it, you're ready to move on and we go through next terials as well. I just showed you three different triangles, the different ones, the lightest one, the midtone one, and the darkest one. I assume that you reached the same level as well, same level of layering. This means you understood light pressure, medium pressure, and heavy pressure. Delicate movements, apply moderate pressure, results in darker, more defined lines. Then for instance next to the outline, have some heavy pressure. Firmly pressing down your pencil, creates bold and solid line. Here we have some expressive range of hatching direction, different hand direction, I mean, sorry, and pencil techniques and hand pressure, which offers a wide range of expressive possibilities guys. It has various moods, textures, and forms. I hope you really enjoyed the tutorial guys. I really enjoyed it. This was the second part of this. The last one that we are doing with four H pencil, we apply a mild hand pressure on this ones. Just experiment with your hand direction and pencil techniques. Then let's move on to the next one and I'm excited to go through that. For now, take care. Send me your practices. Just make sure that you are satisfied with all the outlines, and I see in the next teral. Take care, bye bye, guys. 13. Two Portrait Drawing Tracing: Hi, everyone, and welcome back to another taterial. In today's video, we are going to try and practice these two eyes and half face together. This is a practice before we actually in the next taterial, going to draw these two porches with free hand drawing. Why we are doing this, it's a great practice for you guys to get familiar and warm up your hand with the facial features, the sizes, and everything. I'm going to use a tracing paper transparent paper on it for you to see. Have a look. Let's start. Continuing, I have already placed the tracing paper on this two portrait. I'll draw the two eyes side by side, one depicting an older person and one younger person, and you're going to see different textures and how we have to observe differences between the two. Starting with the iris, You need to follow my hand. This is a great practice for you guys, especially beginner level. If you are intermediate and advanced level, you don't need to go through this, you can straight away, go to the next terial, which is part two of this and start drying this phase and then we're going to learn how to do trace hatching and shading after that. For now, this is again, practice from a tracing paper, but this is not what we're going to do. However, in other criterias, if you want to use tracing paper and your beginning level, that's complete defined as well. It's okay. You can trace it and then transfer that trace onto your main paper and then apply the hatching and shading technique. I actually suggest that technique, suggest this way, if you beginning level and you want to practice your skills, your techniques at the very beginning. It is a good way. If you want to do it, I suggest that as well. We have already started doing the iris as you can see. Draw the dark lines to defide the going around the main line. Why we do this. It's not just you say, Oh, it's a waste of time. I would like to actually go straight onto the drawing. When you understand the placement, the sizes, and everything, at this point, we need to practice more and more. The more you practice, the better you get. We're going to go through the upper eyelid right now, the edges and add a in line for the eyelid itself. Use a lighter line to indicate the lower part of the eyelid, you can see, understand the details. Try to absorb everything that's going on. Just follow my hand movements. If you don't have Tracy in paper, that's fine, just straightaway, go to the next taterial, or you can wait and get this and practice these outlines. That's actually a great approach to practice outlines in project drawing, which has several benefits that you can go through it. The first one is to understand the proportions. That's what we are understanding, we are understanding the proportion of the eye between the eyelids, as you can see. For instance, here, we just drew in line for the lower eyelid as well, the edges and the shape, the eyelashes for both upper and lower eyelid. We understood the length and the angle of the eyelashes. I can say that among all the courses that I have, which quite a bit, I have seen that most of my students, this struggle when it comes to drawing eyelashes and eyebrows. This would be an amazing practice for you guys to see how the actual painting or the how actual photos the eyelashes looks like and should be drawn. Because most of you either draw it is so parallel next to each other without any different angles or direction, it doesn't come out in a natural way. This would really help you guys whoever struggling in drawing eyelashes and eyebrows. All those hair strokes. Look at the way I'm completing this part. As I was mentioning, understanding proportion, tracing helps you recognize and replicate correct proportion in human faces. This foundation skills is crucial for realistic portrait drawings, everyone. Also, developing muscle memory. Why I'm doing this. The more you practice, imagine you get a lot of tracing paper and go through all this course and all the examples and print out all the pictures that I have already Put all of them in your downloadable resources. When you go through all this practice, you're developing your muscle memory, repetitive motion, such as tracing outlines, builds muscle memory. This makes it easier for you guys to replicate shapes and lines free hand in the future. Not just that, what I'm doing here, I'm going through the shadings. Then you realize where should be darker and where should be lighter because at the beginning, you might struggle with the light and highlights and the shadows and everything. Where you have to use, let's say hatching and cross hatching. This will help you a lot. Also, observation skills. By tracing, you will pay close attention to details such as let's say the crenes of everything, the curve of the lips, the shapes of the eyes, the positioning of facial features. This enhances your ability to observe and capture these details in your sketches. Look how much detail I'm just going through like when I'm doing the eye here. Imagine you practice this five times. It's much easier when you do it free hand when it comes to the next terial. What we have done, we have done, practice the eye lashes, the eyebrows. We follow the direction of the hair grove. For the eyebrows arch, we use vertical and straight lines. As you can see, the carrying is very important, and we make sure the tail of the eyebrow, carry. All those details, please go through them. We realize we have to darken the pup. That's the darkest area, and the highlight was the shape of the highlight inside the pu ple? We realize how to shade the iris, eight keep it lighter than the pu pol part. Leave the area when the light hits the iris blank guys. We're going to use the whiteness of the paper to achieve that highlight. We have already applied minimal shading to the white part of the eye. We avoid that shading in very bright areas. That's what we're going to do in the next theateria. I'm practicing on warming of my hand, which is you are doing as well right now. Just print out, the w and one tracing paper, see how much you can practice. Going to help you tremendously. I promise you guys. For the upper eyelid, Cris, I use vertical and tl guys. It works similarly for the lower eyelid as well. Look at the way I applied light and subtle shading, a lower eyelid, different from the upper one. Now, as we are going through the shading around the nose, you will realize where you should add darker parts and also lighter. Look at the cess, the curve line around the upper and lower eyelid and how I'm going through it. For the upper eyelid, please follow this part. I'm doing a cross hatching, look at here, gray out this area and also this part. As I was mentioning, this is not just going to help you with understanding the proportion, and also your observation skill, but it's going to build your confidence. Especially for beginner level, this blank sheet can be just having a blank sheet can be intimidated. It was for me at the very beginning when I was learning how to do drawing. Maybe tracing provides guided pathway, reducing anxiety, and help you guys gain confidence in your drawing skills. That's what we're looking for here. Also your technique is going to improve a lot everyone. You can experiment with different types of strokes like pressure, learn how this affect the outcome of your drawing. You're exploring here. This exploration aids in developing a personal style and technique. For instance, here, while you're doing this, you realize, I want to do the hatching this way. For this part of the nose, I realize this is a cross hatching a use. You can develop your personal technique as well. Look at here how I'm going through. These are the places that you go to practice in the next theaterial. Also your speed, your speed is going to be very different. This kind of tracing can accelerate the learning process by allowing you guys to focus on individual aspect of drawing without getting over, overwhelmed by having to get every part right on your own from the start. I'm encouraging. Most of you, even if you're intermediate, especially beginner. Well, if you're advanced in this course, I mentioned this I think twice or three times already. Straightaway, go to the next theaterial, which is a long one. Be prepared, have your paper and pencils ready. In the introduction, you have learned all about pencils and the techniques, and we're going to apply all of those onto this ones. I'm excited to draw this in a free hand style for you guys. Let's see how it's going to looks like. As you can see, for the upper eyelid, use gentle shading. This part needs to be much darker, corner of the eye. Now, just practice the outlines around the eyes. This part, the nose shading, important, darken the bridges, sides of the nose. Where are the nostrils. Now you're analyzing the tip of the nose, it has the highlight, the whiteness. Now more a little go above, then I have some shading. These are the places, for instance, this part of the nose, I need to put more shading. Now you're analyzing all of this you're practicing. You'll memory to remember all of this. Darken the nostrils as well. Draw the line for the nose wings, and we define the tip of the nose with dark lines already and hatching and cross hatching on the rights of the nose. Now, let's look at the difference between these two. Now right away, let's start going through the same thing we have done. Why I'm starting from the pup again, it's just gives me a sense of center. Now that's the point I'm going to draw everything around it. That's why a lot of my drawings start with the eye because when I place the eyes, the right side and then then left side, then I can place the rest of all the other facial features, the proportion correctly around them. Now, look at the way I move my hand when I'm drawing the eyebrows. I really want you to practice a lot because I know I've mentioned this at the beginning of this taterial, but a lot of you struggle when it comes to hair drawing. This is a great practice for you guys to understand how it actually should be drawn. Now we're going to go through some of the wrinkles around the eye on the left side, like our our left side model. That's what I meant. Look at some of them irregular lines, and shading, we're going to apply soon. Use hatching to create the darkness around this area. Our cross hatching is vertical and diagonal lines. I'm just following understanding how I should draw the wrinkles when I'm doing free hand drawing. This is where the hair lines should be. Have a look at here around the eyes much lighter when it comes when we look at the rest of the face, like the nose and other areas. That's what we're going to use as well and we have to analyze. When it comes to free hand drawing, I don't have this underneath my hand, but you have learned it. This is, for instance, let's say you're going to use four H or H pencil for around the eye because it's much lighter, and I'm going to use maybe two B or HB pencil for the cross hatching bonds for the shading part of the nose. You're analyzing all of this before even starting your main artwork. Be patient, try to practice and practice and practice more, and then let's dive in onto the main artwork. And then you will see the improvement that you have achieved throughout these lessons. Look at even the size between the upper eyelid and the eyebrows quite important. You have already learned how to do grid drawing. I'm not worried about that part. You can go back to that tuarial, or if you haven't gone through that tuarial, because sometimes I know that some of my students they jump through some of the lessons that they want to learn. We do have agreed tarial teaches you how to do it, non free hand drawing to do a full pro. I know that if you practice that twice, three times, not one time guys and then finish like let's say two hour, three hour or lesson in half hour, no, that's not a great practice. You need to do the same time, you need to put the same amount of time and then do it over and over again. That's what I did as well a long time ago. I'm still doing again actually, this tracing is really going to help me for the next uterial guys. We're almost done with this one as well. Let's work maybe around one or two more minutes on it. Then straightaway, we're going to dive in to draw this on our paper, a blank white from scratch. Hope my muscle memory. I hope my memory is going to remember all of this, we shall see how it's going to turn out. Keep practicing analyzing where your dark areas. Now this is going to be when you use less hand pressure is great practice for your hand pressures as well. I didn't mention this at the beginning, which I should have. Now when you practice on tracing paper, you understand where you should put more pressure and less pressure. How is it going so far? Are you following along? I hope you have your paper and Fences next to you and you have done the same thing right away while I was doing it. What I'm doing, I'm just analyzing more and understanding more about the shading areas. Now, look at the hate direction of my hand. This is what I'm going to do in the next tatera as well because I just realize I have to do it here. I going in between the lines when I have drawn the nose. Again, I change my hand direction. I can't wait to draw this and I hope you're excited as well for the next eteral. Just finish up the nose outline, and that's it. I'll see you in the next terial, guys. Hope you enjoyed it, see soon and Bobi. 14. Two Portrait Drawing Young Skin: Hi, everyone, and welcome back to another two materials. In today's video, we are going to complete this portrait that you just saw, these two portraits next to each other. In the previous lesson, we learn how to do the sketching on tracing paper and we analyze the whole thing. Now it's time to do free hand style. Also, remember, if you are not comfortable with free hand drawing yet, your beginner level, and you suddenly wanted to do this portrait. You can go to your downloadable resources and then download either the outlines or the grades. And also you can get access to the artworks themselves. Then, it's very important to have a sharp pen pencil and also a good paper that is suitable for drawing pencil and charcoal. And then follow my hand movements. If you feel the video is too quick for you, please stop the video at any moment. Draw that part and then resume the video. You can see I have completed the left eye of the first portrait, the younger version of the guy. I started with the pup, the iris, lower and upper eyelids, then this is the highlight inside the pupil. We do have different highlights. If you want to learn more about eye drawings, you can go through my master class, but that one is in medium the charcoal medium. Whereas this course is all about pencil drawing and sketching. I'm just going to make sure the outline is correctly done. I usually say in all my lessons because I would like you guys to pay attention to this. Whenever we are doing the main outline, the first initial outline, please take your time as much as you can. There is no rush. You need to make sure the main outline correctly done. Otherwise, when you apply your techniques on it, it's not going to come out like nice or interestingly in an interesting way that would look nice later. That's what I meant. So Again, we are going through the initial design. Please pay attention if some of the lines inner, how I hold the pencil, and all my pencils when I use them, there are very sharp, and I'm using minimum hand pressure, doing the eyebrow, the left side. Now let's do the main facial outline. If you had any questions, let me know, and also make sure either you have a piece of paper underneath your hand, or you maintain a safe space between your hand and the paper because you don't want to smutch the pencil all over. We want a clean space. The corner of the eye needs to have a very thin line. Not all of the lines, they have the tone, the same pencil pressure. This is a nose, very easy, just with two or three lines and the nostrils area, we are done because we are doing half the face, is quite different from just drawing the whole nose. Everything should be like half rough and that's fine. Let's design finish up the nose as we here and make sure that all the sizes are correctly done. I'm not done with the outlines yet. You will see the difference between hatching and shading. We do have a mixture of shading and hatching techniques altogether, which that's if we go through our lips drawing, the realistic version one. You will see a different technique. Now let's do the second phase, an older version of our model on the right side. I specifically chose this artwork for you guys because I wanted you guys to see the difference when we are adding a certain hatching techniques for a smooth skin. Whereas we are adding a different skin, I have to say that has some wrinkles on it. Now this time, I draw it differently. I started with the t line of the whole thing, which can be done in an incorrect way, so make sure that you erase it, and I can erase it easily because of my hand pressure, there is no hand pressure. That's it's very easy to erase it. Now the correct way was to make sure that your pup and iris been done first and then do the upper and lower eyelid. Please follow my hand movements. Look at the sketch of the younger phase. We began sketching that one first, and then started sketching the left side with older fa, mirroring the outline of the younger phase, but with alternation for age. I really take my time when I go around the eye. The eye should be drawn with slightly more dropping upper lids and perhaps deeper set. Then we're going to add wrinkles and the other details typically form around the eye. You will see the difference between the two noses as well. That is changes with aging, reflecting the common changes with aging. I have to say. Going back to the sketching, look how and where I'm starting to do the hatching. When it comes to the pupil, first start darkening all that space. Make sure when you're drawing the outline first is lively and open, reflective of youth. We are actually showing the sharpness of eyelids and the eyes outlines. We need to add fine details to the eye now, especially to the iris and pup, indicate lashes, eye lashes, but keep them natural and not too heavy. You can see my role speed when it comes to the pupil area, how much I take my time and I'm actually sharpening my pencil now. Every time, make sure that your pencil are sharp, especially when you're doing realistic drawing and hatching. Because here we are creating a smooth skin texture, use fine, close parallel lines when we start hatching, such as the useful smoothness of the skin. Also, in this tutorial, we are going to avoid any heavy or dense hatching. Light strokes are sufficient to convey the softness. One thing I would like you guys to notice because I do have many courses available and some of them they are actually teaching different portrait drawing, some of them they're still live. One thing that I have seen when it comes to beginner level, let's give this pupil part as an example. You will darken the whole area like the same. They all have the same density, same darkness. It's not like that. Some of the areas should be lighter, some of them darker. All these little details can make lots of difference from beginner level to intermediate intermediate to advanced level. Look for instance, the upper part of the pupil is darker, the lower part is less dock lighter. You need to analyze like in the previous lesson, we did analyze all the details. But after you understood what's going on, applying it is another challenge. I suggest after a while, and when you finish this course, you have learned how to do this. Especially now when it comes to do the iris part, really make sure that you don't put too much pressure and when you're doing line drawing, you don't go around it like fully, some of them it has lighter outlines, some of them fier. It all depends on your model. And what you have perceived, what you have learned when you analyzed it. Now, whenever I start actually shading or hatching the iris, I always start from the outline like here. Please do not start from the middle part. It doesn't make sense. You're going to have broken lines, and it's not going to look realistic. You need subtle cons, subtle shadings, light shading here to suggest volume. Hope you're following at the same time, this is a best practice if you're following at the same time. I would like to give you some tips and hacks while I'm going through the iris and you're following hopefully at the same time. When it comes to the outline of the face, use a light touch to skid the outline. Maintaining soft curves, here we didn't have jaw line, but if you wanted to add jaw line and checks, maintaining soft curves are quite important. Also, another e an Oval shape as a guide for the face if you couldn't do free hand drawing. Also in your down resources, I have added all these outlines or grids, but you still can use lots of al shapes at your guideline for the face to help you help keep proportions balance before detailing. For now, let's just focus on the ID telling. I always say if you spend more time on the eye than the rest of the facial features, also part all the features are as important as the eye. But eyes, they convey. You need to spend maybe a bit more time on it. Let's draw a detailed iris and a reflective highlight within the pup to bring life and sparkles to the eye. There's a tip here. Add a thin line for the eyelashes. I'll show you how to do that. This should be natural and subtle, not overpowering the eyes. But one more important tip is that when it comes to the eye lashes, especially in the previous lesson, when we were just doing it over tracing paper. I really emphasize on the eyelashes and eyebrows. Please try to practice your eyelashes and eyebrows separately. The line practice line drawing. The curviness of these two should not be similar. We do have lots of different length, some of them shorter, some of them longer, thicker, thinner. You need to bear that in mind, not all of them the same size and parallel next to each other. It is not hatching when you're doing eyebrows and eyelashes. The reason I'm emphasizing a lot on this because over my 70 80,000 students that I have. Most of them, the first, the big the beginner levels. When they send me their practices, I have seen how much they have struggled with the eyelashes and eyebrows. It's because the length of the eyelashes and eyebrows, they all have been similar. That's why maybe they look unnatural. I will do it here. Bear that in mind when I started doing the eyelashes and eyebrows. Make sure that you do that part try to be as similar as possible. I'm spending some time on the highlight. The lower part of the highlight, go around it. You can see I left a highlight line around the pupil between the pupil and Iris. Make sure that you follow these techniques that I'm using. Then after we need it, we go around and fill up that highlight. Why we are doing more shadow on top of the iris. Usually because of the shadow of the eye lashes, we should have tone on top of the iris comparing to the lower part. Always make sure that the top part of the iris is darker. And also use directional hatching that follows the contours of the face for more natural appearance. Keep these lines very light and close together. As close as it feels like it's shady to suggest smooth skin. Look at the top part of the upper eyelid. I'm going to try to blend our hatches lines slightly with my finger like this. If you had any feeling that is too much, just spring in your needed eraser and then go on it because now you have that light gray feeling on it. The whiteness of the eye is not actually white, so you always need to have that very light gray tone on it. I continue shading around the iris, darkening the area. Then after this, when we are comfortable with this area, we can move towards the upper eyelid and the eyelashes later. Make sure you do have control pressure when you are doing the edges specially. Then work on the lower eyelid here. Let's see, from the corner. I'm just going to create that gray light gray feeling that I mentioned to you. Then you can use heavy pressure to shape the outer corner of the eye, the tear duck. Here, there is not much to say actually because you have learned the techniques already. It's all about continuing and follow along at the same time while you're watching the theaterial. We sharpen pencil. Look at the initial creness of the eyelashes that I'm doing. These were just some hints. We will go back and do more eyelashes. Now, just spend some time on the corner of the eye, the tear dog, and add details. We can increase our hand pressure and pencil pressure little by little. Not all at once. That's quite important to bear that in mind. I have mentioned a few times. If you had any questions, please let me know and submit your assignments, submit your practices at any time. You don't have to finish up your drawing then submit it. It's actually better to submit it in the middle of work so you can get some feedback and reflect on it, or maybe if you wanted to do some changes. Just going around the iris a bit more, with more hand pressure here. G in between the lines. Look how close my hand is to the tip of the pencil. I need extreme and like pencil control. When I need to draw details. That's why I'm so close to the tip of the pencil. Otherwise, when you're doing the sketch, you need to be further away. My hand movements on this part is quite important when it comes between the upper eye lid. Those two lines look how I'm moving my wrist back and forth, left and right, which area I'm adding more pressure and which area I'm reducing my hand pressure. Try to do subtle shading at the very beginning. If you wanted to create this highlights, it would be easy to do. Follow the curved. The shadow typically falls within these areas that you can see on the eyelid itself from eyelashes a shadow. But for the lower eyelid, a very subtle shape hatching can help define its form without making the eyes, especially the left eye here only, appear tired or aged, unless that's intended expression. That's a different case guys. This one is very mild bland expression, so it doesn't show that it's like laughing or it is happy or sad. It just just wants to show realistic feeling of face looking through you, looking straight at you. Leave some areas unshaded or lightly erased for the highlights to create a lively typical realistic eye. Now I have started doing the eye lashes. Extremely important part, maybe the most important part, because if you do the eyelashes correctly, you will have either like a beginner level or very advanced level artworks. This little detail, the eye lashes can make lots of differences guys. Look at the creness of it, how they become like triangle feeling, how they tangle. They cross each other. They have different length, and how I'm actually drawing it from the line. I don't draw it from the princess. The top to the bottom actually is from the eyelid, should start and going up. It's like you're throwing the stroke, the line stroke. Please try to really imitate this one man a few times. I don't want to say like a hundreds times, but it's a very important factor when it comes to realistic drying. I don't want to force you to practice too much, but the eyelashes and eyebrows can be very important. Try to do and practice it as much as you can. Creating More here. Please follow my hand movements. Now this part, the ing and the hatching and then cross hatching important. With mild hand pressure. The middle parts should have the highlights, please. Make sure you follow that. Eros should follow a natural bone structure above the eye. Use light feaery strokes to mimic hair growth, which typically starts ficker near the nose and different length toward the temples. We need to build up the eyebrows with layers of these hair strokes. Particularly in the fuller part, keep the direction of your strokes consistent with hair growth. You do have different direction, not all of them the same, some of them they cross each other. Whereas eyelashes curve outwards from the lead, not straight up. I think I mentioned that many times. Draw them with a slight curve and make sure the base is ficker than the tip. For a natural look, vary the length and direction slightly. This both eyebrows and eyelashes. Avoid making them uniform, not all the same spacing between the strokes, please as they can give a less realistic appearance. See how much time I just spend on the eyebrows and eyelashes, quite a bit of time. This part, at any time, please try to stop the video. Practice as much as you can, then maybe apply what you have learned on your main model, which is your new skill now. I would be great, however you have done your eyebrows and eye lashes, please send me at any moment. I great, if I can see your level, then I can tell you what to do to improve them. That's the whole goal here. Here we have to understand our directional hatching. We need to align our hatching lines with the contours of the face. This approach helps to enhance the three dimensional form of the features and contributes to a cohesive, realistic prekis. Look holding the pencil. Subtle hatching and shading. If you felt you have done it too much, just lift up those areas with your needed raiser. Especially here, when it comes to hatching and cross hatching, consistency is the key. Consistency is key. Maintain consistent details level across features to avoid any single element appearing out of sync with the rest of the face. If the eyes are highly detailed as we have done, and realistic, we have to ensure the nose, the mouth, we don't have the lips here, for instance. The eyebrows are all realistic, they are all given equal attention. By focusing on all these tips and hacks you're learning today, you can significantly improve your ability. I'm sure of that. Going to go underneath the eye and do the lower eye lid eyelashes, different direction both right and left. As you can see, for a natural look, we need to draw our eye lashes like this. Having subtle hatching is key. Then after we're done with this part, we're going to start shedding underneath the eye. But before we move on, look at my hand movements and the direction of it. You have to make sure the circle is perfectly done. The outline is the most important part that should be done correctly from the very beginning and adjust it at any time that you need just don't leave it like that. I have seen many practices that some of my students they care about the techniques more than the outlines, which is not good. Just going to do a bit more of the eye lashes here, and then some cross hatching corner of the eye. Apply a light layer of hatching under the eye to suggest the natural and fin skin, be cautious with the darkness to avoid an overly edge look. For the other character, you can add more here and deepen the wrinkles and bags under the eyes. But not here. The Carnes that I do, and inconsistency is quite important because you can see some areas here. We didn't draw the first layer of hatching. We left it out. Let's talk about the nose a little, use vertical or slightly diagonal hatching lines along the side of the nose to define its width and structure. This approach helps to suggest the plane changes without stark lines. Quite maintaining the same hand pressure that I have done around the eyes. If I want to give you some instruction for the tip of the nose, either we do it or we don't do it depending on your personal preference when it comes to different artworks, the tip of the nose should be, should have lighter hatching, that can help it appear more rounded and also forward. However, the line around the sides should be the same darkness as the eye. This was a little too much. We have to go on it and to do a more delicate one with less hand pressure. Now let's do the nostrils and shadows. Nostriuls typically require darker shading to emphasize death, use tighter darker hatching and shading within I have to say the left side nostrils or the right side if we do both and extend this slightly to the areas directly below the nose where shadows are commonly cast. Please avoid heavy hatching. I have to say, on the bridge, unless the lighting calls for it, and it can appear unnatural though. We have to be careful. Now, we do a cross hatch here with more hand pressure. Let's do this one as well. If we felt it is too unnatural, you can eliminate it as well. You don't have to draw the right side. Here, let me show it to you if we did one part that we didn't like, and we felt the light was incorrect, and our approach to analyze it was a right. Because we didn't use too much hand pressure, we can easily erase it and maybe hatch the other side of the nose. For instance, let's redo this part again. Let's go on the right side with our sharp pencil. Let's have a look where I started. We're almost done with this taterial. In the next lesson, we're going to start the other portrait. For now, take care of yourself, have a rest, and I see you in the next lesson. Bye bye now, 15. Two Portrait Drawing Old Skin: H i one, welcome back to the second part of this terial. We have already done our younger face on the right side, then right away, we're going to dive in and start going through the eyes, the highlight of the eyes. Then let's go around the eye ras. If you had any questions about the previous part, please let me know. I'm always online to answer you. Make sure that your pencil is sharp and you have good control. For instance, if your pencil is very short, try to have your pencil extender attached to it. This is the wooden version that I'm using. Now as you can see, we have started going through the left side eye. Doing the hatching and detailing the older phase. We're going to start with the eye and surrounding area first. Always start from the base from the people, and then the iris, as we have done on the right side, that's intensify hatching under the eye afterwards. We will include a lot of different hatching comparing to the other one, small cross hatching strokes at the corners as well. Look at my hand movements, please. So far, very similar to the right side I that we have done, the previous portrait. Make sure you don't bring too much pressure. Then again, you have learned this in the previous tutorial. Look how I'm going through the iris. I have sped up this one. It's just because we have learned this in in part number one. We don't have to go through the real lifetime. I mean the real time speed. However, if it was fast for you, please stop the video, finish the part, and then resume the video. Make sure that you start from a certain part of the eye, the line, and then darken. Please do not go to the highlights because you need that whiteness, the whiteness of the paper to be intact. I change my hand movement, so I have better control over lower part of the eye ras. Now with your either needed eraser or pencil eraser, lift up the areas that you felt is too much, and then go on it again. Let's put a bit more pressure on the pupil. Try to follow along at the same time. Either use two B pencil or HB pencil. I suggest two B or three B for now. If you wanted to add more pressure and you couldn't begin a level, just use four B for certain lines that needs more color. For the eyes, we had to ensure the upper eyelid is curved and the lower eyelid is less pronounced. Now, I'm just going to take my time, make sure that this part is done correctly. In this episode or lesson I have to say, you will see a different hatching style compared to the previous lesson. Also very different eyelashes. I talked about eyelashes quite a lot actually in the previous tutorial because it's quite important. But this one, when it comes to different age, eyelashes should be different as well. They are less cy. Taking my time for here. Lines should not be overpowering the eye. Look at the eyelashes here, quite a few of them comparing to the one on the right side. Now for the actual upper eyelid eyelashes, and the line, let's see how we're going to complete this part. Let's have a chat about eye and surrounding area. We should intensify hatching under the eye tissue finning skin and backs. Include small cross hatching, strokes at the corner of this corner of the eye next to the t. For deep set eyes or this kind of eye, emphasize the brow bone with lighter hatching above the eye to create a shadow feeling as well. Also, since we have to create wrinkles with hatching and cross hatching, use void hatching lines. Some short and others longer and deeper to create realistic wrinkles. The best way to learn is to follow my hand movements. However, talking about cross hatching works, well for deeper, more pronounced wrinkles. To make wrinkles appear more natural, vary the pressure on your pencil to create a mix of soft and hard lines. We making the irregularity of real skin with hatching and cross hatching because we are not doing actual shading here. Comparing to the right side phase, we will have more gray tone on this one to show the skin tone difference. We have to make sure that we prevent some areas from looking too flat. The actual wrinkles here next to the line should be darker. Then we have to enhance contrast from the line different areas. We're going to keep doing that, depend shadows in older face, especially this area under the lower eyelid. For this part, after you draw the wrinkle, a subtle shade can help define its form without making the eye appear tired or aged. We just need to create that expression. Keep working on this area. Now let's do on the eyebrows. Look at the difference between this one and the one next to it. As you know, you do have access to your downloadable resources. If you ever wanted to have more information, or you were not really comfortable drawing this free hand style at the very beginning and your level is beginner or intermediate just go through your downloadable resources. However, after a few times practice, especially the first part of this. I mean, the previous lesson, part number one when we were doing the outlines. If you practice like five to ten times the free hand style, I would actually I believe that you will be comfortable drawing this. Not by one time or two times or five times practice, but maybe with 20 times practice, you can do this. It's all about your practice. Look at the difference of it. The eyebrows is more towards. It has some bendiness, I have to say onto it. Now let's work on this area right and left. You really need to go according to the lines and change your hand direction. Accordingly. Whenever you feel like you have wrinkles, darken wrinkles on the face, try to blend the areas around the lines, for a smooth appearance. For now, let's do some cross on this and then bold the upper eyelid. L et's emphasize on this line. After we have done some hatching and cross hatching and maybe done with the nose. I haven't drawn the nose yet. We're going to do that free style again. I'm going to work on the right side as well. I didn't emphasize on the hatching and cross hatching in the previous part number one because it's good that you do have a balance between the two. Unless I didn't know how hatching cross hatching shading, I do have on the second example, I should not darken the whole part number one. Phase I have the first phase, I'm giving it part number one, two number. However, this is what you should do as well. You should do it step by step. Not darkening it is layering, layering and blending. All these factors are very important in order to achieve a realistic look. Working on the nose, please follow along. Look how many times I did hatching and cross hatching in different directions, especially around the nose, and please compare it to the other one because even though they are looking straight at us, but they do have some free quarter feeling, especially the nose. The one on the right side is more towards left, and the one on the left side is more towards right, the nose I mean. You need to pay attention to all these details. Now I'm going to add more wrinkles around these areas. This one is very important. That's that's not only, but that's the main difference between the two examples. Always next to the line, do not leave the lines just like that. You need to add more sad either shading or hatching style technique. Next to the wrinkles, either wrinkles or its eyelid line or its nose line. Do not leave them like B, add some depth onto it. Some volume. Otherwise, it's not going to look three dimensional. Met minimum hand pressure, Keep layering up. When drawing an older face guys, the hatching techniques you employ can significantly enhance the depiction of age related characteristics such as wrinkles, the skin is a different skin to the younger version comparing and more pronounced bone structure. You need to understand all these details and factors. Dep wrinkles that we are working on and then cross hatching. Start with light hatching and wrinkles in these areas, as you can see, where deep wrinkles or folds occur, especially around the eyes, the corner of the eyes, gradually build up the density of the lines to deepen the shadows within these wrinkles step by step. Now doing more cross hatching, apply cross hatching in the deepest part of the wrinkles. We will do more. This is the first layer, so don't worry about it. We need to have better textures around our wrinkles, the textures that can mimic the complexity and irregularity of age skin. Now, we know how the left side portrait looks like. Let's work on the right side a bit and add more layers. If you again ask me because I mentioned why I didn't do all the layers in one go in part number one, lesson. It's because I wanted to see how my ports on the left side it looks like, the sizes, everything I have done. Now I can compare them, understand them, and add either more layers onto this one or the left one. Naps and going back because you were like, Okay, this contours, this kind of hatching I have on this side. Now I need to add those on the left side as well. I just changed my pencil to a sharp one and also a darker version. Maybe four or five B. If you had any questions about your pencils, let me know. I'm using Fb Castle one. For this one, I'm going to use either four B or free B because the previous one was HB or two B, and if you want to add more with better hand pressure, more hand pressure, you need to have a stronger pigment. Follow the vey lines. Just going to go on all the areas that I have done, maybe one more time, and build up the layer. Subtle hatching, lighter cross hatching. But again, because we are using a darker version pencil, even those subtle hatchings, is going to bring more color, more tone onto these areas now. We are still creating a subtle version. Subtle texture ment. Look with a few hand movements left and right, the line on the upper eyelid. Much bolder now. Look how holding the pencils. Quite important. Follow how I hold the pencil and where I place my hand on the paper. Let's follow the using hatching lines that slightly curve. Still we're using very light and fine lines. But we have to ensure the hatching lines follow the form and curvature of the face. Keep adding layers on this part of the nose and eyes. We're adding more defined hatching. Keep the pressure liight to maintain that young feeling, the softness of the skin. Have add more defined hatching around the nose and eyes where shadows are naturally deeper, but keep the lines soft and blended. Avoid hard or stark lines that can age the face. We need to have selective cross hatching. I our cross hatching, they are not all in one go. They are selective. Especially the inner corner of the eyes or under the nostrils. Use this technique, this hatching technique that I'm teaching you to avoiding the skin, which could make it appear aged. Layering the lines delicately to enhance depth without compromising the smoothness of this young skin. Even adding some cross hatching within the iris, actual lines because we have done the shading, so we are just adding more cross hatching lines onto it. As we're controlling the texture in areas with a slight texture, differences such as the eyelis or around the nose, use minimal cross hatching to suggest these subtle changes in the skin texture. But next to the cheek bone, we need to add more As you can see, I always have a clean need ers next to you to lift graphite gently from high points on the face like the che bones, the tip of the nose, or these areas are. You will achieve a glow feeling for the skin. That's going to a bit more dark dark points here. But if you want to do it, you need to ensure that your pencil is sharp. I think I've said that maybe hundreds of times in this course. It will be interesting to see if any of you is not going to sharpen your pencil when you're drawing. I have to say actually your practice is going to show, please make sure that you go through the little points that I keep mentioning. I just needed to reduce the size of this one because it was much bigger than the left side, and the shadow the shading was too much on it. Always the correction can be done as long as you haven't added too much hand pressure on it. So we can erase it and redo it. Now time, we are done with the young phase. Now it's time to go the other part of the phase, the older version. Which I have to say, it has aging skin, that's better way to call it. Now we're going to work on the yes as we have done a few minutes ago. Just add more dark tone in some areas, not all of it, just some areas. We're going to need to have the same dark level of face outline on this part as well. We're almost done with this. I hope you have enjoyed this so far. If you had any questions, let me know at any point, Please have a look at my hand move as am doing it. Just expanding the area. When it comes to hatching, but then cross hatching, apply cross hatching in the deepest parts of wrinkles for additional depth. The crossing lies at a texture that can mimic the complexity of the age skin. Look at the nose, the different noses of our two models. Please have a look and analyze the differences, especially the hatching and cross hatching differences between the two. When focusing on the eyes, the eye li texture and under eye bags, detail under eye bags with hatching that curves with the shape of the bag, start lighter and build to darker tones toward the inner part of the eye where shadows are typically stronger. Then also older eyes typically show more texture on the eyelis due to thinning skin and wrinkles. Use fine soft hatching to add this texture layering your strokes to build of the depth gradually. If we look at the difference, look how we have done so far now, and if you go back a few minutes, you will see the difference. How much adding a few lines, a few layers with mild hand pressure can make differences, can make this difference. The most impact. What you can practice the most should be the eye, the iris, the outline around the eyes and the eyebrows. Those are very important to practice separately, then apply it on to your artworks. Please do that. You can send me those practices separately. We can work on them a few times. Then we can apply everything that you have learned from the introduction part, all the lessons on to this one. If you hatching underneath the nose, Again, I hope you enjoyed it. We're almost done with this theaterial. I'm just adding last few bits, and then we're done. Please have a rest. But if you wanted to continue this one, please do so and then send me your assignments. So we can go through your artworks and see what you have done so far. And I see you in the next taterial. For now, take care and bye bye. A 16. Lips Drawing Tracing: Hi, everyone, and welcome back in today's tateria, we are going to draw the s lives, which is a full smile version. Now you can see, I have already placed our tracing paper on this print. We have already talked about tracing paper, how to fix it, and we're going to start with our two B pencil, going through the lives, draw it, make sure that we practice, practice where we should do the outline, how to start and get ourselves warm up our hand before we dive in and go through the next tatera, which is we're going to go and do the lips. In full. Look at my hand movements and follow along, please. Start with minimum hand pressure, and this is what I would expect even in the next lesson. Try to have even pressure when you go through the outline. The pressure is in a way that if you wanted to erase it, you would be able to do that. I don't want you to have your main outline. The first outline that you draw is you have put so much pressure on it that when you want to erase it, you can see the trace underneath the paper. We have already drawn everything. This is a great example to help you to draw and practice. Be consistent with your lines and hand pressure. Look at all the details, carefully observe the front teeth as well. They're barely visible. After this, that you're sure about the main outline, then it's time to go through hatching and shade the whole lips. This is exactly what we're going to do in the next taterial as well. The whole purpose of doing this to understand shapes and sizes. Tracing different lips, help you guys notice the variety of shapes, sizes, and curves that lips can have. This is essential for capturing realistic expression in portraits. Quite important guys. Is precision details. Lips have subtle details that are crucial for conveying emotion. As I talked about how important eye drawing is and how eye is going to portray the emotions, Libs they do as well. Tracing these features, allow you to practice achieve the precision, which is vital when adding final lines in free hand drawing later. In this suteria, unlike the other one, unlike the eye drawing that I did for you guys, I'm going to teach you how to do draw the free hand right away after this when I put this on the side next to me. This is a different version. Tracing versus free hand drawing. I proportion awareness. That's why we are doing this because by tracing lips on various faces, you will learn how to lips proportionally relate to other facial features, enhancing enhancing your overall drawing skills. I talked about this many times, Tracing really going to build your confidence, guys. I'm sure about that. There I have to use this word. I'm so sorry. There is no shame actually using Tracing. It's a great practice for you to understand and learn the details. Because in this course, we have so many free hand drawings. This is going to help you a lot. Don't worry about just using these methods to make sure that your ability, your skills improve. Quite rapidly, I have to say. This practice improves your hand stability even, which is beneficial when you the transition to free hand drawing after this. As you can see, we started this going through the shading, how I'm placing the shading and where are they near the outlines. This is how you're going to get that caness. Look at the cross hatching that I'm doing here. That's quite important now. You have to understand where to draw bolt and faint and thin and thick lines, where to darken the areas, which is below the leaves. The upper lip doesn't have very dark lines actually, but these corners that you can see, they do. Now it's very important to follow my hand direction. Right now, my pencils is not sharp enough because I'm just going on this tracing paper and I don't want to break it. But when it comes to the real painting and in real drawing, your pencils needs to be very sharp. These highlights that you can see on the lips is going to be extremely important, and we're going to apply all of those, and I know that you know it, how we can create these highlights is the whiteness of the paper. I don't know how many times I said that, so please make sure that these parts are intact. However, even if it happens it's fine, you still can use your mono eraser. Which is called pencilser. You have seen it that I've shown you when we are doing introduction. Now, this part, much lighter. But the direction of hatching is quite important, guys. Please try to imitate and practice as much as you can closer to what you're seeing here. Don't rush it, just follow the hand movements and analyze it. See where you do, you do cross hatching. The highlights as we just talked. Even how which cross hatching is lighter and which one is not, that's quite important as well. Repeat the same process. Define each area. Leave some space. Do not fill up the whole area. You just need some areas to have space. Here, look how we are going through the center of the lips, which one's vertical, which one's horizontal, and also diagonal? Great job, everyone's following. Make sure you have steady hand. Follow the conto. I want to say it in a french way, conto. But the contours accurately, please. Practice will help your hand and how to make sure that you have stable hand movement, and pressure, pencil pressure. All of them to be very important before we move on to the free hand drawing. I'm pretty sure if all of you started doing tracing, you have build up your confidence and you're even more ready to move on to the free hand drawing. I'm sure of that. It just practice and practice and practice. Now we are doing the shading on this side, the shadow of the castle shadow. We're going to apply all of this. You're going to learn how to do it when it's comes to the real live shading. Look at the way how everything moves. We're almost done with this one. And then in the next part that we're going to just start right now, have your papers that are suitable for pencil drawing ready with any kind of pencils that you have. Now I'm going to show you to even with A four, you can draw this because I'm just going to teach you how to do free hand style. In a smaller version and the original model that we have on the right side. Let's see how we should draw this. First, I'll draw straight line and a horizontal line. Now, please anytime you fill this too fast for you, stop the video. And make sure that you finish that part and then resume the video. I'm just going to take my time even with doing the guidance lines. Just going to make sure with a pencil, this is a size. That's how I'm doing the measurement right now. Twice of this, that's going to be the size. This is the size of the middle part because the leaves is not fully close and it is not fully open. Now let's see how I'm going to measure the corner sides. Consider the guidelines, lengthwise. Go through also the vertical line. For instance it's not in the center. You have to make sure that when you see, for instance, all these elements and the te, the corner sides, they are quite important for you to follow. Now the side of the one, the upper lip and the lower one. We are doing smaller version as well. So far, I have used my pencil to mark the upper and lower parts of the liens leaves design and place the design inside a rectangular frame. Now starting from the upper lip, draw horizontal line from the center, and draw lines towards the corners with a gentle curve, as you can see here, not too much. Draw lines under the upper lip. Then next, I'm going to design and draw the area under the upper lip, indicating the contact point of the upper and lower lips with a curve line, and the draw lines towards the corner. Now, look at this, the size of this until here, this curve one, and until here. Just follow my hand movements, please. Stop the video at any time you feel this too fast. Again, I don't know how many times I have said this. Maybe some of you say, k, stop saying it, but hand pressure, guys, minimum hand pressure. I don't want to see any of your practices has like so much pressure that you have is breaking the paper. This part of the lower part of the lips is Kerby. Let's design the lips from the center towards the corner, continue the line upwards. Contact the areas of the upper and lower lips with the straight line. On the sides of me. Now, for this part, look at the carbines. Going through the corner parts. I keep looking at my model on the right side, you have to keep your eye, keep an eye on the main artworks anytime that you do. If you feel it's not correct, just raise it. That's fine. We need to design the teeth inside the mouth, draw two straight and then vertical short lines for the t and then draw the front two t as much as visible. They should be clear. In the next lesson, I'm going to add more of this, so you can see if you want to add urat how we should do that. Actually, let's draw them because I can see some of them. Maybe it's not visible that much because the print is too dark, but let's see if we want to draw them how they will look like. Here. I'm just drawing it now here. Good job, everyone. That's it. The Lord Faith that I mentioned to you are very faint and lightly visible. So we have to shade them lightly as well. Our drawing is complete now, we should erase the guidelines after that and finalize this design. We have to give different line variation with pencil and adjust the pressure. We're going to darken the areas with more hand pressure and thicker lines. After we are done with this one. After we have I clean the guidelines. Make sure everything is clean. This is a needed as, by the way, I'm using. Now let's go through this part as well. Anything you feel is extra unnecessary to be there eliminate them. Okay? Even take your time because you don't want to ruh it and erase some of the details you need and some of them stay the Now, what's important here is that my pencil is very sharp. You can either use two B or HP pencil or even four B, going through the outline, take your time. By the way, this is only the first practice. We're going to go through the whole process in the next lesson. Don't worry about it. Just warm up your hand, do this process a few times, do the tracing and the free hand drawing with guidelines, and then we're going to go through the whole thing. Again, in the next lesson. Also, it's going to take a while, so be prepared. If you don't have time, maybe do it the next day or during weekend, so you can just complete the whole lessons in few hours. But after you're done, you really going to enjoy your having beautiful lives. You can even frame it, though. As your maybe second or third artwork from this course. Even the outlines, the way I go back and forth is very important. I just don't do it in one go. Please pay attention to that as well. Same goes here. I really hope you enjoyed the theateral guys. If you had any questions, let me know. As always, you do have access to do resources, which includes outlines, Gres and your assignments. There are more information. If you wanted to get access to my ebooks about more details, drawing. I have different e books, just take me DM, what kind of e books are available, and if we can get access to certain ones, then I can send you the link. Now, I'm just going to complete this part and we're done. Okay guys, hope you enjoyed it. Let's have some res and I see you in the next theaterial. Bye bye. 17. Lips Drawing Shading First Layer Upper Lip: Hi everyone, and welcome back to another taterial. This is going to be an exciting one. We have completed some other lives drawing and in the next step, we are going to learn how to apply this kind of shading. If you recall, we learn how to do this kind of lips drawing. We also tracing paper and free hand style. Now, you can see how I'm holding the pencil, a very sharp pencil. You can use to be, and I'm going to start shading the lower edge of the upper lip and try to lift to go through the spots and each part, step by step. If you wanted to reduce each spots, this is what I wanted to say. Please use needed eraser. For now, please follow my hand movements. If you haven't seen the previous taterial, how to do leaps drawing, please go through it. When it comes to realistic shading, you have to be careful with the first layer of doing the shading, and then we're going to apply hatching. For now, just see how I'm doing circular hand movements. You have learned this technique in the introduction section. You know how to do it. See how I'm just taking my time. This is a real time tateral. I have divided this shading and hatching into different parts because as you know, I would like my students to have to take some break in between. Every half an hour, take a step back, have some tea, go around, do some stretch and look at your artworks, this kind of artwork and your practice from another point of view. I'm just lifting some more of the first layer. Drawing realistic lips involves understanding their anatomy as well. That's why I just had another complete separate tutorial in the previous lesson. Now it's time effectively using shading and hatching techniques to convey free dimensional form. Now we're going to go through step by step guide to help you master drawing and shading lips in a realistic manner. Make sure before you do this, when it comes to your free hand drawing, if you couldn't do it, go to your downloadable resources and take a good look because usually you do have the outlines and the outlines on grades and the artwork itself. It helps you to draw this without any difficulty, for instance, your beginner level. So while I'm going through the first layer, see how slow moving my hand. I suggest that you do the same because this is not a 5 minutes shading guise. For instance, if you feel like why my artwork, they don't have the same effect, why they don't have the same darkness as you, why they're not realistic, is because mostly it's because of the time you spent on it. It's not because of your techniques or skill. All of you can acquire skill over time. Either from the beginning, you feel like you do have them and you're applying them or you're learning within this course. But if you don't put the time, the effort, Of course, it's not going to turn out realistic as well. I suggest if this course the whole theoria all three parts, they are like around 1 hour, you spend 2 hours on this lips. Feel like this is an art therapy for you. Just spend that 1 hour, 2 hours time on it. Now, I'm just giving more details onto the lips. This is the line the lips meet. That's why it should be the curve lines. We have to do to have good observation. Please let's pay attention to my hand movements on this part specifically. For instance, the right side, I overdid it is darker than this part, so I just lift off some areas. As I mentioned, when it comes to free hand sketch, let's begin with a light loose sketch. You can draw a horizontal line where lips meet the mouth line, ensuring it has a gentle curve that's higher in the middle and deeps near the corners, as you can see here. We keep the initial lines light so adjustment can be easily made. Se even the out lines here, it's been done in we can do a lot of adjustment on it because it's not too dark. Okay. Whenever we wanted to do adjustment on the lines, adjust the initial outlines based on your observation. When you have the artwork next to you, ensure the proportions between the upper and lower lips are realistic. I'm still shading this part with the same pencil and step by step, I go through each area. In this tutorial specific lesson, we're just going to work on the upper lip. As you can see, the upper lip is usually inner and has more pronounced curves than the lower lip. We have to define lip contour, sharpen the contours of the lips, make sure the peaks and frost of the lip curves are smooth and natural looking. And also correct any asymmetrical parts unless intentionally stylized. If you have done it like sorry, I meant intentionally. If you have done it, that's fine, but if it's intentional because your lines not too dark, you can adjust them correctly. As you can see, we are going through the base layer. For this part, either use to be or free B pencil. Start with a light layer of shading, not too much hand pressure. Only next to the lines, for instance, you can see here that I'm working on, this part a bit darker than other areas because next to the line again. But the rest try to do moderate shading. Light shading. The upper lip typically receives less light and is generally than the lower lip. That's why. We have to use tighter hatching to add depth to the darker areas. For instance, here, especially along the line where the upper and lower lips meet and the corners of the mouth, of course. Try to remember that. These facts, these tips they don't change. Any other lips and shading that you do is going to be the same. Especially how we draw the corner of the mouths and how we shade them, how next to the lines where the upper and lower lives they meet, it's going to be darker. One point that we should remember about the highlight on each part. The whiteness of the paper is going to create us that highlight, is going to give us that highlight. But if we want to actually add more highlights, we can use our pencil eraser, which I'm going to teach you later, and you have learned it already in different examples. But we're going to see how to do it in this example. Try to move your hand slowly. There is no ruh. Take your time. Now we're going to move a bit faster because you have learned how to do in real time, and how slowly you need to move your hand when it's come to first layer. I'm just speeding up a bit. But still, please try not to speed up your process because you have learned that speeding up is not going to give you any realistic effect. Still we are going through the base layer, shading with our two B or three B pencil, depends like which one you have. Let's have a look. If we want to go right and left, and you have these extra lines on the side here, make sure that you take them away. You don't have broken lines in between, especially when you want to connect them. When you have that base layer, you have to go on it with circular hand movements like how I'm doing, and make it looks realistic. Which means adding depth, tighter hatching, especially along the line that you can see. Now I'm going more towards the corner of the corner of the right side. I'm just taking away again, the lines around it, like those lines that I stop, shading. Again, you have to go on it and add but take away any extra shading like I'm doing. Now you can understand how to increase the darkness. Involves balancing dark darkness and brightness to give volume and shape to the lips. Whenever you need to use needed eraser to lighten up the shades, then you have to reapply the shading with pencil. Like I'm doing here. The more hatching, drawing vertical and upwards strokes towards the upper leaf, and I remove spots again here. Try to control the pressure to maintain a consistent and not too dark shading. For the sides of the leaves, I use diagonal hatching. As I was mentioning for the sides of the lips, the sides of the lips, let's use the same way of my hand movement, hand direction, diagonal hatching. Don't make it too dark at this point. Just try to in a moderate way, she and do different layers and make sure that you go in between each shadings. With the same pressure. I did both horizontal and vertical trading on the side. But how I hold the pencil, that's quite important because I'm using sight of the teeth of the pencil. There are no how, for instance, and also the pencil barely touching the paper. Again, go on it one more time. Perfect layer here. We have to keep using circular pencil motions. It's diagonal and close together shading for now. We haven't used hatching techniques on it. Just to let you know, we're going to do the first layer, which is shading, and then we're going to apply some beautiful hatching techniques on this one. Now we are working on gradient effect. Create a gradient that softens as it moves towards the center and also corners of the lips, the edges. This technique gives the lip a round that appearance. Again, I have to mention one more time that I have sped up this part a bit. If you want to slow down, the video maybe stop the video, try to finish up this part with the real time speed and then resume. This technique, this hack that I'm doing is quite important, guys. Whenever I do hatching and I stop in the middle, I have to use needed eraser to take away those harsh edges. That you can see, start with light strokes, light shading. Follow the form of the lip. Always analyze the form of the lips. For instance, see Hm doing the shading. Even for the base layer, I'm doing it in a car. You need to follow the form of the lip. The foundational layer helps in establishing the volume and all the lips. L et's shade darker along the borders where the lip meets the skin to emphasize depth. Look at my hand movements. I'm holding it from the middle part, not too close to the tip and not too far away. I have a perfect control, perfect space between my hand and the lip. Look at this perfect shading here. Really happy with this part. I hope you're following and doing the same. When we are adding depth, we have to focus on the areas that would naturally be in shadow, such as under the curves of the boots bow and the corners of the mouth. Then we got to use cross hatching to build up depth and applying layers gradually to avoid harsh transitions. For now, let's have a perfect base layer. With the same technique that you're seeing, please follow my hand movements. We have to know that middle part of the upper lip often catches some light, less than the lower lip. Gradually, as you can see, am lightening this part, it goes we will use less darkness. That's what I mean. Gradually lighten your hatching, you're shading as you approach this area to simulate this effect. We have to consider overall adjustments and corrections as well. When it comes for intent to blending, softly blend the edges where the lips meet the face to integrate the lips into the overall facial structure without distinct borders. We really have to be cautious when blending inside the lips. Let's maintain some definition to avoid losing the texture and the form details. It means we should not go out of the outlines and stay within. For instance, you can see let's compare these two part together that I'm showing on the screen. The lower part next to the outline. But when you go more towards the other side of the outline, it should be lighter. Please lift up any extra gradients in the middle. Lets smooth it out. For now, let's softly blend the edges. We all the shading. Meat. We also need to re examine the contrast and the balance between the light and dark areas. Adjust as neat to ensure that lips look natural and three dimensional and clean up any stray marks around the lips to sharpen the overall appearance guys, please. As you can see here, Let's do an observation here. You can see near the line, it should be darker, and you have learned this technique in your introduction part of this course. This is exactly the same. That's why we spent quite a bit of time going through those introduction and all those techniques because you can see I applied exactly the same technique on the lips part, the upper lip one, and I'm going to do the same thing for the lower lip as well. Everything that you learn, all these processes, all these step by step techniques, they have a reason and you can apply them on different artworks. For exp, this is lips drawing, or nose drawing, or any other facial features. We have completed the left side. Let's go in between these parts, and then we're going to complete the right side. Then we're going to have some rests and start doing some beautiful hatching on the upper lip, and then we're going to continue. Let's gradually go, make sure we're happy with all the layers. Maintain your speed and sto hand movements, the same level of pressure, hand pressure and pencil pressure. Every now and then, please examine the contrast, the balance between the light and dark areas. Let's adjust it if we need it. Now, just with my finger, I go around it not too much like pressure, just blend a bit. If you didn't want to do it with your finger, you can do it with either tissue or st blending, which I advise not to do for this specific lesson because I want you to keep the textures that you have done. This shading texture. If you do it with blending, all the textures going to be done. Now I'm going to go in between them and lift up those harsh edges. Continue with the tech share. We are almost done. L ater on, I will teach you how to have some highlight control. Highlights should be used in a certain way. To many highlights can make the lives looks moist or glossy, which might not always be appropriate depending on the expression or the context of the drying. But we're going to apply a certain amount of highlights for these lives. Quite excited for the last part. For now, let's do the first layer of shading and then hatching, and then we will apply the highlights. Now, almost done with the right side. Go back and forth. Let's fit the area with our finger. Go around with your needed eraser, take away the harsh lines. Lo I'm holding the pencil, and then we are done with this theaterial. In the next part, we're going to apply some hatching techniques exactly here. I'm going to work more on it. For now, if you're not tired, let's dive into the next part, and if you are tired, maybe take some rest and we continue. For now, bye bye. 18. Lips Shading Lighting Upper Lip: Hi, everyone, and welcome back to the second part of this tateria. In previous lesson, Tatera, we completed shading the upper lip. We spent quite a bit of time going on it now with our sharp pencil, two B or three B pencil. Very sharp. You can see I'm just making sure we have sharp next to our hand and making it sharp. Start with the outline. Starting from the center of the lip, the upper lip, with precise hatching technique. This time we have done shading technique and I'm going to apply hatching technique on it. From the bottom to the top. You can see how I'm doing the lines, the strokes, leave the pencil at the end to maintain a thin line and then do a cross hatch like this. Look at the difference from the first layer to this layer, just by applying one more layer of hatching techniques, it looks so different. Ue needed erasor whenever needed to create highlights on the lip and then adjust the shading with a pencil on the highlighted areas. You can say I don't do the cross hatching all over and the in the same way. It should be different. You need to have different hatching. This one had a harsh hatching line, so we can actually utilize it and create some highlights on it like this. Just lift up with your needed eraser. Then if you go in between them a little more, they will stand out even more, even better. If any of you missed the previous deterial, please go through it. Do the first layer of hatching, take your time, spend half an hour on it, and then start doing this part because if you have done a perfect shading layer, the hatching one and the cross hatching would be so easy to apply. Differentiating should have been done with the light broad strokes to create an even base. However, let's remember the lower lip usually reflects more light, so should appear lighter than the upper lip. Our foundational layer will help us establishing the volume. Looks more three dimensional right. Let's shade darker along the borders where the leap meets the skin to emphasize the depth. Also, we need to focus on the areas that would naturally be in shadow, such as under the curve, all the parts that you can see here exactly where I'm moving my hand now. Lo how moving my hands. It's quite important. It's not just about hatching technique, it's about how you move your pencil, how much pressure you bring on. All these factors you need to consider. For instance, look at the cross hatching on this one, how I'm doing it, started from the other side, and then in a diagonal way, do a cross. Not too much hand pressure. I'm really moderating here. The line practice is so important, guys, because your lines, if they are not perfectly done, they are not parallel next to each other. I wouldn't look like this. So please follow exactly what you see in this trial and go through all the details. Not just details you see on the lips, but the pencil movements and pencil pressure. Let's don't miss out the corner parts, and then we continue our hatching. However, clean any area that you go out of the line like here. Now, just correctly doing the curve part of the edge, the edges of the left side, and see how I'm changing my hand. Let's maintain diversity in hatching throughout the shading process. I draw both diagonal and vertical line. Here, exactly this area. I reduce my hand pressure, use lighter pressure for brighter areas and also needed erasor to reduce darkness. Let's be consistent in shading and use needed erasor to help this process. Look I'm doing the highlights here, reduce it. But please do not overdo it because you can lift up too of your shading. You have to moderately apply it. We are going through our basic hatching, which I just add some diagonal version of it on the left part. Look at the difference from the right side which we haven't added, and the left side that we have added maybe one or two layer of hatching, and the difference. Doing some para line. Hatching involves drawing a series of parallel lines close to each other, close together. These lines are used to suggest shadows and mid tones in your drawings. I have to mention the density and spacing of these lines quite important. They determine the darkness or lightness of the area. Now, what we are doing, creating some highlights on the hatchings, like a star. But let's see how I'm just going to go next to it and add some hatching lines. This is how it should be done. The direction of our hatch lines can influence the perception of the form in your drawing guys. By aligning hatch lines with the contours of the subject, you can enhance the f dimensional feel. I have to say this is advanced technique for cross hatching, cross hatching for realism. If you have reached this level, really congratulation, please try to make sure that you follow the same speed. There is no rush. Let's do the layering correctly. Cross hatching involves placing another set of hatching lines over the f. Usually at an angle that you can see. This, cross hatching layering can can create a reacher, more range of tones, which is essential for achieving this kind of realism. I have to say common angles, this diagonal cross hatching that I keep saying are usually 45 degrees or 90 degrees or even 30 degrees to the initial hatching that we have done, depending on the desired effect of the contour of the subject, of course. When by increasing the density, especially near the main outline, where the upper and lower lives they meet. You can depict deeper shadows illusion of that depth. You can create that. See I have changed my direction, the crevness of the hatching. For instance, here. I don't continue it fully, so I let go of the hatch cross hatching when it comes to the middle part of the upper leaf. Still, I'll do some highlights on these areas. Try to control your pressure here. This hatching can be achieved by gradually changing the pressure on your drawing. Start with lighter touch and gradually increase pressure to darken the areas without needing to layer more lines immediately. But you need to understand and analyze. For instance, here, I'm just going to do a bit more pressure comparing to the other sides the upper part of the upper lip. Combine hatching with the dots that you can see can soften the transition between different tones, useful for creating more realistic skin textures or shadows. Also, I think so far, you know how important it is this consistency. Keep your lines as consistent as possible. Try to bear that in mind. Keep your lines as consistent as possible, as I mentioned, in terms of spacing, angle, pressure to maintain a coherent look. Inconsistencies can distract from realism of any piece. For inst, if you have done consistency for only left side, and then you're inconsistent on the right side, imagine the result. It's really important you understand the light source and be aware of it. Like for instance, we have analyzed it. You know where should be darker, where should be lighter. But if you didn't know, for instance, if was another lips drawing, another format, maybe three quarter view. Always consider direction and intensity of light when deciding on the placement of hatch lines. This awareness helps in rendering more accurate and believable forms, guys. Even though I'm not using lots of materials, but I'm using good quality material. The pencil needs to be a good one. You can have only two pencils to go through this whole course, but at least have a good brand. This can greatly affect the outcome of your hatching. Smooth paper, good hb2b, or four B pencil, and that's it. If you had texture paper, they can add interesting dimension, but I suggest at the beginning, just use smooth papers. Of course, we have to be patient and practice. Mastering realistic hatching requires lots of patients and practice. Take your time, please. Because if you speed up, it will show on your drawing. Look at my hand movement here, how many times I changed my hand direction. Different cross hatching direction here, and we are almost done with the upper lip. I hope you enjoy this deteria. In the next one. We're going to continue and go around the rest of the areas. I'm just going to add a little highlights before saying goodbye to have a rest. See not too much pressure because you have to do it in a delicate way. Look at the difference now. Always go around the highlights. Never let your highlights to be on attendant, and we're done with this. I'll see you in the next one. Let's take rest and bye bye for now. 19. Lips Shading Completion Lower Lip: Hi everyone, and welcome back to the last part of this deterial number three, after completing the upper lip and doing all of moderation on it. We're going to start going through the teeth and also the lower part. Please follow my hand movements, have your artworks next to you in front of you and me. If you haven't catched the previous two t materials, please first go through part number one and two, and then let's complete this one. Slowly, follow my hand movements with the same pencil, maybe H or HB. Let's complete this part. We're going to go through the darkest area, the corners. We have to completely darken the space between the teeth. Maintain the same pressure. Completely darken it, but not too much pressure. Go between all the spaces with more circular movements. You can see I did first or second layer between the spaces. I just didn't darken the whole thing in one go. Otherwise, it would have damaged the tooth of the p, the texture of the paper. Let's do this part as well. This part, try to be more careful, is quite important part. Very delicate hand movements. Let's darken between the spaces completely as well. Make sure your pencil is sharp enough. I'm just going to take off some of the additional one because it needs to be like a fin line in between. Like this. Just a bit go up in between the main lines and if you did overdid it, just take them away with your needed eraser. Also, if you had any questions, please send me your questions as well and your practices. We are almost done darkening between the spaces of the teeth. Now with light pressure, let's start hatching the These parts, barely touch the paper. Look at the difference between this one and the upper lip hatching and cross hatching. Horizontal and vertical, consistent space between the hatching lines, please. Light pressure. Take your time, shade them with a slightly lighter gray tone and go on it and create that highlights on the cross hatching. Please use needed eraser, where needs, where we need to brighten the area, and then we have to go again on it with our pencil and shade hatch around it. Let's apply the same shading and hatching techniques as well. Great job so far, guys. Make sure s come to the teeth outline. If the teeths are visible, which they are here, sketch them lightly behind the parted area of leaves. Avoid hard lines. Please. I have said that many times, even though when we go through the spaces empty faces, and we're going to darken the whole area. Still the line of the, the outline needs to be done lightly. Should not have harsh outlines as this can make them look natural. Take your time Use very light shading, ensure that the tone is uniform, but with subtle shadow at the gap between T to such as depth and separation without stark lines. As we mentioned, avoid any hard lines even on the cross hatching ones, I needs to be done moderately. We need to avoid any lines that make it look artificial. They need to represent their white, but we cannot leave them to be white. Doesn't make sense. They need to have some shading on it. Let's maintain the whiteness w defining their shave light hatching. Right. We are almost done. After we are done with the cross hatching for this area, we're going to move on to the lower lip. The same technique that we have done for the upper lip, we're going to apply it here and complete our drawing today. This is the last part of our drawing and shading theater. Then when it comes to the lower lip, we have to start with the main line with the main outline. Slowly go on it to determine where is it, but with not a lot of hand pressure. Also, don't forget to go through your downloadable resources because you will find all more information there and also these outlines. They are ready for you to download and print out, so you could practice on those. The reason I'm doing some work on the upper lip right now because I took some time off, gave myself some space, and when you come back to your drawing after a few minutes, you can see some details that you need to add. This always happens. You look at it with fresh eyes. Now, guys, let's go through the crossing one straight away. Let's analyze and look at the difference between this one and the previous layer that we did. Previous layer, we did very realistic layer. I was about to say Lady. However, this one, we are doing more towards again, realistic shading, but it does have some cross hatching within. It's quite a new technique. I have to say that I have combined shading and hatching together. They're not separate. Slowly, I'm going to increase the volume by enhancing shadows, but not yet. You can apply initial shading, apply a lighter base with either two B pencil or H pencil. My hand movements here, quite curvy lines. I'm following the curve, compared with the upper lip, the c lines, how we did there and how we are doing here. Then we're going to apply another layer over the first one that they meet in between. This will be increase the volume by enhancing shadows under the lip and adding subtle vertical lines to suggest the texture of the lip. Please be careful not to overdo these lines. They should be almost evenly space next to each other with the same movements, same hand movements. Then you go for instance towards the middle part like now, you will increase your hand movements, but still the lines they're not changing. They are evenly spaced. I'm mixing, again, as I mentioned, hatching and shading together at the same time. Whereas previous deterial, part number one, when we went on it, I was doing the shading first, and then I did the cross hatching afterwards. I was differently done. Now look how I'm doing the cross hatching for the next to the line. Again, you can see, I'm mixing the two techniques here. Make sure that your pencil they're sharp. When I sharpen it, look at the difference now, way better than the previous layer. It feels so good when you sharp your pencil and you do cross hatching. The quality is much better. This is a great example when you compare this part and this part together. This shows having right materials and also correctly using them. They make a lot of differences. S. It feels like a fresh vegetable and they look much better. Having a sharp, a pencil, it feels like a fresh vegetable. Weird example, but maybe that would make sense somehow. I'm adding more pressure here. The second layer of cross because we need to be consistent with our two lives, the upper part, and the lower one, to have the same volume. Anytime you wanted to create high lights, let's use an eraser to gently tap off some graphite to create high lights on under lower lip, especially in the middle where light often catches. Do you have some control over your hand pressure, especially this area because it's wider area. If we make mistake, we have to clean it up. Afterwards, make sure your hand movements and the hand pressure been done correctly. Use hatches close to each other for uniformity. Draw a slightly inclined lines for the leap edges and straight lines for the center. Like how I'm doing here, the standard cross hatching that I'm doing. Darken this part with more shadows like more original shading next to the line. Now let's do some on this f, the rights of the lower lip. Create more darkness from the left side to the right side. It's good to have some guidelines. I just did more blending with my finger. You can do it either with tissue if you didn't want to use your finger here. It's like blend former effect on this one. You can see the hatching technique on the corners quite different from the middle one. Middle one, we has standard horizontal vertical. But here we have more curvy feeling. Let's continue on the right side, create more darkness, draw clear lines, vertical hatching and then horizontal ones on it. At any point, when you look at your model, when you see that there are some harsh in betweens, you can use your finger to blend in or go on it like this and add more layers in between them. Then we can use some needed eraser to remote spots and then shade again with the pencil. We have to understand about overall adjustments and corrections. Because at any point, we can make some mistake or put too much hand pressure. Our pencil like the direction of our hatching wouldn't be correct. L here, this is the correct way to do. But for instance, if you do another way of carry lines, the other way around, it's going to look weird. We have to learn about overall adjustments and correction as well. Be cautious when blending inside the lips, maintain some definition to avoid losing the texture and form details. Do the highlight look using the needed eraser, we're going to use a lot later in different areas. Especially on the lower lip where pores might be visible. We need to have some highlight control. Follow along, please, follow my hand movement. For instance, I'm doing the lines here, and then go on it again, cross hatching. Gradually change the pressure, which let's finish the first layer of our cross hatching, then we're going to do that. Now again, make sure Carvey lighter touch, gradually increase the pressure to darken the areas without needing to layer more lines immediately. Let's go towards the line here. If it was too much, just reduce it with your needed and make sure that you go on it again. Don't let it be. Look how I change the direction of my hand. I will have more control when I did that. Just make sure you're using a sharp pencil. I just sharpen my pencil. And the effect is better. Please add some more details around it. And if you didn't like it, take away, we can do it again. Sometimes you feel like, Okay, I don't want my lips that I'm going to frame and put it on the wall to have more skin texture around it. I'll take my time a bit more here because I need to analyze that I'm doing it correctly. At this point, when I'm adding more hand pressure for the last layer, it's quite important because if we do something wrong or incorrect hand movement, if we needed, it's okay. We can do that. It just is going to take a while to bring back the first layer, second layer, and all the hatching details on it. Such as here. For instance, let's see, For instance, we corrected that, then we have to make sure we go on it and add the disels one more time. If you feel like your pencil is too dark, just change your pencil to a lighter one, maybe two B or HB, instead of like four B. I'm just playing with a needed eraser to have the right shape when we create highlights. Now I'm just adding more details everywhere, and we're going to add lots of highlights in a bit. I need to do some corrections on the right side, Let's take off some pigments and then redo it. I want to change the direction on hatching. Because this hatch lines can influence the perception of form in our drawing. If we felt is not correct, we have to redo it. Just adding more pigments here. When I say pigments, it's like more hand pressure with very nice hatching lines. Don't forget to go through your assignments as well. Each comes with specific assignments that is suitable for this kind of w. The whole purpose of this course, of course, and these theaterials is for you to progress better and better. Please take your time, do your practices. There's no rush, do the techniques. I know some of you may have passed the introduction, didn't want to go through it, but you can see how I use all those techniques that we learned in the introduction here. Also, about our highlight control should be used correctly. Let's put them in appropriate places with our pencil eraser. You can do it with needed eraser as well. For instance, if you didn't want to purchase an extra tool, you don't have to do it. You can use needed eraser as well. It really depends on your personal preference. Or if you didn't want to get needed eraser, pencil eraser would be sufficient as well. So as you can see, we are doing final touches. Kind of re examine the contrast, the balance between the light and dark areas. It's important to understand how we should go around the highlights. When you create the highlights on existing pattern, existing hatching and cross hatching. The way you go in between them should be inconsistence to the previous layer. It just you go around the high lights to make them stand out. But please do not overdo it or just do it in any direction that you want. It doesn't work like that. You need to analyze, you need to examine everything and then move your pencils on those areas. P Just simple highlights they make lots of difference. I'm just going to do some here, changing my hand movement and even I'm holding it more towards end part of the pencil. Combining more horizontal and vertical lines dow. We're almost done, as I mentioned. I'm just going around making sure that I'm adding as much as detail as possible. Fs this last minute hatching and cross hatching will make lots of differences. Look at my hand movement from here from the main line. Please do the same thing. Practice your line drawing before applying it on your main model. Evenly spaced lines next to each other. Let's do it the other way around. And then move towards the left part. If we go back and count. I'm not sure how many layers that we have added, maybe six to ten layers depending on which area. This is the amount of layers you need to add as well. Don't think that if you add the same level of darkness at the very beginning, on first layer, you can achieve this. Please make sure you exactly do what you see on the videos and theaterials, and follow the layering, especially like this one. If you need to add six layer, that's fine as well. Try to build. Take away all the additional rubbers, the leftovers with maybe clean brush, instead of like touching them with fingers and take them away. I don't want you to smug your beautiful artwork, especially towards the end. All right, guys, we are done with this tateial. I hope you enjoyed it. If you had any questions, let me know, and I see you in the next tterial. For now, bye bye and see you soon. 20. Eye Drawing Tracing: Hi, everyone, and welcome back to another taterial. In today's video. Again, we are going to use tracing paper in order to practice our drawing before we dive in to actually draw this from scratch in the next taterial. We're going to continue with our facial components and drawings. I want to demonstrate how to draw eyelashes, a single eye, how to do the P, and all of those within this taterial. We have already fixed our tracing paper on our model, and then we're going to start going through the whole details with our two B pencil. Have you look at my hand movements, I'm going to go through it. We're going to start with simple outlines. This would encourage you to begin tracing with simple outlines without worrying about details guys. That's quite important. Also, this builds an understanding of basic forms and structure of the eye here. Look how we should put the upper and lower eyelid, you see all the details right now. Like the lower eyelid, there are two lines there. Also, I have mentioned this before that a lot of my students they struggle with eyebrows and eyelashes the hair strokes. Now you see some of the hair strokes, they are straight like showing it feels like coming towards you rather than being upwards. It's not like that. All these details, we're going to realize them. Look where is the pupil here and the highlight. Look at the highlight, how it looks like here. That's quite amazing when you look at it with these details. Gradually, we're adding all the finer details here. This theateral this lesson, it's a great practice because when it comes to the next lesson, we're going to go through a very long one. I think in total, there will be 34 lessons that we're going to spend just drawing and shading this eye and drawing it in a realistic way to turn out like this. We are going through the details now as you can see. Let's define the lines around as well. Also the dark side where are they? Under the eyes, we have wrinkles as well. We have to care about those. Now, as I mentioned, drawing the eyelashes and eyebrows quite important. Look at my hand movements. This is quite important part of the practice here. Starting eye lashes from the corner of the eye in a way, and then follow along. Some of them smaller, some of the inner in shorter and longer version. Not all of the hair strands are the same size. Look at this way, how they cross each other. Now the wrinkles underneath the eye. We do have them. Now look at this way how I'm holding the pencil, how they cross each other like here in a carry way quite important to start and finish. Let's pay attention to how small and short or longer version they can be. That's what I meant. S add some finer details here. If you are practicing this at the same time, great job, everyone, quite important for me to follow along while you're watching this. All of these, the artworks, the greets, the outlines, everything available on your downloadable resources. Even in the next daterial lesson, we're going to draw this free hand style. If you're still not comfortable, your beginning level, your intermediate level, either you can use this trace and just transfer it to your main paper. You can just turn this around and follow the lines and draw again, and that's going to transfer onto your paper. But it's going to be the other era. Different degree. However, all the grades and outlines available for you to download as well. This is you starting the outlines without worrying about the details. That's quite important to understand the structure of the eye. Gradually, you add the final details, how we are doing. You can also experiment the different kinds of tracing paper as well and drawing tools, like pencils, as we have here, different pencils, B collection, H collection, or even charcoal guys. After a while, maybe just have fun. I have charcoal courses. You can add those techniques onto these ones as well and just have some fun. Each material can affect the drawing differently and offer unique learning opportunities, guys. As I was mentioning, after a while, it's time for next lesson, it's time to incorporate free hand segment. After you have become confident, I encourage you to replace this tracing with free hand drawing. Gradually shift when you're comfortable enough to do that. Also, tracings allows you directly compare your work with original image as well. It's immediate feedback without having your instructor right away next to you. That helps you recognize and correct the errors in your drawings. For instance, when you have next to you, you have actually drawn all the outlines from it, and you know where are the dark ones, where are the highlights, the shadows, hatching parts, the lines. When you're doing free hand drawing after that, you see, Okay, this was my mistake. I know it because I have already done the tracing is next to me. I understand where I did go wrong. Tracy can also introduce you to concept of layering in art as well. We have talked about layering many times, I think you're really familiar with this concept. How build a drawing from basic shapes to more details feature. It is a fundamental skills in many forms of art, everyone. As you know, we're going to learn about eyes, noses, mouth, different leaves shapes. I'm really glad you can to understand a variety of human facial features in this course. I hope you follow along and please send me all your practices because I'm always online to answer your questions and give you feedback. This part of the people, always the darkest one, as you can see. Well, just compare it with the corner of the iris part. You can see they have some similarity. That part is quite dark as well. The highlight, for instance, it feels like triangle shape, which has even different details of highlights in it. We need to pay attention to light and shadows, starting with the people, and then the details around it, which line is going to be figer, and which area is going to be the dark area? Understand the cares, different crenes around the iris. Then from the ris right now, the details, those lines coming out, it's going to be very important. The amount of time I'm going to spend. Drawing this is going to be like maybe 40 minutes to 1 hour just this part to create a realistic version. I really suggest you spend the same amount of time on it. I have to say when you send me your practices, I can definitely say, which one of you spend the same amount of time on your practice and which one of you actually just rushed it. Since we are doing this, let's do it right and really make sure our skills can get better and better. Look at my hand movements. I suggest you do the same. Either I have to say if you don't have any tracing paper for now, you can just move to the next lesson. That's fine as well. Or you can just download your outline and practice from that because what I mean by the outline, I have drawn this. You can just practice your lines tracing that one. That's going to help your muscle memory as well. Look, even this part of the eye, we have some shading. Don't worry about it. We're going to spend a lot of time on it in the next lesson. This is just a warm up. I have said this many times especially in my previous courses, also in some of my master classes. Eye is quite some of the most important part of the face. It's not just because they have a lot of details or something else, you get you understand the emotion from the eyes. It's not from the nose or lives. Of course, lives can show to you that smiling or sad. But if you spend most of your time drawing and adding the details onto this one, your drawing is going to be outstanding. You can see the emotion like how this I feels like right now. This part of the corner of the eye, tier dock, we call it, is going to be the darkest part when we draw, and we have to realize, for instance, in between the lines, how we're going to add the shading. Look at the details between the tier dock and the main part of the eye. Also, the other side of the eye, we have some cavinss, we have to follow all of those details. It's not just the connect to each other, we have to create that caviness around it. This is the hatching part, the shading parts behind the eye lashes, upper eyelid, and then also de side, please make sure that you pay attention to my hand movements as well. The way I'm going through adding details quite important because I'm going to do the same thing in the next lesson. Look at the way. The way I just change my hand direction, and I did it one more time here. I go around the edges, and then I go around and draw these curvy lines. I'm adding bringing less pressure and your hand pressure and pencil pressure should be practiced now instead of you experiment all of this in the next lesson, understand and analyze everything here and today. Unless after this right away you jump on to the next theateria, which I would love that. If you could send me your theateria, that would be great. Maybe for instance, once or twice a week, make sure that you go through this course and you practice. If you have time, of course, that would be great. But take your time when you're doing any of the practices. Don't rush through any of the lessons, please. My pencils almost finished now. In the next one, you'll see that you have to sharpen your pencil quite a bit. Not like this. This is just per practice. But when it comes to realistic drawing, your pencils needs to be very sharp. Look at the way moving my hand, my wrist. That's very important for the lines we're going to draw soon. Well, we're almost done. I really hope you enjoy this lesson. Practice it. Please send me your tracing, I have to say practices so I can see how you have analyzed the shading and the hatching parts and also the outlines. I can help you before you move on to the main lesson so you go through it completely. Look at the way I'm just practicing one more time. The eyelashes. This is a very important part, guys. Do this maybe ten times 20 times on a piece of paper. All right, guys, this is for this lesson, and I see you in the next one, let's get ready, and let's go. Bye bye now. 21. Eye Drawing Outline: Hi, everyone. I'll welcome back to another torial. In today's video. We are going to draw this I, as you can see, I have printed it and put it next to my hand. First, have your piece of paper and your pencil ready. Maybe with pencil H, which is good for drawing outlines. Let's start, is quite a large piece. In the next few parts, this is going to be mainly the drawing part, but in the next two lessons, we are going to learn how to do realistic and hyper realistic shading. For now, I'm going to teach you how to do pencil measurement. Please follow my hand movements, and I'm showing it to you here. Again, we're going to create a hyper realistic drawing of Ii. Involves attention to detail and foro understanding of the anatomy here. We're going to break down the process into detailed steps. The basic idea behind the pencil measurement technique is to use the length of a pencil held at arm's length to measure and compa ratios and proportions in your visual field. The the pencil acts as a constant measurement unit to hop the relative sizes and distances between objects, or for instance, the eye risk here. How to use pencil measurement as to how I'm holding the pencil here, hold out or drawing pencil, like how I'm doing, fully extending your arm in front of you. Make sure to keep your arm straight throughout the measurement process to ensure consistency. Use one eye to view the subject and close the other eye to avoid parallax error. Which can distort your perception of alignment and proportion. Align the tip of pencil with top of the object you want to measure. We do sometimes do comparing proportions without moving your fam, rotate or move the pencil to another part of the scene or another feature within your subject. This allows you to compare the first measurement directly with another dimension. For example, you can compare the height of a person head with the width of the shoulder directly by seeing how many head length fit into the shoulder. For now, let's concentrate on this eye drawing. We're establishing the proportions using pencil measurement, comparing various parts of the eye feature. We need to get the proportions correct. That's crucial, guys, especially when it comes to hyperalx, shading that we're going to do. I'm measuring key distances right now, like the distance between the eyes, the width of an eye compared to the I mean, like the upper upper eyelid and the lower eyelid, right side of the eyes and the left side. We need to check angles as well. You can also use pencil to estimate angles by aligning it with lines or edges in your scene. This that I mentioned helps in accurately rendering perspectives, especially in the architectural drawing or landscapes as well. This is a great way. This kind of pencil measuring is a great way to do free hand style. Also, we can do some scaling down or up, translate the measurement, obtain with your pencil into skills, skills appropriate for your drawing surface. Some of the tips while we are going through the upper eyelid, please have a look how holding my pencil and also the pencil pressure that I'm bringing in. That's how you should do your first outlines, and also consistency key. Always hold the pencil at the same arms length and use the same eye for viewing to maintain consistent measurement. I'm going through the corner of the a. Look at these two lines. Make sure the length is done correctly from here. Let's do it one more time. Using this pencil measurement technique enhances your observational skills, everyone, allowing you to create more accurate and realistic drawing with good proportions perspective. Just going through the pupil again. Because when you have the main outlines, you have to redo your measurement. You have to double check your measurements. It is a fundamental skill for artist guys. This pencil measurement technique that you are learning right now, especially useful in traditional drawing. So this is the highlight, doing the pencil measurement here. One more tip that I would like to mention. Please do not suddenly sharpen your pencil and use the same pencil when you're doing pencil measurement technique because the size is going to change. Even a little bit, that's not good. In order to recap, first I draw the main lines with my pencil, starting from upper edge of the upper eyelid, and then draw the main upper eyelid. And then you have to focus on the people, define the light inside the eye with clear lines. Making sure where the darkness, all those shadows inside the iras and the details of the iras. We're going to add some fine lines like small wrinkles, where needed. After p some measurement, you need to add the details before start shading it. With least minimum hand pressure guides. I think I have said that many times. I'm going to spend some time on the corner of the eye, the tear doc, making sure all the lines are being done correctly. Why I wanted to have this lesson, particularly this I in this course. First of all, we are drawing a very, very large, big proportional like I here. The reason I this is good for you guys to see more details when it comes to e drawing. What kind of details Iris has, how the people like all the highlights, the details around the eyes. When you're drawing a different eye drawing like in full portrait, you know what's going on in an eye drawing. That's quite essential skill that you need. That's why we are having this. Look at this part of the upper eyelid, the vines, there are two lines. The line of the eyelash, as we call, where eyelashes grow. It feels quite thick if you look at it on like here, if you pay attention, please. We do also need to pay attention to light and shadows. Everyone. Starting with the people, L, for instance, on this side of the iris, the side that we're going the right side, the corners, the curve lines with small wrinkles on them. Let's review the materials. Use a paper that is useful and usable for pencil or charcoal drawings. You can send me what kind of materials papers that you have, and I will tell you if you can use them or you need new ones. When it comes to pencil, please make sure either you're doing with H, HB or two B pencils for now. You will need maybe four B or six B for the epipole side as well and the very dark ones. Especially if you are not comfortable with pencil pressure and hand pressure yet. I'm just making sure the pole is round enough, taking my time on it. In this part, before we move to second part, we're just going to focus on the outlines, and I'm just going to darken the p. That's it. The reason is that we are not just going to continue on the realistic shade until next lesson. I just I want you to spend as much as you can on the outline only. I'm double checking everything and refine the lines. For highlights, let's make sure we have drew them correctly. For highlights, I'm not going to add shadows yet. And we have to pay attention to the color of the iris, which quite light, and we're going to go through the iris in the next lesson. Today, please just try to lend your pencil measurement, try this eye a few times, not one time, not twice, maybe five to ten times. It's okay to practice as much as you can, guys. But if you're practicing for one time or two times or twice, it just really take your time, please when it comes to pencil measurement. Maybe spend half an hour only drawing the eye. This is quite important. Now I'm going to go through shading. When I'm shading the dark areas, please pay attention to my hand movements because if if I'm going to darken a certain area, I still should not damage the paper. I know it's going to be quite dark. But the way I'm going to give darkness to it is layer by layer and step by step. Have a look how I started from the outline. I'm not going to start from the middle part. I'm not going to start from a little like next to the line from the outline itself, please. It's very important actually to start like this. Slowly and gradually go towards the middle part. After you have done the first layer with circular motion of shading technique, go on it. Make sure that you cover all the whiteness, the graininess of the paper. Please do not go onto the highlight. You need to keep the whiteness of the paper. Then I just did the first layer. Again, I'm going on it with circular hand movement. And I repeat the process. If you look at the iris on the right side, you can see it's not quite round because of the light or whatever the photography is like this. The iris is not quite round. For now, we will leave it like this, but in the next lesson, I'm going to add those details around it. It's worth mentioning that you need to choose high quality ph photos when it comes to hyper realistic shading techniques. If you wanted to know where you can find different artworks, different examples to challenge yourself. Pixabay and Pexels, there are two websites that are free. So there's no copyright issue. Instead of going, for instance, finding somewhere like on Google or sometime Pinterest, you can, you have to just make sure, but Pia and PEs, and there are good websites, that is free as well. You can just download. Then we are towards this site. See how I finished this area. That was it. Try to do this of shading a few times as well. Maybe on a separate paper, and then bring it onto your main theatera. Main artworks I meant. Just don't leave it, make sure that you go around. You're sure about the details. The way you do it, you just have to make sure it makes sense the proportions and all the details. Now, these are the last details. As I mentioned, pencil measurement technique is a fundamental skills for you guys. Very useful, very important to learn. Try to maybe watch this theaterial a few times. Practice this eye drawing a few times and send me your assignments. Also, I know that I mentioned this in literally every theaterial, but you do have access to your downloadable resources. You can go through them and all these outlines, they are available there. If you're not comfortable with drawing like free hand style or pencil measurement style yet, you do have. You do have access to the outline and the grids. For now, I have to analyze around the people and the iris and see what kind of details I'm going to add in the next lesson. Understanding the lies and shadows, where everything is. Doing some analysis on your artworks. It, very important step, guys. Also, have a look I'm holding the pencil every time. We're almost done with this part. If you're not tired and you have practiced your eye drawing and your outlines ready. Let's dive in onto second part, next lesson right away and start shading the iris in a realistic way. We're going to go through full y ris drawing, and in the last part, we're going to complete the whole eye. Upper eye laid, the eyelashes, the surrounding of the eye, and all the letal details that we need to learn. See, I'm just cleaning up everything around it with my needed eraser. You can say I spent five to 10 minutes just on the p. This is the time that you need to spend on it as well. For now, take care and I see in the next taterial. Bye bye. 22. Iris Half Shading: Hi, everyone, and welcome back to the second part of this lesson. We're going to go through the p part and add the details. Using the same pencil. Make sure you're following my hand movements since I'm adding in a hyper realistic way. The hand movements and hand pressure and also pencil pressure is going to be very important in this lesson. This is the first layer around the pile. We have to identify lights and shadows. Begin by identifying where the light hits the eye and where the shadows fall, considering both the light source and the natural form of the eye. Light typically affects the upper part of the iris and the white of the eye. While the upper eyelid casts a shadow over the eye. Usually that area is darker. Start with a light layer of shading. Around it and we will gradually add more layers using gradients that are slightly darker near the als lines. Now it is a good time to talk more about the iris and the texture. Iris should have a rich texture with radial lines extending from the p to the outer rim. Make sure you use sharp pencil to add these fine lines and move your hands slowly. Again, let's use sharp pencil to add these fine details. The darkness, they are different, not all of them the same, even though we have to keep adding layers. Darkness, the different dark areas of these lines, Well add more to the ris natural pattern. Consider adding slight when I say color variation, it means like different gray color tone. Using darker shades near the pup and along the outer edge edge of the ris part. We need to increase the depth by shading around the p, making it darker as part of the iris. Not just in this taterial, but in the next taterial, we're going to work on it even more. The reason I put it like every 20 minutes or 30 minutes. I just does a good amount of time to work on a painting. After that, it's really good for you to have a s, do some stretch and take a break. After that, maybe after 15 minutes break, when you go through the next lesson and continue the iris, you will look at it from fresh eyes, like you do have better observation. And you can analyze what you have done to see if you need to add more details or even eliminate some with your needed eraser. Look at the difference near the iris near the pupil and more outer side. Please do not go onto the highlights. You need to keep it white. The whiteness of the paper is the best highlight you can get. Make sure you move your hand quite slowly. This is the real speed of my hand. Slowly and gradually fill up each portion, then I'm going to move towards the next part. You need to follow in a similar manner, please. Drawing a hyperalistic iris with graphite pencils needs certain materials, such as needed erase that I use, so you could take away some of the extra darker areas that you don't need anymore. These of drawings involves a detailed understanding of the ris anatomy, and meticulous attention to textural and tonal variations. As you can see, this video and next video is a step by step, there are step by step guide to help you achieve a lifelike representation of the ris using graphite pencils. L et's continue this area. I have added more pencil pressure here. The graphite pencil that you use, maybe when you're doing the outline, e H pencil and HB pencil for light. Then for dark tones, please use two to six pencils. Also, I have mentioned this in the previous tutorial, but I'm using high quality drying paper, is a smooth paper, doesn't have texture. Smooth paper is ideal for detailed work. But slightly texture paper can also add some depth, but I wouldn't suggest it for this particular one. Also talking about as a needed eraser you can see actually on the screen here. We need a needed eraser and a fine point eraser, which we call it mono zero eraser for creating high lights and adjusting details. It's good that you understand the structure of iris. What kind of details the details that you can see here? Quite a standard P is quite dark. Around the p would be dark as well and also next to the outline like here. As you can see, I'm going through circular hand movements to make it. These are going to be the same technique you can use in any other eye drawing and shading. And the iris near the upper eyeli, that area is always the darkest part. The reason is that the shadow of the eye lashes make that part dark. If we want to talk about it in a more academic way. The central zone around the people often denser and sometimes darker. Make sure your initial sketch is done lightly. One thing that I would like to suggest because I have seen it. I do have other master class courses that I have covered eye drawings and facial features drawing. I have seen lots of practices from students. You need to make sure the circle is even. That's quite important because I have seen many of my students, the first drawing, the practice. When they send me, all the circles, they are shaky, they are not even, they are not in right place. They're not correctly proportioned in relation to the size of the eye even. Getting the main outline right, correct at the very beginning, it is very important, guys. Lightly draw the basic patterns of the radial fibers extending from the pupil to the outer rim of s here. These lines should be very faint, as you can see, as they are only guides now, the first layer. We will add more on it later. Also, again, let's remember, this is a very bright ris. We're just adding base tones now, Layering and gradation is very important here. We should start adding layers step by step. This part, let's work on it. Then in the next daterial, I'm going to go around the whole iris. For now, we're just practicing our base layer, base tones, which has different initial layering. Start adding layers of tone to the ris beginning with a light application. So you can use either HB and tub pencil to establish met tons, ensuring to follow the direction of radial lines and develop smooth gradation from the people outward, getting slightly lighter towards the edges, but with a dark ring around the edges, I have to say of the iris. I think they call it limbal ring, but I'm not sure like limb, if you know the actual name, let me know in the common section. I've never been good with names, I hope I'm correct. The next step would be radial texturing. Let's make sure our pencil is sharp. I just sharpen my pencil. Each stroke is very important, and it should mimic the natural flow of the iris fibers. Different pressure to create natural variation in tone. It's like we're adding unique characteristics like flex, strakes, or darker patches using darker pencil like four B or two B pencils. These features should be sobtly blended into the surrounding areas, but distinct enough to add realism. Look how much time I'm just spending here, going around the a few areas, and how slowly I'm moving my hand, building up the layer, creating that volume. You're just deepening the shadows near the and at the edges of the iris. We need to create that dimension. Also, let's focus on areas that naturally catch the fire and fire the light, such as edges of the radial fibers or around any textural features. Then it's all about blending. What we are doing is blending as well. Because this is hyper realism shading, we are not doing hatching here. No hatching style, no cross hatching style. We're just doing shading, blending adjustments, smooth out gradation, and textures using one pencil. These steps, these layers is crucial for creating a realistic appearance as it softens the layers when you add it in this way. And also we are creating details at the same time, making final adjustments with our needed eraser, enhancing the contrast where necessary. Making sure Iris looks vibrant and lifelike with a sense of death. If I want to give some final tips before end of this tutorial, let's study some from real life, whenever possible, study from real eyes or high quality photographs to understand the subtle version of everything that we're doing that makes each ris unique. Also, one more thing that I need to mention. Maybe two more things would be patients and layering. We patients while layering, I have to say, achieving hyper realism in graphite drying requires patients guys. Build your tones and details gradually through the multiple layers that you can see right now in this titerial. In the next titerial, I'm going to put away our w and make this scene larger, so you can see the details better. But when you're drawing and painting, it's good that you do have your artwork next to you at all times. Don't forget that sharpen your pencil every now and then to maintain precision in your details, especially when working on fine textures such as like the ris textures and subtle tonal changes. We have to meticulously apply these steps and techniques. You can all of you create stunning realistic ris drawing that captures the captivating beauty and complexity of the human eye. Every time you get a chance, please send me when you have time, send me your assignments and your practices step by step. You can easily just take a picture and then upload it to the com or directly message me and ask me any questions that you have. As I mentioned in the next, we're going to complete the s, but with more textures. Because as you know, Iris is not uniformly smooth. It has various textures that you should aim to replicate, incorporate a mix of smooth and rough textures. But first, we need to do this layering and overlayering. Then we're going to use pencil strokes and different pressure. We do have some rougher areas as well that can be achieved by siping or using harder pencil for tight or irregular marks. Look at my hand movement, how I'm doing it, making sure the measurement is correct. Double check everything. All these pieces are very important guys. Even now, at this point, I'm doing my measurement one more time. Correct anything if needed. Look at the outline that I'm adding underneath the previous layer. This is how you could correct if you wanted to add or erase any part. This is how you should do. Filling up the layer with darker tone. Doing the measurement one more time, the pencil measurement. Look, I'm just going to add a bit here. Make this circle looks more like a circle. Very important details, guys. And then clean up the clean up your paper. Now, for this area, it's good that we add more layer. Even make it docker even more. I hope you enjoy this deterial. If you are not tired, let's dive into the next one as we're going to complete the iris. You have learned it. You know the drill here, how to do these things. We're going to apply even more layers. We're going to apply more details and different techniques on the iris. I'm not going to say goodbye here. It just after you're done with this, let's take a rest and then I see you in the next tuterial. Oh. 23. Full Iris Shading: Hi, von, and welcome back to another part of this tutorial. This is part number three. As you can see, we have already done the outline, refine the outline and went through the pupil and some parts of the iris. In this part, you can see I have enlarged the screen. The bigger this part, the better you can see. Now let's go through more details even so you can understand how many times and how I use this pencil, how move my hand over the layers and add more details. We are going to create a hyper realistic ris here, drawing using graphite pencils. These steps involve detailed shading of the iris, refining all the parts that you can see here and enhancing the eyelashes, eyelids, each critical for achieving lifelike realism. If you are ready and you have done your risk because in the last two parts, we went through a lot. I assume that you had your rest, you, full of energy, we're going to go and complete this one. L et's add needed eraser wherever we wanted to lift off any area or add more highlights. I have mentioned this in many other teteras. Whenever you wanted to do this, you need to add around or on that part that you have used needed eraser to create a better volume. Look at the details now I'm adding on this part. As you can see, we are creating that radial patterns here. Well, actually with the shade in style. After we establish the basic radial lines, enhance them by varying the darkness and thickness. Still eh pencils, p. Not all lines are uniformly visible. They should be the way I'm doing. Some of these radial patterns, they appear softer or brick midway, depending on the light and the unique patterns of the iris. Each they are different whenever you start drawing. Look at different artworks, for instance, go online. Search it on the Internet. You see different iris examples, and for instance, black eyes, brown eyes, green and blue, see the difference. I believe I have lost count on how many layers I have done. We are going through layer in coloring through working in gray scale, simulate the depth of color found in real irises by using different hardnesses of pencil. For instance, either two B or HB or even six sometimes, depends like how dark you want it to be. This way, you can create softer shades or for lighter areas or use some of them that are perfect for deep shadows and the rich border around the iris, for instance, this part that we want to add more and more. The best way is to follow the screen whenever you felt it's fast for you, just to stop the video. I have sped up this part, a little speedy comparing to the real speed that I have used at the beginning of this lesson. In this way, you can stop the video and you have more time to practice. Look I'm creating darker shades around the outline, towards inside, I have to say. The pigments and textures they are showing themselves now. Because when I create that highlight and I go around it, then you can see the beauty of the iris. A tiny details, you need to add them. These are common in human irises that you can see, any kind of pigment flax or textures. These can be randomly placed, but should be concentrated around the border of the iris and near the people. Also, let's talk about sharp highlights. Use a sharp eraser or this needed eraser that I'm using it with sharp point. Pinpoint highlights in the iris, reflecting light source and adding spark of life to the eye. Also, for any of you who lost the whiteness of your paper, and even how much you're trying with your eraser, you cannot bring back any highlights. There is another way you can do that, and that's a white gel or white acrylic. You can do that. I'm just going to go around this area. I don't want you to miss any section. Just because we are doing this technique. We're repeating this technique over and over again for instance this part, and it's the same. It doesn't mean that we have to fast forward because we have to do that as well in order to achieve this results guys. It's very important maybe this is six or seven layer that I'm adding here. Not all of them at once. The direction my hand movements is quite important, please, for example, don't go right left and right. Hand movements here is up and down in a correct direction. See how emphasizing on the highlights here now. Detail shading of the iris is crucial for achieving a hyper realistic look in your portrait drawings. Maybe this one is the most important part of any drawings that you. So let's take our time and put our energy onto it and. The i as is not just a colored part of the eye, but a complex structure with unique patterns and textures that are different from person to person. We're just going through one of the examples, as you can see. If you haven't started this and you're watching the video without doing the practice at the same time. It is important to understand the natural patterns found in rises. Do your research, watch the video, understand how many layers that I add. Understand the radial lines that I'm adding with shading techniques from people to the outer rim. Most rises exhibit radial lines or fibers that might appear straight or slightly wavy. We are not using wavy ones yet or we might not even use that. But actually, in some of my artworks, I have used even wavy patterns, slightly, not too much though. We do have some small irregular gaps, as you can see, in the iris fibers, creating areas that look like tiny craters or fissures. Also, some circular lines that can be found around the iris, which appear due to the changes in pus size. Also, we need to talk about pigment spots as well. Often rises we have tiny dots, which we have to create them with our needed eraser or pigment spots, we call them, which can add to the unique characteristics of each iris. We are still going through the base layer. I just focus on this part because I wanted you guys to see how we do one part. However, we're going to go through the whole area as well in today's video. Now, I'm doing more highlights here. Randomly, some of them, but some of them, I have to see how it looks like on the main iris and then go on it. Make sure that you don't lose your outlines and where is it. When I'm doing line drying, some parts, I'm just going to make sure I add more hand pressure and some of them less hand pressure. For instance, when I go around like this, they're all the same hand pressure. Like here as well. But create that persistent similar lines pattern. You can switch slightly either to harder or softer princels, depending on which area you're working and adding radial lines. They're gently curved, I have to say, but still straight lines and extend from the people to the outer edge of the iris, as I mentioned, and they vary in darkness and thickness. Well the thickness is not going to be that much because I made sure that we have a good amount of sharpness on our pa and pencil. This way, our lines that were going to create, they going to look natural. Not all lines should be uniformly visible. Some of them should be just background layer. You can see I deleted that part like raised that part because we needed it to be less visible. Going around the people part, but this part needs to be lighter. I just created the outlines around it. At any point, if you had any questions, let me know, and also you do have access to your downloadable resources, all the information there, the outlines, grit, and the artworks, and also your assignments. Please download them and start going through. You can see how I'm creating the first layer. I do the first shading, then I erase it, slightly erase it. We still have the background feeling, but it's not too dark. This is great for the highlight. Here I use tapping method when you use your needed eraser. Again, make sure for any line drawing, your pencil is sharp. Also, you saw that I use my finger to fa some areas. You can use either blending stub or tissue as well for this kind of method. It means you need to fade that area. Now if we look back, look at the artwork itself. Here, we do have lots of reflection of the eyelashes that we have to do. So please follow my hand movements. How from the line, we go towards the pupil and draw lines. H hair strokes. Continue on the line. Now it's time to go around this part and keep adding the rest of the layers. Please follow my hands here. Let's enhance the depth. Please use a fine point pencil. I don't want to say sharp anymore to delicately add these layers here. These layers is to be subtle and not overly done. Just a step by step, let's do that, line drawing first. And then adding highlights in between. It's the same process, guys. We've watched it quite slowly in the previous part and also at the beginning of this lesson, but now we can move faster. Does that mean you need to move faster, take your time, please and add all these layers. It's exactly the same process. You add the underlayer, you go on it, you add your eraser, create the highlights, then you go on it again. We are creating the pigment spots. I'm giving color variation here. You can see. Some of these highlight spots can be irregular. Doesn't mean we don't know how we are placing them. It just how it is on the artwork while I'm just analyzing and then replicating it here, blend them slightly into the surrounding areas to avoid them appearing too stark. To simulate the multi tonal effect seen in many rises, especially for instance, this one, lightly overlay different shades by going back and forth, this way that I'm doing up and down with pencil, maybe use different pencils if you need. Now moving toward this section. As you can see, the video is a bit speedy by my hands in real time, they're not speedy. Take your time. Use either five B or six B here. Anything darker that you have because when you are near the and you want to add those really dark spots, this one would be very easy to add and you're not going to damage the per. When you start a drawing like this, I have to say observation is key, everyone. Always work from a high resolution close up image of an iris to capture the intricate details. Try to be subtle when it comes to details. The details so not overpower the general tone and shading of the ris like this. Make sure you go through the shading correctly. The under layer needs to be done perfectly. So just don't add all the layers in one layer. And add the details in a subtle way. Layer gradually. That's quite important. I know I've said it many times, but please take your time when you layer gradually. Build up the shading gradually layer by layer to increase the depth and intensity naturally. You can see how sharp my pencil is here. And for instance, when I'm going through this outer part, how all the lines perfectly sits. All of them, they sit perfectly next to each other. By focusing on all these techniques that I mentioned to you and understanding the unique patterns of the iris. You can create striking, realistic and captivating eyes in your portrait, not just this one, any other iris, or any other eye drawing and shading that you do, you're going to create a really good one. You have learned all the techniques. You are learning all the techniques. For instance, see how I'm going layer by layer here, just the highlight alone, and then I'm going inside. Creating different tones here, different layers here. Then go on it and create the highlight more highlight with your needed eraser. They feel randoms, but they are not because you know what you're doing. Then add more maybe with your 5b4b pencil or six B. Any of these that you have is fine. That's why I keep mentioning different numbers it's all because this B collection when you go towards higher numbers, they are dark enough. It's fine. We're just going to go through the s and finish up our iris soon. Drawing is a skill that improves with practice and patience. After you have learned all the fundamentals, for instance, you know how to do different, cross, shading layers, focus on mastering these basic shapes and forms. Focus on mastering all the introduction parts of this course, go through them step by step again. Make sure that you memorize your muscle memory should be it's like going to the gym. Your body will remember those movements. Your hand will remember as well what to do. For instance, here, I need to use needed as and then I need to go on it. You're going to remember to do circular hand movement technique. You're going to remember, I need some cross hatching here, like how I'm doing. But it is cross hatching, but in a shading style. All these points, are fundamentals to remember mastering basics. You might feel like I know them. Yes, we all know them. We have learned them, but practicing them is a different point. Then we tackle more complex subjects because we know them and anything we want to do would be a piece of cake. Nothing else can be harder than this kind of ris drying and shading. One more thing I would like to add is about proportions. But before diving to the proportions that you need to study human anatomy because we learned it here, it just you need to work on your shapes and forms. That's quite important, especially if you're into porches and figure drawing. Knowing typical proportions and how they change under different poses or actions can significantly improve your drawing. This might be your first iris. If you really want to learn, you want to do hyper realistic, you go online or in scram and tik tok, you see people. They are doing great art and say, Oh, I never going to be like that. It's not like that. I always believe practice is all about your practicing. It's not about skills. Sometimes when you have a skills, you can do it faster. Does that mean if you are, let's say, I'm not a natural born, but I practice a lot. That's why I'm really good at it now. It's all about practicing, Experimenting with charcoal, maybe pastels. Is, Inks is a great great or fine liner. Great practice to do. Each tool can offer a different texture and enhance your artistic style. Just do a mixed media add different pencils onto your iris. For instance, use different pencils, make sure that even combined color pencil, combine different H collection and B collection together, anything that you feel like you need to do, that's fine. Just experiment more with different mediums. Just going to go around this part. We're almost there guys. We're just going to make sure that all the layers done correctly. Going to add more highlights on this part. To go around it. Just make sure you don't put too much pressure on it. Just tap in a very subtle way. Excellent work. If you had any questions, let me know as well about any of the parts. First, you say ate, 25, you were doing this or any similar questions, please let me know. Usually I say materials not matter. I I don't mean do not invest in non good materials. Maybe you don't need a lot of them. That's what I mean. But if you're getting it, maybe please faber castle or ins or newton, like the good ones that you can find. They have good graphite core, that's quite important. Invest in good quality drawing materials. You don't have to get a lot of it like high quality paper. You can have a few paper of it a few pad, but you don't need a lot. However, getting a smooth good quality paper, you will have a better results. You can practice your introduction and everything on normal papers, not this kind of papers like on A four, any ping papers. However, this one, you need to practice it on a good quality charcoal slash pencil related to try to invest in good materials. Make sure you clean around your space like sometimes you smudge all over because of your hand unless you want to have a piece of paper underneath your hand and paper. I'm going onto this. Slightly adding more layers. I'm not going to say this is cross. This is just a line that crosses over the other lines, but not too maybe a few of them would be sufficient. If you are doing this for a hobby or you're just enjoying art therapy, that's great. Just practice as you can. But if you want to take this seriously, I will suggest a daily practice. Try to draw something every day. Even if it's just a simple sketch. Consistency is key in building and maintaining drawing skills. Maybe have a sketchbook, if you want my advice that you carry around to sketch wherever you feel free time or when inspiration strikes. This habit can also help in documenting your progress and ideas, everybody. Remember when I was doing jewelry designs, at some point, I was carrying a sketchbook with me. Like for instance, when I was going underground and just running like going on a long trip with train. Always had my sketchbook and draw different designs even from the like the train inside the train, like the patterns on the chairs or anything that I could find. It's interesting that I did design some jewelry from those patterns. I didn't tell anyone that that was my inspiration, but that's how it is. Maybe practice regularly is quite important. It will help you progress. It's like warming up, warm up your hand, you get more confident picking up pencil. You're not like it's like driving. At the beginning, you're like, I'm not sure if I can go alone somewhere. You need someone to sit next to you at the very beginning. You feel like not confident starting the engine. All those things similar. The more you practice with pencil and paper, the more confident, you're not scared of them. You just pick them up and keep practicing. That's what we want. That's the whole purpose of this course. I want you to progress, especially in everything that you have learned. As you know in this course, we have many examples, many lessons. I know it's a very long course. Just try to go through them one by one, invest your time. Since you have purchased the course, why not invest in your time as well. Practice, I'm not going to say daily, but at least twice or three times a week. 1 hour, that's not a lot to ask. That will be great. If you had any questions, I'm always here to support you. Give you feedback. Support you emotionally if you need. So we're going through a few last layers as you can see. I'm giving more line techniques here rather than shading now. I want to create those really nice realistic feeling. Make sure you don't overdo it. That's why I keep layering because I have to build up layers and I should make sure that I'm not overdoing it. Each layer, I understand how much darkness I have used and created. Then I know when to stop and if I need to continue. Sometimes do even outdoor sketching guys. I forgot to mention this. It will be a very interesting way. I have seen a lot of people that I know in my class, my students. They go for instance, sit in a cafe, sit in a park, and with a group of friends, and they just try to do some paintings for 1 hour or 2 hours. It's very enjoyable. It would be interested to collect references as well because whatever you see that you really fancy, maybe just download it or build a library of images, or physical objects that you can use as references. This can be anything from photos, model figures to objects from nature. One more thing that is important if you go to an art gallery or museum, maybe analyze artworks, that's a lot of inspiration feeling. Because for instance, even I myself when I go to a museum and I see those amazing artworks on the wall, I'm like, Wow, how could they do these amazing things? I'm just wow, full of excitement. When I come home, I start painting and drawing more and more. But also, what's important is analyzing those works. The works by other artists, both historical and contemporary, analyze their techniques, compositions, and material choices. Just really have a close up look. I know it feels weird. You're so close to an artwork in a museum. But try to look at the techniques that I use, where they use the highlights, how they created those highlights, for instance, some of the paintings that you see in a museum. You see wow, the light been painted here is crazy, how they did it. When you have a closer close up, when you look at it in a closer way, you see how they have done it. You see, for instance, how much white acrylic with pinch of like yellow they have used in order to create that highlight. That's oil painting I'm talking about, just to clarify. All right. Talking about our painting here, our drawing here. We're almost done with this part. Before you finish up any part, try to make sure before moving on. For instance, say, if you want to add more, however, I do have that habit. I come back. I look away, I go have a rest, and when I come back to my art, I'll see that I have missed a few layers. I have missed a few details. That's the case for many artists guys. Please do that. A Look at my hand movements here. Last bits here. We're almost done with this taterial, guys. I hope you enjoyed it. Let's have some rest, and we will go through the last theial of this course. Of this rising and yer we're going to go through the eyelashes, all the upper and lower eyelids, and the extra details that we need to add. For now, t, have a rest, and I see you soon. Bye bye. 24. Full Eye Shading Focusing on Eyelashes: Hi, everyone, and welcome back to the last part of this tiaterial. Are you ready? As you can see, we are done with the iris and all the details. It was a long tiaterial, but we are done with it. Now it's time to go through the whiteness around the iris. I believe they call it sclera. I'm just going to say it scleroshading. If you could tell me if it's a right word that I'm using for it, let me know. However, what's important here, what kind of pencil you're using and how you're holding it? Those are the two important factors that you need to bear in mind. It is possible to use maybe four B, three B or even four B pencils. Sorry that I just mentioning all the names. You can even use five B depending on your hand pressure. When you go on it, just try to hold the pencil the way I'm holding it this way. The, the minimum hand pressure, guys, please, go around it. Then either with blending your finger or piece of tissue, try to fade away, blend all those parts. Again, I have to mention this a few times, the least hand pressure. Scleroshading, this part should not be let w. That's why we are giving it those great tones to it. Should have a subtle gradation of shadow, I have to say. Darker near the edges where it meets the eyelids and lighter towards the middle. Use a very light touch with these pencils that I'm using to achieve this effect. Use very light touch, and when you create highlight, again, go on it, with your pencil and try to create the effect of the veins in the sclera. We're not going to actually draw the veins in a delicate way. We're just going to use our shading technique. Skill, I have to say, I know you like you have learned the techniques, and this is your ska. Now we are going to go through the tier dt, refining it. This area needs to be as dark as the pupil. Shaded to show depth and moisture. Use light shading maybe at the beginning and then add layer, or you can follow my hand movement, just make sure that you don't go out of the line and you do it within the outline and correct shape. Let's emphasize the depth here. Look where I'm ending it and reducing my hand pressure. Now doing circular hand movements here. Make sure you have a sharp pencil as well. Very fine line drawing. Keep correcting it if you feel like you have added too much graphite at it. Let's go through this area that we have some less darkness, more from top to bottom part this one, like this. Look how change my hand direction here and also my pencil pressure. Now from here, add even more details, then let's go back towards the tear do. For better reference, maybe look at your eyes and see how it looks like. You'll see that you need to add these details and where the highlights. Thus for now, try to follow this, that will be sufficient. Later on, you can go back and look at different references. I was mentioning, when you go away from the tear dock, you need to reduce your hand pressure. To have that natural appearance here. More shading, darker near the lines, less dark when you go away from any of the outlines. I keep creating the highlights with the needle eraser and I go in between them to create that depth, that volume. That's very important technique. Please try to do this. I think I've used this technique on the s and most of these two materials that we went through in this course I mean. Try to imitate that as well. Keep changing my hand. Now it's time to go through this part. This part should be a bit darker, guys. Comparing to the left side. Look at my hand here. We're going to fade it away with our finger. Or as I mentioned earlier, you can do it with sto blending or with a tissue. If you wanted to keep the texture, you don't have to do it, but we just did it. Back and forth. Make sure that you sharpen your pencil to go through the main outline. Next to the outline, because it needs to be darker to create that correct feeling. Because the iris had it, I just showed you the tear dog, and then we're going to go through this part, but it shouldn't be as dark as those parts, guys, p. Just try to slowly add your layers so you understand the tone think this is the third layer that we have added. Let's continue more towards the iris. You can see on the top part, I'm adding more and when I go in the middle part is we have less. Let's even create more highlighted there. We need to do these things. Please follow along and try to do exactly how you see. For this part, we don't need to have line drawing or hatching a style. Try to do it shading style and technique. We need to control your hand. Adding even more, and when we go near this part, less hand pressure. You can see I keep adding layers and lift up some areas in order to create those volumes, those highlights. Go in between the lines, make sure you f between the lines. This is the procedure. You need to do it and learn this technique. Now, if you're happy with it, we can continue with the lines, upper lid and lower lid. It. It's time to go through upper eyelid creases, the crease about the eye can be defining characteristic in a portrait. Very important. We're going to go more towards hatching. If we want to do this part in a shading style, it would take quite a while, maybe another one or 3 hours, one to 3 hours, I have to say. If we want to continue shading, you need to continue the way we have done the whiteness of the eye. This clara one, I mean. I clean the area and then I'm going to go on it with even sharper pencil. I'm following the curves here. I just added the base layer of the hatching, then I'm going to follow the curves, part by part. This is not consistent one, whereas the first layer, we had consistent hatching. Very important you follow this exactly as you saw. This is quite important when you go through the eyelashes, let's watch this quite slowly now. These curves needs to be done precisely. That's why I want you guys to see i do the eyelashes here. Eye lashes should vary in length and curl, and they should fan out from the lead. They are typically denser at the outer corner of the eye. Draw each lash individually, the way you're seeing, starting fier at the base and tapering to a fine tip. Avoid making them look too uniform. I have seen students they try to make them uniform. Should be like this. Change your hand direction towards the left side. As this can detract form realism if you don't do it. This direction cs very important guys, the direction in which the eye lashes curl should reflect the curvature of the eyelid and the way light interacts with them. We should generally curve upwards, but not extensively so. Repeating the process now. Drawing eyelashes and understanding the nuances between upper and lower eye lashes as well as detailing the anatomy of upper and lower eyelas are key aspects in achieving this specific realistic eye drying. As you can see, direction is a key point here. Please do not overdo it as well. It needs to be as natural as possible. As I mentioned, we are doing the upper eye lashes, generally curve upwards and slightly out. They are longer than the lower eyelashes and can vary significantly in le. With the longest lashes, typically towards the outer corner of the eye that you saw, I just did. Do them one by one individually. That's very important. If when it comes to volume and density, typically upper eye lashes are denser and fuller. When drawing, start at the lash line and flick your pencil upwards to create each lash like this. Just let's get rid of that line for now. Ensure that the base of each lash is figer. If you need to create highlights, you can go on it with your needed eraser. I mentioned if you want to do base of each lash, which is figured tapering to a fine tip. Then you can do the hatching. One tape I would like to give, if you are doing shading layer underneath, not hatching. You need to do the shading layer, the base first, and then do the eyelashes. You cannot do it the other. You can do it, but then again, you have to go through the eyelashes and do one more time layering and that might not be too natural. Please take more care about these details. Like adding here, just imagine if this was full shading. The contrast wouldn't be too much, so you would need color, more tone on your eyelashes. When this comes to grouping eyelashes, you can see, often clump together naturally, Illustrate this by grouping a few lashes together at the base. Now for this line, upper eyelid line, the structure and contour very important, and also lower eyelid. I'm just going to mix these two parts. I'm making sure I go along with the main outline. Unlike the upper eyelid, the lower eyelid is often less define. Lower lashes are shorter. Less dense and more subtle compared to the upper lashes, as you can see. They tend to point slightly downwards or straight out. When it comes to their spacing, when drawing lower lashes, space them sparsely and keep them finer than the upper eye lashes. It's crucial to avoid over emphasizing lower lashes, guys. This can give an unnatural appearance to the eye. Please follow long hand doing. And then let's create depth and add shading here. Hold the pencil like this, gradually add it. You're creating that roundness around the eyelid now. As you can see, lets define this part, does not have that prominent crease. It does play a crucial role in showing the eyes shape and condition, such as signs of aging or tiredness, as well. The upper eyelid covers the top part of the iris and sometimes the people, depending on the person's expression and unique facial features here. This line should be as dark as the line for the eyelashes guys, very important. As you can see, we're creating more depth, both sides add shading above the lashes and also around the teared dog. The skin falls. Sometimes can cast subtle shadows, which are essential for adding realism. Use soft graduated shading or hatching on it. Then this is what I was mentioning. You need to go on it on the eyelashes one more time if you have done some base layer behind the eyelashes. Please do this one as slow as possible. There's no rush for you. Least hand pressure here, does create that shading feeling on it. I'm just reinforcing on some of them, not all of them. L at the spacing, with drawing lower eye lashes here. Separate them. Avoid over emphasizing on any of them, please. Now going back to the upper eyelid. I added much more hand pressure here, and then faded away with my finger. If you recall, I told you I go around sometimes to create or add some parts that I felt like, now I need to add. Be now since I'm comparing it with the eyelashes or this part or that part, now I feel this area needs more. Make sure that you sharpen your pencil. If you want to add maybe more h, more vein feeling stuff on it. Your lines needs to be precise. These are the extra details that I'm adding. If you don't feel confident to add more and more lager, just to stop at some point here. Do not overdo it for your first practice. I mean. With the sharp pencil, Let's go around, add more details. We are going through deepening our color and textures. We have established basic structure on all areas like shading of the iris, further layers. These further layers can add depth and intensity. Use the same pencil that I'm using for instance four B here to add darker tones, especially around the and at the outer edges of the iris, I have to say. Focus on the natural variances within the iris. Some areas may have darker pigmentation or denser radial lines. Adding these subtle differences can significantly make your drawing better. Intensify the radial lines. All these ones that I'm going through, add more The eyelash feelings on it as well, the highlights, the reflection I meant, sorry. Vary the darkness and thickness here of these lines to mimic the natural gradient seen in the h, the eyelashes that we have just done. This can be achieved with different hand pressure as you draw each line. Sometimes it should be lighter at the center and amply more pressure as you move outward. The strategic highlight that you can see, just sharp use sharp needed eraser or pencil eraser at small highlights. Position is highlighted thoughtfully, not just wherever you see it. Usually where the light would naturally reflect, reflect, that's the important part to analyze and stand. Common areas include near the top of the eye ras, for this eye, we had so many of it. They are crucial for giving it a most and realistic look, making the eyes appear lively and expressive. Also, we have to adjust the highlights correctly. The intensity and sharpness of the highlights can affect the eye's emotional expression. B, more pronounced highlights can make the eye appear better or more tearful. Why ssler highlights such as a normal calm expression. Also manage your hand pressure here. Here we are adding more pressure, for instance, because of the shadow of the eye lashes, the top part of the iris needs to be darker. This different pressure you apply with your pencils. The lighter pressure allows for amer texture, suitable for areas where light hits the iris. In contrast, heavier pressure can be used to create deeper shadows and textures, particularly around the people and the outer ring. As I practice transition and transitioning the pressure smoothly to avoid abrupt changes in tone, which can disrupt the realism. I'm just adding the last bit of details here. Unlike the upper eyelid, the lower eyelid is often less defined and does not have prominent crest, as I mentioned. Look how different it is from the upper part. As you can see, lower eyelid is more subtle. This part I needed to correct it. If I want to give you some tips for drawing eyelids and eyelashes, Study real examples. Observing real eyelashes in various lighting conditions can help you understand how eyelashes and eyelids behave in different scenarios. While blending can be useful, over smashing, can lose the definition needed for realistic lashes and eyelid textures. Please be careful, have a piece of paper underneath your hand, especially if you're drying and shading such a big eye. Also try to maintain proportions, do not add too much line to it. Always keep proportions in check. The eyelids shod correctly frame the eye. The lashes, eye lashes should enhance not overpower the overall look of the eye. By focusing on these details that I'm mentioning, you can enhance the realism and expressive power of the eyes in your drawings guys. Eyelashes and eyelis are not just functional, but there are also key expressive features that can convey mood, health, age, and attention, making them tential elements in portrait drawings. Now, since we are done with this theateria, I would like to ask how you felt about this theteria, this long eye drawing, which was quite big one. I hope you really enjoyed it. I enjoyed drying it and teaching you. If you had any questions, please let me know. I look forward to siving all your artworks at any stage when you have done the outlines maybe, you have done the first layers. I would like to guide you as much as I can. I really hope you enjoyed it. I know I said it a few times, but this one is one of my favorite ones. It takes a quiet time to do it, but it's worth the effort that you put. It can be challenging, but I know you can do it. At any point, any artist, they need to know when to stop. Maybe this is my call. Let's wrap it up and I hope you enjoyed it. Talk soon and bye bye. 25. Hand Tracing Analysing: Hi, everyone, and welcome back to another taterial. Are you ready to do a hand drawing? First of all, I have my artwork printed out and I have placed my tracing paper on it. You know how to do this. If you have tracing paper, please let's go through this example and warm up and to go through this part of the arm and the hand and all the additional details on this hand artwork. This is going to be a warm up before we actually to do the free hand hand drawing. You can see, we have already placed the tracing paper on it with our two B pencil. I'm going to go on it and draw all of these details that I'm showing it to you. We started with observing, analyzing the sample carefully. This is a great way you understand the wrinkles, where there are some cracks, maybe practicing how to see and observe the sample, and the sketch, the light, the shadows, and everything. I suggest to do this a lot. You do have all of the artworks and also outlines or the outlines on the grid in your downloadable resources. It really depends on your personal preference, how you want to practice your outlines drawing. However, it's great that you do all of them together. For instance, what I mean by this, now you're going to understand the sizes. Like for instance, the thumb of the hand, this is how it should like. It's just here and the rest of the other two fingers, for instance, more towards the wrist and how everything should be positioned. There are the highlights. For instance, maybe you can see the highlight of this part of the hand, too light. Now you can see it you're observing it, you're analyzing this part. When it comes to the actual drawing, this would be very easy for you. However, for any of you who don't want to do this practice, you just want to jump into the free hand style, please go to the next lesson. Because I'm going to teach you how the structure with a fixed structure to draw the hand this way in a free hand style without tracing paper. However, it's great that you do some practice is a warm up. It's like any sports or music. If you want to play piano, you warm up fingers before you do like a concert, maybe. Or when you are doing sports or a gym, you warm up your body first. This is exactly the same. It's not a waste of time. It just makes you better, and the only thing I want for you guys is to get better in drawing. All my curriculums, everything that I put and the way I plan everything is for you guys to get better. Now, this is the actual form of the hand until here. It's one of my favorite practices. Actually, I really love to see how it's going to turn out because we're going to apply hatching and cross hatching techniques on this, which I really love those techniques on it. Look at all these details, all the lines, understand the sizes and how they cross each other. You can see if we have already defined all the main lines and the nails. Now we just have to go through the dark lines and the highlights and the wrinkles. Use final lines for those areas, and then revisit the lines that we have already done and drawn, so we can analyze and consider the light and darker parts a bit more and also understand how to adjust our hand pressure on each part. For the wrist and forearm, draw thick consistent lines and darken them. Look closely at my hand movements, sketch the fine lines between the fingers to separate them. These lines either here or in the next taterial, needs to be carefully drawn. All these lines need to be carefully drawn with the sharp tip of the pencil as delicately as possible. What's important to consider here, even on this practice, this tracing paper doesn't matter. Even on this one, I control my hand pressure. I control the pencil pressure. I make sure that I'm doing everything even perfectly on this one on the practice itself. For whoever wants to use this tracing and actually just use these outlines instead of free hand outline next lesson. What you can do, you can turn this around and actually on another paper on maybe spare paper to work on it and make sure that you go on the outlines exactly, and again, turn it around and then go on it again on your main paper. That's how it should be done. Now, I'm taking a step back from the work, looking at it as a whole and trace the different parts and make sure that you have included everything. This hatching cross hatching that I started, even when it comes to the practice and the tracing, I tried my best to be as as possible. It's very easy to analyze it, especially when you have black and white artwork printed out, and also you have a tracing paper on it. You can understand all the details much better. For instance, look here, I'm adding the details for this part of the arm. Look at my hand movements and the direction, and repeat after me, please. Even for this part. However, if you're extremely comfortable with this lesson, please just move to the next one. That's completely fine as well. However, for the rest of us, let's carefully hatch catch these areas. For the brighter area, I avoid hatching. Or I'm going to hatch it with maybe two H pencil or H pencil, which is quite light. We're going to go over these areas as well before moving towards the finger fingers. Follow my hand moves, great practice, great work so far, guys. Let's do cross hatching here. You can do a second layer of hatching lines, opposite direction of the first layer that we have added to create that smooth hatching lines. After that moving to the palm of the hand, carefully control your hand pressure as we build up the layers one by one, especially around the main outlines. Consider the details and shadows on the palm of the hand and add your hatching lines in accordance with the main form that you see. For instance here. Follow along please using hatching lines to build up our layers. Now, this part, you can see first and this part where we have that whiteness, which is the highlight. For instance, let's compare this part this here, the dark area, here also. I can understand that drawing hand and fingers can be challenging, comparing to hair drawing or even let's say lip dtrawing or nose drawing. Hands can be more challenging, to be honest with you. I do understand because nose drawing and lips drawing, they have a certain format, it's easy to follow and you have learned either you have learned it so far or you haven't reached those lessons, depending on which lesson you have chosen yet. If you had any questions regarding the format of the hand that forms how you should do it, or there are other ways, please reach out to me and ask me. Because I do understand this one is quite a bit challenging comparing to other parts of the either porches or body that we draw. For brighter areas, for instance here, I create subtle hatching, se minimum hand pressure to create the texture. Just show the form of the hand, to be honest and that creness. Let's say go to the lighter area compared to the darker parts. Let's look at my hand movements. I'm going to do this part for instance, that one is so dark, and there is a line between them, and this part is so bright. But we have to make sure there is no distinctive line in between them. They should merge together. That's quite important. Do do a comparison between each part. The lighter and the darker parts here, let's not add anything because it's very, very bright. Now, look how I go in between them between the dark ones and the lighter parts. If you couldn't purchase any tracing paper, just watch this video for you to analyze for the next lesson. Now, this Creins, you have to make sure that your hand move you're following my hand move, so it's done correctly. Also, the fingernails that we are going to at hatching, should be done with more pressure next to the lines next to the main outlines between these layers to differentiate between the layers. That's what I want. Because they have different textures. At this stage of the work, what matters is making sure that we carefully following the patterns of light and shadows, adding them accordingly, and building up the layers. Now doing cross hatching on this area. Pay attention to the wrinkles and parts of the fingers that they bend. So we could add darker closer to the areas that they actually bend. Now here, we're just doing cross hatching and welding of layers. For instance, this is the second or third, I don't recall. However, you will see how we're going to do this correctly, next lesson, which is a two part lesson because it's quite long and I prefer my students to have after 20 minutes or half an hour, maximum 35 minutes. You do have a break. That's why I made sure that all the lessons they have timeline. Even though some of them they're quite longer, make sure after half an hour or 40 minutes you give yourself a break. Then come back to your painting, analyze it, see what you have done, or go through your tracing paper, especially after you're done for instance for this one, you're going to take off the tracing paper and you see everything that you have done, everything will show. You're going to say, this is what I should do on my main artwork, this is what I shouldn't do. Because the form of the hand will show, and you can understand, this is what I did correctly, or this is what I have to improve before I apply any techniques on the main outline. Because you don't want to spend 1 hour or 2 hours on this hand, this is like let's say 1.5 hour practice, the next lesson. You have to make sure that you are comfortable with the outline, which you are now, and then how I'm going to do with a free hand drawing. Make sure that you're comfortable with all those things. When you apply the thing for half an hour, 40 minutes, it's going to come out nice. We're going to do look how I'm actually doing the fingers. What was the direction of the line. I didn't do it from top to bottom part of the nail. I did it left to right. These are important details that you need to pay attention. For instance, this part. I'm not just doing it because I see let's do it this way of hatching, I just want to change my hand move and the other way. I I like to do it, is the right way to do it. It's good that you follow along and practice exactly the way you see, for instance, here. Look how I'm going in between the wrinkles. Here left to right again. I what extensive hatching as well, though, for some areas. Make sure that your movements, your hatching, the they make sense. It's not too much. Now I can say that your hands, your wrist, your arm, they are all warmed up to go to the next lesson. We're almost done. Maybe let's work on another 2 minutes, and then we can have a wrist and then go to the next theaterial, and start drawing this beautiful arm from scratch on a white paper. For instance, even on tracing paper, I eliminate as some parts that I need to erase. Now, let's see if there are any areas left that we need to add. I know I have mentioned this in all the tterials and s and also in this one, but you do have access to your outlines and downloadable resources. If you couldn't do your tracing, it's fine. Just go to your downloadable resources and download this artwork and practice on that specific one. If you didn't have tracing paper, you can just print that one out. Here we're going to leave it out, here, we're going to leave it out as well. This highlights the should be pure white. This analyze, everything that we have learned here is going to be quite essential for the next theaterial. This part is very dark, these areas, and this one. We know that we have to build up a few layers, maybe two or three, or even four depends on our hand pressure. Look how I'm doing the carving us here. Almost done guys. I'm happy with this practice. We can just have a rest and go to the next lesson. For now, take care, and let me know if you had any questions in the meantime, send me your assignments and questions. Bye bye now. 26. Hand Drawing Outline First Layer Hatching: Hi, everyone, and we'll come back to the second part of this hand drawing and also hatching techniques. We are going to start working on the sketch one more time. This time, I'm going to teach you how to do it free hand style, with more structured, of course. We have already observed and analyze the sample thoroughly, and now we understand the forms, the workings of lights and shadows on it. Let's follow my hand movements. If you felt at any time, the video is quite fast for you, please slow down or stop the video and make sure that you draw the form perfectly and then resume the video. Let's follow my hand movements here. Look at the way I'm doing the measurement from the arm, the palm of the hand, the foam, starting from the top. Minimum hand pressure. I don't want to see a lot of hand pressure here. Please reduce any hand and pencil pressure here while you're adding initial layers, starting from this part now. Simplify the general forms into smaller section to understand better and draw the general forms first. As we go on, we will add more and more details to the work. Now, this is our main general form. Have you done it already? Please make sure that you have correct paper that is good for pencil drawing and maybe HP two B pencil next to you. Look how I'm going to go and delete this part. Just clean it up a bit. It's all about geometric shapes here. We have to see how I'm going to shape this part as well. Very light smooth sketching. Look closely, please repeat after me. These are the other two fingers. Please take your time. There is no rush when you're doing the outline. This is the most important part of this theaterial. As you can see, we have divided the whole hand into four parts that are considerably simpler than the forms itself yet. Try to see the hand in geometric shape. Simplify the sketch. If it's not hand, any other like hand position that you have see if it's not this example. Do the same thing as well. Analyze it first like previous part. Then after the section by section, you understood how to do it. Now we're going to go and create the real draw the form. We have the fingers that are bent. Let's keep an eye on the sample to determine the right places. Follow my hand movements. I'm pretty sure you know this. I don't need to repeat myself. But every time it's good that I mention every lesson that you can go to your downloadable resources and find the outlines if this free hand drawing is still difficult for you and you're beginning level. They're ready made outlines. Ready for you. Use erasor at any time whenever you wanted to remove the extra lines that we don't need anymore. We can also use needed erasor to remove extra guiding lines delicately from the surface. Look at my hand movements here. I'm just going through the carry parts. Excellent work so far, who were following at the same time. After you have done the main shape or raise any additional lines with minimum hand pressure, please. I don't know how many times I have repeated this, but there is no rush and we should not insist on having lots of pressure here because we want to delete raise additional lines at this point. Try with more precision, adding curves instead of sharp angles now. Step by step, we're getting closer to the shape and form of the hand. Using back and forth movement of our hands and the pencil. We are going to strengthen the lines we have drawn before and making them bolder. Look how go back and forth. Start drawing the index finger as well, creating raised shape. Use gentle curves, please. Refine with more details later. Space that you can see if you're making the lines and shape smoother. Look how doing the nails for this part. Always have your artwork next to you or in front of you. I have it, just because I want you to have a full screen for the painting for this drawing, I have it next to myself. Also, I know I'm sure that you know this point. Always have your pencils, always make your pencils sharp. Try to work in clean environments. That's why if you have less hand pressure, you can clean up all the guiding lines easily and have a clean environment, which is quite important, make sure you remove extra lines and layers when you're done with them. See how much I'm taking my time. There is no rush. After I draw the middle fingers, I'm just spending my time on this one is quite tricky this one. You have to make sure that you get it right. I think previous lesson I mentioned. When it comes to drawing different parts of either body parts or facial features, hence hand drawing can be the trickiest one. It requires loss of practice. I'm sure that you're doing this because we have two hand drawings in this course, might be difficult at the beginning, but I'm sure that you can keep up and complete your practices. Look, I'm doing this last one. I was about to say one more left, but we don't have six fingers, so it's the last one. Don't be afraid to draw your lines and forms and shapes, make mistake, erase them, and keep drawing it. This might be your first drawing example. You don't have to apply any techniques on this one. For instance, in the next part, we're going to apply the second layer of hatching. This part is all about taking our time, drawing the finger, all the shapes, and then apply the first layer of hatching. This hatching technique that we're going to learn in this part and next part as well. Using hatching and cross hatching techniques without traditional shading can create striking and expressive results. I really love this kind of hatching techniques. Here's step by step, that's how we're going to do it. This part and also next lesson. There are two connected ones. But as you know, I would like you guys after each half an hour, take a rest. And then come back to your paintings. So, I'm taking my time here, going through the basic outline, basic shape, L lightly sketching the overall shape of the hand. Use simple geometric shape to represent palm and fingers and the arm al wrist part of the hand. Of course. Then refine the outlines as much as you can. Once you have the basic shapes down, refine the outlines to more accurately reflect the contours of the fingers, joints, and palms, and the palm, and then comes at structure lines, which we should define the join finger details, slightly sketch lines after this to indicate where the joints and knuckles are. These lines will guide you hatching later, as you can see. At lines for creases in the fingers, which will help you place the hatches correctly to suggest form and movement. After we are sure about this and the form, we're going to start hatching as well. Uh For this terial, we're going to go through few parts for hatching. Because if you compare this hatching technique that I'm going to do, which we have done it maybe on some other examples. But this one, this directional hatching is really going to show itself. You see how it stands out. Start by hatching along the canes of each part of the hand. This helps to emphasize the form and the volume of hand, and then uniformity. Keep your hatching lines parallel and evenly space initially. Decide on the direction of each set of hatching lines based on the Underlying anatomic guys. For instance, along the length of the fingers. You will see what I mean in a bit we're going to go on it. But for now, I'm really trying to focus on the outlines. These are intricate details and we have to take our time. We're still going through the light sketching, overall shape of the hand. Making sure everything done accurately. Defining the joints here. Indicate where are the joints. See how cleaning up the space now. Now we're showing the places correctly to suggest form of movements of each part now, like, for instance, the joints of this area, where the main lines. Great job so far. I hope you are following and taking your time. We're adding a bit more details now. Still, even at this part, at this point, make sure the tip of your pencil is perfectly sharpen. Constantly keep an eye on the sample and refine your lines as you work as you keep working. Need erasor would be a great eraser, of course, if you could purchase for anything, I'm still using it now. Ready next to me, which I can use it immediately and apply the changes. I've already determined the right places for all the details. After we are done with the first outline, also, you can see it quite minimum hand pressure, especially here. Have a look how much pressure I'm bringing in. Then we're going to go again the outline and b b them. Try and sketching human hand is a fundamental skill for any artist students, guys, due to the hand complexity, as I mentioned. It can convey a wide range of range of emotions and actions, and it often consider one of more the more challenging subjects, due to intricate anatomy that it has. Before maybe start sketching at some point, if you wanted to know a bit more about it. I can give you some ideas about bones and the joints and muscle and tendons. Maybe we interesting for you guys to know that bones, the human hand consists of 27 bones, including fingerbones, and bones of the palm and wrist bones. All of this all of them would be 27. Each finger has three joints as well, except the fum, which has two. You can see here. Now at this point, this is the time that we actually apply more pressure because we have the main outline. These joints that you can see allow the finger to bend stretch. With your drawing, you can show that. You need to show that. I'm just not delayed. Raise the part to go on it. You can see even now, I slowed down my movements even more. Really taking my time going on for the nail part because we have a tiny triangle over there. Look here. Now you can see perfectly. If you're not h, just erase it and redo it. Even with other examples, always begin by sketching simple shapes to form the basic structure, how we did here. Use a lot of rectangulars and ovals to represent the palm and fingers. That will help you a lot. You can analyze it, especially after you have done the tracing paper example and analyze and learn what to do and how overall shape is. Then you can use a lot of geometric shapes, rectangulars, and ovals to represent the palm and fingers. It will help you getting the proportions right without barked down by details. After that, what we're doing is refining the outline. Once the basic shell shapes are in place, refine the outline to more closely resemble the contro of the hand. We need to pay attention to the natural curves like here. Exactly, I'm making sure how much caviness it does. It's not just one simple line. Look at this form. We have to pay attention to the natural curves of the fingers. Go on it, make sure you erase it if you're not happy if the cavinss is too much or less. We will add to it. Then it comes to structural details. But now we need to refine the outline. This is what we are doing. Then we're going to sketch the joints. You can do it here. We haven't done we did it in geometric form, but you can do it with circles and vals. In one of my master classes, I actually did the whole hand with circles and ovals. You can do the same thing. It serves as a guides for later detailing. Look at the difference, refining simple lines, make your painting much more beautiful. This is the difference. If you have patients, for instance, I like shorten it by a bit here. If you have patience and take your time, making sure you refine it perfectly, then your techniques going to look very beautiful. I'm just paying attention to the natural curves of here. And where are the joints? Where should be the lines here, the Kerry lines? I like those parts that fingers bend. I have to make sure that they makes sense. I e looking at my artwork and understand the details here, which serves a guide for me. Make sure that you have some final adjustments before moving to the technical parts, the techniques. Step back, review your drawing, make any necessary adjustments to the proportions. Use the eraser as as you can, lightly to create a perfect shape and reduce the harsh lines. Why we do this practice like for instance, why we just didn't end up with the tracing paper when we did it because we have already done it in the previous part. I would love that if you guys could practice from life, You will get better and better, and that's what I want as your instructor to see your progress. Practice by drawing your own hand or models hand like your parents or your partner, your friends, hands in various positions will help you a lot. Try to get your hand or maybe take a photo of it, but live models are invaluable for understanding how light interacts with the form and texture of the hand. It's fun. However, if it's not fun for some of you because even I myself I'm very shy to have someone in front of me sitting down, so I just do photographic reference. But try to use high quality photos to practice different poses and lighting conditions. This way, when I have a good photograph, I can focus on proportions. If you want to understand a bit better, the palm is roughly the size of the fingers. Have a look and you'll see, yes, the palm and the fingers, I know, sorry to say this, but the fingers they have different sizes, but overall approximately, the palm and the fingers are same size. The fingers v slightly in length, but not that much with the middle finger being the longest one. Getting these proportions right is crucial for realistic hand drawing. Even though we're not doing realistic shading, but our hatching, it is quite realistic. Also, for instance, you say, I'm doing a complex one, which this one is actually a complicated version. That's why we are doing this. It's okay that we start with a hard one. Because if you do this hand with a complex form, you can do any other form as well. For complex poses, such as clinch or a hand making intricate gesture like this one, break down the hand into even simpler geometric shapes to help manage the complex sg. The But when you do the refining your outlines here, please, I think I mentioned this thousand times in this course. Your lines should not all have the same level of darkness. You can see forces on this two parts, have a look. As you're going through it, you can see these two parts. These two are darker, comparing to this part, for instance. If you look around, you can analyze where I added more hand pressure, more pencil pressure, and the line shows more and where I did less. Drawing hands well is a skill that can take time to master. But I'm hoping this lesson, you will learn a lot to try to be persistent with your practice and develop a strong capability in this challenging area. Each one of these drawings that you're learning will improve your understanding and ability to capture the beauty and complexity of human hands. Other parts that we are doing such as the lips that we have done, the nose section, the section that we have done, and also the full patits one that we have done. It's all about practicing guys. I know you can do this, take time. Take your time and just practice. We have learned all the techniques. It's all about you just want to progress step by step. T. Again, here analyze where I'm adding more hand pressure. Of course. Also, I'm still using either T B or H pencil. You can do the HP pencil for drawing and then pencil when you're doing refining the outlines. That's fine as well. Look at all the small curves that I have done already. Going to go through the details now, wrist area, the parts that needs to more adjustment and also more details and the palm. Any questions that you have, let me know as well, you can send me your questions and artworks. Let's do the details on the palm of the hand here. Look how many I have added before we start doing the first layer of our hatching. We can add more details on the fingers, but still we don't need it that much because we're going to spend some time like maybe an hour on the hatching only. Then, are you ready let's start at our hatching technique? We're going to start from the top, the index finger shading diagonal and vertical lines. No rush and also see how I'm holding my pencil. You can use either HB or B pencil is the first layer, so it shouldn't be too dark of a pencil that you're using. Please make sure that you're holding it the same way that I'm doing B this way you can make sure that you're applying minimum hand pressure and you have a wide range of movement. Again, I go on it again in this diagonal way doing cross hatching. We are creating very pale cross hatching layer actually. We can add more later in the next part. Next lesson. But for now, we go on it and let's maintain this hand pressure overall. Do not add more. However, if you recall in the previous tateral, you saw where we have the highlights, we have the absolute whiteness, and where should be the darkest. Please follow along how we are doing the para lungs for hatching and cross hatching. Even though I'm doing it with real time practice, I think it's good that you stop the video, especially this moment and finish the hatching. Take your time because I know if you rush it, you might bring too much hand pressure and I don't want that happen to your practice. After this part, we're going to move to the other part of the fingers, index and the middle finger, then pros it with the other ones. They call it I believe ring finger and pinky finger. For the palm part, add shading to the fingers, ma continue consistent. We have already done a lot of analysis in the previous lessons, so we know the amount of hand pressure we need to apply for each part. But keep an eye on the sample both on the artwork and on the tracing paper that you have done in order for you to follow the patterns. We are doing cross hash in line with minimum hand pressure on this one, and we're done. If you felt you have done too much or some places you didn't need to know to do, just use your needed rats to take them away. Building up the layers for each part, section one by one. Please follow my hand movements here. Start hatching next to the curve part of the hand, and then slowly from there as like a guidance line. Then go towards the middle part, which is the palm area. This helps to emphasize the form and the volume of the hand. Keep your hatching lights parallel and even, please space them correctly. I know that you can see how I have decided on the direction of each, but please follow the direction of each set of hatching lights that I'm doing. Because I'm doing it based on the anatomy and along the length of each finger. All about, the uniformity of it. How is it going so far, guys? If again, you had any questions, let me know. Now I'm doing the cross for this part. Now, what left are these two fingers, and then we're going to move onto the wrist area. But first, let's go through this section. I'm holding the pencil. Now next to the line for the nail, should be darker, as you can see. Keep adding proper hatching lines with the same hand pressure that you have done for the rest of it. We need to make sure that we are the fingers similarly. We can use our mono eraser at any point that we wanted to take away or create highlights or needed eraser. Moving on to the next one. You can see it's the same hand pressure. We did the diagonal line, the hatching one, and then another one added in order to do cross following them. Next to the line should be. After this, we're going to move on to the risk area, and we are done with the first part of this lesson antaterial. If you're not tired, we can dive to the next part right away. But if you are maybe do some stretch, have something to eat, or I to say have some milk for some reason. Then we come back and move on to the last part of this theater to finish up this cross hatching and build layers. Next part is actually my favorite one because we're going to go through the second layer with more hand pressure, and we're going to love how it looks like at the end. It's going to look like a real artwork that you would like frame it and put it somewhere. I hope you enjoyed this hand drawing, one of my favorites one. You can see in between the line for the s, I went on it as well. That's how you should do it. With diagonal and vertical hatching, giving a more defined shape. Try to keep an eye on the sample for this area. For instance, you remember recall this part was darker next to the line. Making sure including all the details as well. Seems difficult at first, but I know that you're comfortable now after watching it and took your time to go through this lesson. Okay, guys, we're almost done. There's a bit here. If you had any questions, let me know, please send me your first part and second part assignment and practices, and I see you in the next part. Take care and Bybi for now. 27. Hand Drawing Second Layer Hatching: I. Hi, everyone, and welcome back to the last part of this taterial, right away with the same pencil that we were working in the previous two parts. We're going to dive in and go through the second layer of our hatching. We're going to increase our hand pressure here in order to darken this part of the foam, adding shading to hatching towards the fingers and then the wrist. Just like the beginning the last two theaterials. Please make sure we analyze the working of lights and shadow. While we're adding more layers. Now this is the main part of this theaterial. I mentioned to you, I was really looking forward to go through the last layer. We might even add another layer as well, but first of all, let's focus on this one for now. We did learn about basic outlines, the sketch, how to do the basic shape, refine the outline. Now it's all about hand pressure, increasing hand pressure on the first layer. Once the initial layer of hatching is complete, begin to cross hatch by adding another layer here with lines that cross the first set at an angle, how I'm doing here, focus this technique on areas that need more depth, such as the underside of the finger and the deeper cases. For instance, this was too, I just took off the wrinkle part, the joint part, the line. We enhance the diss. We go back and add final lines. For instance, what we are doing here, such as finger tips and around the nails. Then we can adjust the density, like increased density of your cross hatching in the shadowed area to boost the sense of the depth and volume. This part is longer than the previous two section, the previous two lessons, because we have to make sure we adjust all the details, enhance the details. For instance, if I'm spending 10 minutes on this part, I assume that you're spending like 15 minutes on this part, because you need to stop the video and repeat and then resume the video. You cannot let go and finish this part in 2 minutes. Just because you can do hatching and cross hatching doesn't mean you have to finish up quickly because that's not a good layering of. You need to take your time and do it correctly. For instance, I'm trying to have clean edges, making sure that I'm evaluating the contrast part as well. Step back. That's why I just use my needed eraser for that part because it assesses the contrast from my previous two taterials. If needed add another layer of cross hatching in the darkest area. That's what we're going to do. Just let's make sure we clean the edges, use an erasor which is needed eraser to clean up any smudges or overly dark spots that may have formed around the edges of the hand. For instance here or the finger nails. Consistency is a key here, guys. Keep your hatching lines as consistent as possible. This as to the clean how clean your work is going to come out professional, of course, when it comes to his appearance. Also, you can see the direction of my hand movements, the pencil movement, but the direction of your own hatching can significantly affect the form as you can see. This theaterial, we're just focusing to make sure that our works looks beautiful, looks like a realistic work artwork, this technique that I'm using and you're learning. The textural details, adding a free dimensional look to our subject. You can see that it's been a few minutes. I just spend on just the fum. Now I'm just moving to this part after many minutes, like spending on one small area. Look how I'm moving my hand. Slowly, in a carry way, parans next to each other in a consistent way. I add just a bit to my pencil pressure. Because this is the second layer, we're going to have another layer as well. But for now, we have to make sure the second layer looks nice, and then we have to make sure the third layer looks nice as well. This cross hatching is a method where a second set of lines is drawn across the first set. Usually at an angle, as you can see, creating a fine mesh of lines. This technique essential for building up shadows and volume in drawing. That's why we don't do it at all at once. You feel like, if I do the whole thing, but with more hand pressure, why do I need free layers? No, it's not that. You need to do this. You need to go through these stages, different angles. This technique is essential, as I mentioned for building up shadows and volume in your drawing. With one time, like doing it, just because you felt like, with more hand pressures done, no you cannot do the volume, and expect your drawing to look realistic. There's no detour here. You have to go through this and enjoy the process. That's the whole thing. After we laid down our initial hatching, we began our cross hatching by applying a second layer of lines that intersect the first. This should be space and angled, as you can see here. But here, for instance, the caves, I'm having it in the middle. So the sides have more highlights. The space and angled sh complements the direction and the cavins of our subject, enhancing the form guys rather than flattening it. A For instance, if you don't have those high lines in between, it feels like it's flat. You have to understand how to choose the angles like the angle at which you cross hatch can dramatically affect the perception of depth. Common angles include 45 degrees or 90 degrees to the initial lines, but this can vary based on shape and movement of the object you're depicting. For instance, curved surface might benefit from sly curved hatching lines, especially here. Follow the conto. Also pressure and density that I'm just doing here. This pressure on each line. For instance, let's say the line the wrinkles on the joints area, the areas that bend. That's why we have those lines. We need to have a bit more pressure and density, adjust the pressure of your pencil to vary the darkness of the light. For deeper shadows, increase the pressure and density of your cross hatching on the line as well. It's not just a simple line to do. You need to apply the cross hatching on it as well. Also use lighter pressure for areas that are closer to the light source or where less shadow is needed. Or if you have done it by mistake, or it's not just mistake, you have done it and you want to remove it, use your needed eraser. After this, for instance, after the second layer, for the third layer, or now, for instance, you can see, I keep saying second layer or third layer, but already amount fourth layer for specifically this part, the amount of time I went on it. In this step, our focus is shifted to improve the clarity and realism of drawing. Specifically this part that I'm doing fine details and textures. These are the fine lines that I'm bringing in. Just don't be afraid to do it, but you have to maintain the same colors if when I say colors, the same hand pressure you're doing. Look at the specific characteristics now. All the texture of the skin wrinkles that I'm doing. I'm just using lines curve lines here to add these details, adjusting the closeness of the lines to match the texture. I know I've mentioned it, but still you can see my pencil is sharp. Please make sure that your pencils are sharp at any stage. This is how you can achieve clear and delicate lines. Otherwise, it is impossible. I just change the direction of the curve here. Switching between hardness, grades of pencil. We just even with f pencil even. Please follow my hand movements how I'm doing. I did the carvings on this part and then I did cross hatching technique on it. I'm still keeping the highlights on the sides as well. I'm doing some If you just watch carefully, I circle around maybe two or three times. It's needed when it comes to the tip of the finger. Those are like hacks when it comes to hand drawing and it's for advanced level. This we have talked a lot, but it's quite important to remember again. You can see next to the finger nails. We have darker areas. Then when you go away from it, we have less. See how I'm adding more. All these details. Follow up my hand movements, and also specifically the direction of my hand movements, I'm doing the carvings. For instance, at this part, stop the video. Make sure you have done this Cv parallel line next to each other, and then let's resume the video. Even after we erase, we still can add our lines and layers using minimum hand pressure. There will be no trace after we removed it with eraser. We can add better technique a afterwards. Great job so far, guys. Really glad that you're following along. If you had any questions, let me know, you have access to all your downloadable resources. Also, I do have some e books for more information about like drawings, for more advanced level. If you wanted to get access to those ebooks, just message me so I can send you the link. They are not available for free, but for my students, they are. This way, I can send you the link and you receive it and go through more tips and hacks for drawing. Also, one thing that is important is about the materials. If you had any questions about the current materials that you have or one of them that you want to know my opinion, please let me know. Especially if you want to buy and you haven't purchased yet, maybe it's better to ask me. When we're buying online, we don't have access to certain brands that might be even cheaper but better, so it's good that we know about it. This part, I just the finger the nail. How I'm doing the nail, please have a look at the shading part. Precise. We needed eraser. I keep going on it, create those highlights around. We need to make sure we're emphasizing the darker corner of the nails. Use more hand pressure on these parts. The highlights. Slowly, I move away from nail, the finger nail area. Onto this part. Now, it's all about focusing and because you know all the techniques, it's all about having your focus, making sure that you're watching the at the same time and practicing at the same time. In between the two line parallel lines. When I started from the certain line, I added more pressure. Now I'm just going to do some adjustment on it. Even while you're in the middle of your practice, you can send me your questions as well if you are not sure about a certain technique, and et cetera, et cetera. It's good that we are understanding about contrasting and blending here. Contrast effectively by placing darker areas next to lighter ones to make elements pop out for a more dynamic drying. Some parts we have already done some of our final touches. But when it comes to final touches, use eraser to lift graphite for highlights or to clean up any excesses line that may have muddied the drawing. That's what I keep doing and also re evaluate the overall composition for balance in tone and detail. Making sure that the focus points draw the eye effectively and that new areas we overworked or underdeveloped. So I'm going for instance onto this. Making sure it's completely developed. Took away this part why I did this. This part had different tone and also different cross hatching, which I had to make sure they're all consistent. That's why I deleted it and I'm correcting it now. This is a great example for you guys to see. Whenever you want to correct it, because for instance, you have done some parts of your drawings, and the whole areas like three quarter of the whole whole artworks has the same technique, but one area doesn't. Of course, correct it, just go on it and either erase it or for int, if you were doing oil medium. You can even correct that part as well. It's all about adjustment, and analyze it if you have done it correctly or not. Look how my hand moves here, back hand first, and then I'm doing cross hatching on some part of it, not all of it. I will go on it and to do the other parts, but I don't want the cross hatching to be on the whole area in one go, I meant. Will go on the wrist area, the lines, adjusting my hand pressure. Continue hatching towards the palm. Sort making sure next to the lines they are darker on the wrist with diagonal hatching. I think the most important thing would be my hand movements here and how I'm doing the hatching purse. There are more details actually on the palm of the hand that we have to spend some time and to do them. This is a multi layered approach that we are doing. Beyond the second layer, you can add third four or even more layers of cross hatching each at different angles. This technique that I'm using here precisely, builds a deeper tonal range and can create a more intense depth or softer gradients. Here we are actually doing softer gradients depending on the spacing and the angles of the lines. Now we have moved on to the wrist and more towards the arm. One thing we have to c because I'm doing it now is control overlapping. With each additional layer, slightly reduce the spacing between lines in the darkest areas. This adjustment helps in creating a smoother gradient from dark to light areas. You have seen it, especially when we have done it earlier, how should be done. Now, talking about directional variation like how I'm doing each part of here, follow form curves. Adjust the direction of your hatching lines to follow the contours of the object. This helps in emphasizing the three dimensional form and make flat images appear more rounded and dynamic. When it comes to expressive textures, we should change the angle sharply in specific areas to suggest changes in textures or to draw attention to certain features such as the roughness Here is skin, but when we are doing roughness of fabric or smoothness of skin. Now here, what we should talk about is fine lines, is called micro detailing. Use the tip of a sharp penser to add very fine details such as skin pores, hair strands, if we had or subtle wrinkles. This level of details can significantly enhance the realism of your work. However, let's focus on some more layering, then we can go more towards micro detailing as well. Now I'm changing the pencil, sharpen it. I'm going to use four B, or you can use six B as well. This is the real work. The real work is going to start now, because we're going to go for the final layer, and you can see how much pressure I'm going to bring in right now. However, it's not too much, it's just I'm bringing a bit more. I have already sharpen it, it's ready, same direction. I'm control my hand. L lightly, go on the same ones, add more, as I mentioned, micro detailing here, intensify the darkness by applying more layer of cross hatching. Pressing harder here or as we're using softer pencil, which when we are talking about softer pencil, of course, higher B value, which would be four B or six B, and we should make sure that we still understand balancing light, Ensure that the lighter areas maintain their brightness, avoid overworking these sections, sometimes less is more. Because even a razor cannot create that beautiful highlight of the whiteness of the paper. One little point that I'm sure that you know, however it's good maybe mentioning. Keep some safe distance between your hand and the surface, and if you cannot do it, you forget and you go on your main out all your shadings and you're going to smudge all over, maybe have some piece of paper underneath your hand. I'm actually having the same effort here. However, because I have changed my pencil to a softer pencil like four B or six B, I'm creating those hatching lines that I need for this layer. That intensity that we need. Just make sure you're using enough pressure, but not too much with sharp tip of a pencil. Look at my handbook as m applying more and more. Repeat after me, please. You can emphasize the lights by using your needed eraser as well. Do you have any questions so far? Please, for instance, if you have a certain question at this moment, just stop the video, send me your message or DM me, and then I can answer you while you are going through this assignment, this practice. Some emphasize on the lights by using the needed eraser here. Making sure that going through these lines as well, adding more Micro details. I don't know why it makes me smile whenever I say micro details. A. Look how I change the hand direction and doing a beautiful cross hatching here. Keep looking at the sample, so keep an eye on the sample and find darker parts where they are. You have already done it. Let's build up layers for this area as well. Depending the shadows, this area this specific area require more depth. Applying more layer of cross hatching. Let's press it a bit harder now. I'm just going to emphasize on the line as well. Just some parts of it, not all of it. Especially the t part of the finger, see how much I emphasize, and then I gone it and take away some of the extreme bonds. Because we need it to be neatly done. And balancing the light between the main outline and the cross hatching. We should maintain the brightness. We should avoid overworking, especially the t part of the finger, as you can see here. Now it's all about repeating the process. I'm going to do the same thing for all all the other areas as well. Just deleted this part because this part we had some highlights. Let's see how I'm going to do this one. Please follow along. Make sure you understand that I'm doing some part of the finger, not all of it. Look at the cross, which area I did it and which area I didn't. Emphasize on this outline as well. You can see the canes between the joints are different. They are not the same. If you look at these two parts and compare them, you see they are not the same. Also, this part as well. Please follow and right now is all follow along and imitate what you're seeing. After a while you can analyze and just do the w you want as well. Step back frequently, from your work allows you to see it from a new perspective, it has a good overall effect on your hatching and detailing when you do that. Another way you can assess your work without for instance showing me or any other person is not by actually looking at it. The interesting part is that looking at your drawing a mirror, would be a good move to do. Trust me. Try it or flipping it upside down can help you see areas that might need more work or correction. Don't be afraid to do it. When I was much younger, way younger, I didn't have this confidence maybe or I was not brave enough to keep looking at my art and make sure I get a good assessment or feedback because I was maybe I'm not good enough. That's why Probably I didn't want to do it, but it's the wrong way. That's why at this stage, at the earliest stages of your work. I would be really grateful if you don't do my mistake. Make sure that you keep getting feedbacks, looking at your artwork. Either if you don't want to show it to people like use mirror or flip it around upside down so you can see where you can work more. Just don't leave it hanging. Just work on it a bit more. It's okay. Every time you practice more and more, you get better and better. I'm always there to give you feedback. Going to continue hitching with more pressure here. I just use some pencil as mono eraser. And also use needed erator if you need to, which we needed to for this area. I'm sure that you know each lesson, each part designed is joined by carefully designed assignments for you guys. When you're done with a lesson, maybe make sure that you go through them and practice. There are reminders of how we have done this course, what kind of tips we have done the hacks, the picture of the work, so you can print out and work from it. For now, we're going to continue emphasizing the hatching layers, closer to the palm. The direction of this part was quite important, guys, because this pinky finger, we have to careful to create that bendiness, and the crees of it. But I still have to make sure when I'm deepening the shadows and balancing the light as well, maintaining the correct good brightness. Avoid overworking on some of the parts. Yeah. Let's adjust the pressure of my pencil here. Quite important to follow the cavines, and the way I'm moving the pencil is extremely important guys here. If you do this part wrong, the whole drawing is not going to come out correctly. Please make sure that you practice left to right hand movements a lot before applying it here. I can insist more, but this hatching requires line practice. It's all about your wrist movements. Left and right, left and right, try to do your line drawings, and then to do cross hatching, especially this cross hatching has that caness onto it as well. They're not all the straight lines. They might be a bit more challenging. I'm just connecting between two, but not too much. That's the beauty of it. Refining and detailing now. Going more through the textures of the skin and wrinkles of this area, following the pattern. Understand the reflection of the light. You can see I'm just adjusting the closeness of the lines to match the texture. We are towards the end of this lesson as well. I hope you have enjoyed this so far. Let's add more details where we need, and then we are done. This part of the palm had way more than cross hatching. We did so many layers, that if we didn't do it from the beginning layer by layer, it would have been confusing. That's why we had a previous lesson to go through just one layering and then now we added layer by layer, so you don't get confused how it's done. Just adding intricate details. Consider using a sharp pencil guys to achieve clear delicate lines for this area. How many times I changed my hand direction here, I lost the count. Going in between them, so we don't have absolute highlight in the middle of it. Analyzing where else we need because we keep looking at the artwork to see, here, I need to add a bit more Now, here, these are the last parts, the last details. Look how I'm holding the pencil. That's quite important this part. How I'm using is more straight, more different from this part. I just change my hand direction. Slowly, going next to the outline and go towards the finger. And we should do cross again from the outline and again on it as well, another layer. It's all important to do section by section. How is it going so far? I hope you really enjoyed this lesson. I really love these three parts of our hand drawing and hatching. As you know, this is my favorite technique, this kind of hatching. I hope you enjoyed it as well. If you had any questions like either for this lesson or other theateria, let me know. I'm always online to answer you. I see you in the next theater for now, take care and bye bye. 28. Hand Gesture Outline: H i, everyone, and welcome back to another torial. After previous lesson that we learn hand drawing and also the hatching style. We're going to go through the same method. But this time, our hand position and the direction, the way it looks like is different. This is a practice, whoever wants to do hand practice more, this is a great theorial for you guys. But if you want to go through another lesson which has different examples, please feel free to do so as well. We're going to do the drawing hand, using hatching and cross hatching techniques again, as you have seen in the previous lesson. Going to create striking and expressive results. Step by step, I will guide you to help you to capture the intricate details and contours of a hand using linear techniques. Just follow my movements, see how I'm doing it as you can see. Again, I put a tracing paper on the artwork, so we could practice the outlines and how it should looks like. This is in order to warm up your hand before we go on our main paper. Again, I'm going to teach you how to do this free hand style in the next tuaria. I have put this certain hand drawing onto three different taaria for you guys. Have a look. For instance, this is the side of the finger and the nails. Now I'm going to do the last one. Just finishing up the left side of the hand. Then I'm going to analyze where should be the dark parts, the shadows, where I need to do more hatching, a few layers of it, and then where we need highlights. Look at this side of the poll and all the wrinkles. Especially this area. I'm just going to go through them a little faster. This is not the real time. I have sped up a little this part because in the previous theateral, the previous hand drawing, you have learned how to do this. This is just another example for you to see and practice. What you should do, you should either go to the next lesson if you want to learn the free hand style, or when it comes to this one, you know exactly what to do. You put the tracing paper on your printed artwork, and then you understand where and how to do all the outlines. I'm just going to go through the dark areas such as here, the shadow of the fingers on the palm. Where are the joints and all the wrinkles. Start try to do lightly sketching, the overall shape of the hand. Now, this part, look at my hand movements, left to right, I'm doing it. Now this part. You can see the Carnes, all the lines parallel next to each other. In one lane, I have to say, and then I went on it again for for the part next to it. See how I'm analyzing it, then I'm going to have this tracing paper and the picture next to me for the next taterial. T. Actually, we're going to do the free hand terial in this lesson as well. Just keep watching it and the practice. In few minutes, we're going to go through the outline on how to do it. If you have your tracing paper, I would love to see how you have analyzed your artwork. Also, if you want to do any other hand drawing, like maybe is a fist or the position is different, please let me know. I do et keep going adding this parts. Some here. Look at my hand direction. I won't leave any part B, make sure that I go around. Great ones here and the wrist area on the side. That's why you can see the middle part of the wrist. We have highlights and also these areas they're all highlights. We have to be careful to keep the wideness of the paper. We're going to continue on these areas. Look here. The best practice is to follow along to see where I'm going to locate the highlights, as you can see here, and if I locate it, how I'm going to do the hatching. Comparing for and this one should be left or right in this way. This is a great practice. Then for and this one on the nail, look at the location, look at my hand movements and how I'm placed in the hatching. Just going around, these are the last parts. Make sure that you have your paper ready and your pencils. You can use either HB or two B and four B pencils. I'm going to teach you how to do all these areas that you can see and how to analyze it in a few minutes. These parts, the highlights, do not go on them. Let's have the whiteness of the paper. We're almost done. I hope you did warm up, you're ready, and then we're going to move on to the real dry, the free hand style. Let's see if any part. That's it, guys. All right. Now it's time to move on from this one. We're going to start with the basic outline. Let's sketch the basic shape, start by lightly sketching the overall shape of the hand, using geometric shapes. This part might take some time. But that's quite important, guys. You take your time and make sure you're following along quite important part of the drawing because if your main outline is done correctly, then the hatching part and the techniques when we apply is going to come out quite nicely. Go on it, I have the artwork next to me and I'm looking how to do. Se I'm using different rectangular shapes. A would be great while you're doing this light sketching, the overall shape, whatever you're seeing, stop the video and then draw exactly what you see on the screen, follow my hand movements, watch it again, make sure you're outline correct, especially at this stage, and then resume the video. We have to make sure that these geometric shapes represent the palm and the fingers. Then after we're done with this one, as you know, we're going to do refine the outline. Once we have the basic shapes down, we have to refine the outlines to more accurately reflect the contours of the fingers, joints, and palm. We're going to sketch. Again, when I say lightly means no hand pressure because we're going to erase all of these. You have to make sure that lightly sketch lines to indicate where the joints and knuckles are. All of these lines, after we have finished the geometric ones, we're going to go on them and make sure that we do it in the hand form, I mean, and then we will add the hatching later. Now it's time to go through the form again and correct to do the main outline, refine the outline. Because we have the basic shape down. We're going to go through all of them, and please follow my hand movements. I'm doing it. We will add the line on the fingers. Go on to the second one. This one can be a tricky, so you have to make sure you follow along exactly. Look, now I'm going to clean up the guiding lines with our needed as. If you had any questions regarding the drawing parts or anything similar, let me know. I believe in the previous t utorial, I mentioned to you that when it comes to draw different part of let's say port our portrait facial features or hands or feet, toes or anything. Hands and fingers are the trickiest one. We really have to make sure that everything is done correctly. Otherwise it's going to come out quite weird. The amount of time I'm going to spend going through this finger, for instance, it will be more like I do a lips drawing or nose drawing. So let's move on to this part. Just doing the last touches for this area before moving to the pinky finger. The smallest one. If you recall when we were doing practice like a few minutes ago, we just have to follow the what we have learned. Let's clean up the guiding lines. For instance, after I finished the nail part, I'm not sure about the left side of the outline, so I'm going to just correct it. If you're unsure about the part and you keep want to work on it, please do so. Because I'm using the minimum hand pressure and pencil pressure, I can keep cle up, so it's okay. Now, here, I'm going to make sure all the locations are correct here. And then I'm going to get rid of all the guiding lines. This is the lighter sketch. Then we're going to go on even the light sketch and refine everything, make it even better and better. We have different stages. You saw that we had a practice stage. We warmed up our hand, understood and analyzed the work. I just didn't dive in right away to the use lines. I made sure that I do practice, understand what's going on and the location of each part. And then the geometric one. I put everything there. I was like, this is fine, this is correct, and then I went on it, which is this is a fird stage. I can't say. Then after that, we're going to make sure all the outlines are done correctly. This is the first layer, the first stage of the outline. Until I make sure this part is okay. I'm not going to let it go. So let's clean it up one more time, redo it. It's getting there. I keep looking at the artwork. That's why I keep cleaning up and make sure the size is okay. We can do the pencil, for instance. This was the size for here. And now after a mature of the size from the artwork size. If you couldn't do this free hand and what you are seeing, even though I asked you to do the geometric one, then stop the video and make sure that you're doing everything correctly. You can go to your downloadable resources, which you have all of this one, all the outlines, and the grids, then it would be easier for you to do all of this. Now we are going on the main outline, just making sure everything is okay. I think I've said it many times, these hashing techniques that we're going to learn on this quite my favorite technique. Quite pretty. Comparing to shading shading is very nice as well. It just is more time consuming. Whenever you have one more hour time, I prefer to do shading. But when you want to spend like 1 hour less or two hour less, this is a great technique to learn and to do realistic. Technique, hatching style and any subjects that you want to draw. Go through the joints, the areas that bend, so they have wrinkles. Keep looking at the artwork and use my needed eraser if needed. We're doing the finger details now. This will help us to place the hatch and the hatches correctly to suggest form and movement. Moving on to this part now. The second one, the second finger, which is the middle finger here. I'm going to do the curve lines. This part so be a bit different. Follow my hand movements, please. In this theateral, we're just going to go through the outlines. For you to get it right, then you can have a rest and in the next lesson, we're going to do the first layer of hatching. This again, like previous lesson drawing, it has three. Going to make this part a bit bet now. Go through the nail. The finger nail here. It doesn't matter you spend like 1 minute or 10 minutes on one. Just make sure that you are happy with the outline before moving on. Even if you have doubt, like one person doubt, that is not correctly done. Just take your time, redo it, make sure you practice, and you can see that is correct. Because there is no point actually to draw it in a sty way that nothing is correct, because we just want to apply the techniques. It's not going to come out nice or interesting, and then we can lose our interest in drawing, just because we didn't spend five more minutes on the outlines. This is quite important titerial, more important than any techniques. So it's worth it when I spent 20 minutes or half an hour just on the itself. So if you were not sure, just make sure that you do look at the outlines that I have put for your onto your downloadable resources, or you have learned pencil measurement, just to do pencil measurements. I. To connect these two parts together, and then we can move to the last finger. I really need to have the eraser in my hand because I need a lot of correction on this one. As I mentioned at the beginning of thesis, drawing can be very tricky. You need to spend more time on it. Almost done with this one as well. Done with this part. I'm also going to clean up these areas and refine the line on one side before going more towards the See how I'm just connecting these areas together. This one is quite important. You follow along. L all of them, please make sure that you follow along at the same time. Since we're reaching the end of this lesson, please let me know if you had any questions, I'm always online to answer all your que, through your assignments as well. You can go through more information through your assignments. 29. Hand Gesture First Layer: Hi, everyone, and welcome back to the second part of this theaterial. In today's video, we are going to do the first layer hatching on this handwriting. As you know, in the first part, we went through the sketching, the outlines, how to refine the outlines. Now, we have done the practice, the hatching practice, even in the previous taterials. We're going to just go through everything that we have analyzed and apply it here. I carefully start from the t part of the index finger shaping the dark areas with diagonal lines and creating vertical and straight lines d across hatching. As I mentioned, this is the first layer. If you go through the end of the taterial, for instance, especially next part, which is the next tarial, you see the end results. If you for instance, think, right, let me do the whole layers in one go. Why should I not just spend more time to do a few layerings? That's not the right way. You need to make sure that you do the layers and you build up all those layers with each other. Have you look at my hand movements and follow along, you can change your pencil either to two or four V. Four V is the best one for the next tterial. Because we need darker ones for darker areas. For brighter areas, I avoid hatching. We are still analyzing the sample, which we have done as well and working on the light and the shadow areas. For the darker parts, as you can see, I'm going to add more hatching style and techniques. Pay attention to the parallel lines that I'm adding to these parts, medium layer, mid tones, You will see when we are doing the hatching ones, how are we going to do the opposite direction of the first layer. Not in all cases, but you will see where I'm adding, the most important part is to follow along and control your hand pressure while we're building up the layers one by one. Consider all the details, the shadows on the palm of the hand and add your hatching line according to the form that you see, for instance, this part. There are some areas that they are lighter, so I leave them B. Now I have done two layers on this one before moving to the middle finger one. Darken the spaces between them. Especially let's go on the nail. Look how going on it, do base layer. If you had any questions about the hatching techniques or any of the base layers or the second layers that I'm doing here, please let me know. For instance, if you're not sure about your hand pressure, you can send me your examples and I can guide you better. Let's create a subtle hatching minimum hand pressure to create the texture that shows the form. We need to demonstrate the lighter layers comparison with the darker ones. You will see which parts we have intense slight and which part we don't. We have seen it in the previous material and analyze it, but we have to up them. We have to understand them now, and remember, of course. Let's use the wideness of the paper as much as we can. In the previous hand drawing, we had a different example. You learned about how to begin hatching. But it's good that we revise. We remind ourselves that it's important to go through the hand direction, the minimum hand pressure at the beginning, and also directional hatching. Start by hatching along the of each part of the hand. This helps to emphasize the form and the volume. Keep your hatching lines parallel and evenly spaced. At the very beginning. You have to make sure for instance here, we have the dark parts. You have to make the decision on the direction of each set of hatching line based on the underlying anatomy. For instance, along the lengths of the fingers. For these areas, we really need to define the joints, lightly hatch the hatch around the lines to indicate where the joints and knuckles are. Look my hand movements, how I'm creating that ces, the feeling of it. We add more lines and do cross hatching on it. You need to understand first to do vertical or horizontal. First, you need to create that caness on the finger and then do cross hatching on it, correctly, suggest the form and the movements. That's why we are doing it like this. The direction of your hatching is extremely important, guys. Start by hatching along the cavin as I mentioned. Try to keep them parallel and even. Before I start any part, for instance, on this finger, I make sure that I decide on the direction of my hand, the direction of my pencil, how I'm holding the pencil. For instance here, look how evenly I'm doing the parallel lines, and then how I connect them. Now I just change the direction of the hand. Then we do the cross hatching for depth. Once the initial hatching is completed, for example, for each area, begin to do cross hatch by adding another layer of lines that cross the first set at an angle. Here, you saw exactly, this is what I mean. The first layer of this V parael lines finished, then I'm going to do the cross hatching on it by adding another layer of lines that crosses the first one with this angle of my hand movement. Now, another one to define the shape even more and then emphasize on the first layer. For now, specifically in this part, the second part of our tateral, before we go to the next lesson, we're going to focus on the fingers now instead of the palm and the wrist. I want you to get more comfortable when you do the finger ing and the wrinkles. All those areas that needs to have highlights and shadows. Another initial layer here of the hatching and also on the finger nail paw part. L doing this form and going between the lines. Emphasize under lines even more. Focus this technique on these areas which need more depth, such as undersides of the fingers and deeper creases. It's all about also pressure variations. Use different pressures to create range of tonal values. Lighter pressure for lighter areas and harder pressure for darker areas help in adding contrast. Now we're going to go back from the beginning. As you can see, start adding more pressure, the same directions that we have done. Follow along, please, either you put add more pressure on your pencil or you change your pencil to two B or four B, depending on the previous one you have been using. If you were using for instance two B, the previous version, the first layer, then you have to use four B now. Because if you work for instance two, if you add more pressure on the two B, that's fine. But if you want to have even better quality work, this is the best way to do different layers, hatching and hatching. We go back onto these areas that need more details. Especially the fingertips around the nails, for this around the joints, the wrinkles. Also make sure that your pencil do sharp every time you are doing this and follow my hand movements. Then we can to adjust the density, increase the density of our cross hatching in the shadows area to boost the scent of depth and volume. If you are not happy with it, just delete it or it's not like deleted, raise it, and then add the hatching lines again on it. As you know, consistency is key. Make sure all your hatching lines keep your hatching lines as consistent as possible. This add to the cleanliness and professional appearance of your drawing. Even though I have mentioned many times, but direction matters, the direction of your, the direction of your hand can significantly affect how the form is perceived. Align hatching with natural flow of the anatomy. That's what's important. Adding a bit more pressure on this part because we just erased the previous layers, and then we're going to create some highlights with our needed eraser on this area. L et's move faster this pars and develop these shadows to create more depth. We're just doing some fine tuning. It feels like texturing, create those textures with our hatching and cross hatching. I'm just doing more details now. Look how I take my time to do these details here. We need to focus on the proportion as well. The the proportion of the fingers should vary slightly in length. But this one is even trickier. Let's redo this part. I felt like we could do the hatching even and better. Look at my hand direction, how I'm doing this. T. Do some more cross hatching here. I'm sure that you're familiar with cross hatching, which is a method where second sets of line is drawn across the first set. Usually at this angle, different angles that you're seeing helps us building up shadows and volume in our dw. We are almost done with this finger, and then we got to move to the next one. Change the angle of the. This might be the or the first one that we have done, the layering. If you recall previous Titerial. You remember that we did this for the same. I'm just applying it free hand style here because we have learned how to do it and where are the shadows and the highlights. I go around it with our needle eraser and clean it up and keep adding the layers. Make sure you choose your angles correctly. You can see when near the lines, the hand directions is different. A After we have added more layers again back to the first finger, let's create some highlights on it. After eliminating those areas, and this is how you add more with the same hand pressure. Don't worry, in the next, we're going to go on it with more hand pressure and a darker pencil and do the last hatching techniques on it with a different pressure and density. We add some curvy horizontal lines here in the middle of it. Let's adjust the pressure of our pencil. On the lines for deeper shadows around them, let's increase the pressure and density, and then we do cross hatching. First, we do do horizontal curvy lines. Then when we make sure that we have some pressure on them, we do the cross hatching. This time, the curve needed to be the other way around because of the way the hand is right now, the direction and the position of the hand. It makes sense. H. Now, please have a look, how much pressure am I adding on the main outline. Then I'm going to go near the nail and how I'm doing the cross hatch here, small parle langs next to each other, and then another one cross hatch with the different angle. Let's emphasize on this part as well. I'm just doing sharpening my pencil now because every time you f you don't have a sharp pencil, please do that. Let's continue now. S cling this part and then we redo the line on it, refine it. We're going to improve the clarity of the line with fine details and textures. We have to make sure we understand the characteristic of skin, wrinkles, all those specific details on the hand. We have to understand that maybe look at your hands or look at some pictures online to know more about your subjects before you start doing it before you start drawing it. For this part, they had more intricate details. We consider using a sharper pencil or a finer tip to achieve clear and delicate lines. Especially here, I'm adjusting the line weight. The weight of the lines by changing pencil pressure here. More hand pressure. When it comes to lighter lines, less hand pressure or with more different pencil, like maybe HB or H or two H pencil, but this time, this is sufficient. You can see what we are doing. We use contrast effectively here by placing darker lines next to lighter lines to make elements pop out for more dynamic drying, all those dynamic effects. When for example for this part, blend some of the hatching slightly. When we say blending them, when you do cross hatching or to do more cross hatching or sometimes you have seen with my finger. I go on it and blend it together. You can do it with blending stom as well, but I don't suggest it for now specifically for this lesson. How is it going so far? I hope you're practicing at the same time, Let's add more pressure here. You can see just creating that dark shadows around here. Now go around the fingertip to do some cross here. Let's analyze different tones, especially in areas between the lines, the finger lines, the skin, the hard lines. We should make sure they don't look unnatural. We are doing some final touches here. If you needed to use eraser to lift graphite, if you didn't do it correctly, you can redo it. That's fine as well, or you can clean up some excess lines that may have the drawing. Then since we are finishing this theaterial now, we're going to continue the rest in the next taterial. Make sure you re evaluate overall composition for balance in tone and detail. Make sure that the focus point has been done correctly, so it's not overworked or underdeveloped. That's what I mean. Look how I'm doing this part. For instance, darker on the right side and lighter on the left side, even more now. More hand pressure on the right side of the fingernail. More shadows underneath it. I just need to do some correction here because after I looked at it, we need to do some tuning here. That's exactly what I did. I re evaluate the overall composition here. Make sure that that part maybe is lighter. Doing some cross here, look at the angles. Just create a bit more highlights here. Let's correct it and have more I wanted to say whiteness, would highlight the slash whiteness, I have to say, At this stage of work, what matters the most is making sure that we carefully following the patterns of lights and shadows, adding them accurrently, and building them up. Determine the right places for the darker shadows and add them with hatching lines. According for instance to form here. Really paying attention to the wrinkles and the parts, the fingers that they can bend to add darker lines, but pay attention to add them accurately. Look specifically here. Look at my hand movements and clean any part that has been done too much. All guys, we have reached the end of this theater. We're going to continue this lesson in the next part. Have a res and I see you in the next part. Bye bye. 30. Hand Gesture Second Shading: Hi, everyone, and welcome back to the last part of this taterial. We have gone through first part and second part previous lessons. Now, right away, let's dive in with our needed eraser. We're going to go on the finger ls and create more highlights. As you saw at the very beginning of this lesson, I showed you the end results, so that's what we want to achieve. Let's carry on. Now we're going to go through these parts again and do our hatching and cross hatching according to the lines. Please follow along. If you had any questions, let me know while you're doing any of the parts, because for instance, this course had a free section and taterials. You can just do the outline, then ask me if it's correct, then do the first layer of hatching, then send me your progress. We can see, then you can carry on. Make sure your pencils are sharp. If for instance, this pencil is getting really short, you can use pencil holder or pencil extender, they call it. The wooden version, that will be really nice, you have more control over your pencils. We just cleaned up this one in order to redo it with a sharper pencil to have a better hatching and cross hatching on it. Depending on what pencil you are using, either use two B or four B for this part. Emphasize on the main lines, let's adjust the pressure to complete the drawing. It's very important to keep an eye on how I'm working on different parts and then try to rep it after me. Even if I'm correcting some parts, it's ok, don't worry about it. It's great that if you do that as well, you will understand how to do correction on your drawings and hatching. It will be worth it. I remind you that you have access to your downloadable resources, thee, the ready made outlines and grids. My suggestion is that go through them, have a look at them before you start any of the theaterias, for all of them, not just this ones. Every thei in this course, they have specific downloadable resources. Look at my hand movements going through this part, working on the form and adding some highlights with the needed eraser on the thumb, which is partially visible here. So some parts of it not visible, so we have to make sure we do it correctly and do the cross hatching correctly. This might be your first time to do hand drawing and hatching if we didn't go through the previous tateras, which we had the other hand example. But remember that practice makes peerwect, your drawings might not looks like this, any of your drawings. Don't let it discourage you. You really need to practice. I have done maybe hundreds of hand drawings so far, even more than hundreds. I make sure I observe, analyze my work, and I have learned all the tips, the tricks, the hacks. That's why we are going through a faster version. You know all of them, that I spent many years to learn them. Now you're learning them as well here. Really grateful you chose to have my course and I hope that you're learning here and progressing. Look how I'm creating the highlights on this part, going on the main outline, refine it, draw a fier line feels like. But in a delicate way, step by step, we're going to make our line bolder, which we have done it. Look at my hand movements, the way I'm doing the, different directions, going in between the lines. Very important you follow along and do it how you see and place them correct area. Whenever you need and you see that I'm using needed eraser, have it ready next to you, so you can easily modify your lines on a spot. Let's look closely at my hand movements here behind the fam, creating the shadow. Overall the analyze overall shape of the shadows as well before you do that because some of them might feel like triangle shapes or some of them square feeling. For instance here, let's do the lines on the palm of the hand. Since we are progressing, we really need to have a clean work space guys. Every time because we are working with pencil, what's important to remember, if you cannot control your hand movements, which many of the students at the very beginning, beginner levels, they cannot, have a piece of paper underneath your hand, so you don't smudge all over your drawing. You have a clean paper. Now I've done the lines. Look closely, if you need to use your needed eraser, remove extra lines. And draw it again. Using a very sharp pencil for this part, well for all of my lessons in this course. Adding cross hatching, lightly shade in this area, the lines on the palm of hand, as we have already drawn the main lines. Start adding more lines on this area. Look how I change my hand. More towards this pace. Don't make sure that when you need to change your hand direction, you even move your body as well. For instance, if you're sitting on a chair, just move your chair maybe towards left side, so you have more control on your hand and wrist. Let's refine the lines here, Let's follow along the line and move away from it like this until here. Excellent work so far. This shape is showing now, we are getting there. The next step is working on this area. Then we're going to add more details on them. We have to make sure is concave part or convex part, how they are, and add the lines accorrectly. And according to the shape. There is always room for making it better, more development. Feel free to work on your lines and layers as many times as you need, edit them, adjust them. It's okay. Just the more you practice, the better you get. Now here, you remember we had lots of highlights. If you recall the first tutorial. This part of the palm, we had lots of highlights and we have to keep the whiteness of the paper. We also had lots of shadows, which I'm working on it now. Going in between them. You don't need to move your hands as fast as I'm moving, take your time. Doing some second layer here. Add more details, really controlling my hand pressure here. I have to make sure that carefully I control my hand pressure minimum especially here because if it's not, you have to it and then redo it. Now, again, from the lines at more pressure, refine the line. Change the direction of my hand movements again. We are creating a pale cross hatching layer here, compared to the other parts we have done so far. Even paler one here, the least hand pressure, these areas, let's maintain it whenever we go around it and not overdo it. Consistently adding the hatching lines, den towards the par, the palm area, Now do cross hatching on this one. How's it going so far, guys, Are you following along? Do you have any questions? For instance, I know I have said if you have any questions, but when I'm asking now, maybe paseive with you, write your questions down or send me right now, or you can write all your questions at once and send them all together. Either you can directly message me, or we do have a community. You can message, so your fellow students, your fellow artists can see your progress, and they can post their artworks as well. This way, we can encourage ourselves to do and to work more. Here, what I have done, I was too much shading. So we had lots of highlights here. We needed to reduce it in order to minimize our hand pressure and add less hatching. L et's move on to the wrist area. The lines quite different. See how neat they are. Now diagonal hatching, less consistent. Now, if you want to redo it, let's see how we can change our hand direction and go around. Refine the lines. We have entered a advanced cross hatching now, because we are doing multi layer approach. Whenever you do beyond the second layer, you are doing advanced layering. You can add the f or the four or fifth, even more layers of cross ching each at different angles. Depending on the spacing and angles of the line. Like here, just sit the diagonal version on a vertical hatching that we have done underneath the layer. Here, when it comes to advanced cross thing, we have to have controlled overlapping. What I mean with each additional layer, slightly reduced spacing between lines and the darkest area. These adjustments helps in creating a smoother gradient from dark to light areas. Work on this part, Let's add more hand pressure because if we have a certain hand pressure on the wrist and the hatching on those parts, we have to do the same thing around the palm as well, although the corner areas. Otherwise, it's going to looks weird and not advance. We have to be consistent guys. Follow the for the c form curves. We're adjusting the direction of the hatching lines to follow the contours of the object. We have a lot of expressive textures here. Can you see different angles, how many direction I have done it? That's very expressive. When we change the angles and sh, like what I'm doing here in specific areas such as the wrist, suggests changes in texture or it draws attention to certain features. That's why it's very expressive. Now, what we're going to do, this is the main part of our drawing, and this part is my favorite part because we have done it, we are confident about it. We're going to go through the whole hand drawings, all the hatching and add the best and darkest hatching that we can on it. Not too much, but just according to what we have done, especially around the wrist area, this part, then we're going to have the same tone rest of the hands as well. See how many times I have done different cross hatching on it. Let's work on these areas more even. Control your hand, the carvings here, create fine lines to create in order to create excellent and subtle textures. Add more details on this area. Now we have done it. We have the main form. We just have to go on it with more hand pressure and complete it. Then we are almost done with this theater. Back and fors. The darkest part of hatching should be here. But still control your the lights and everything. Still we have to control it, but we have to make it as as possible with enough hand pressure. Refind the line, the line on the nail. If you were not happy about it, like me, I wanted to do a different direction of hatching on it. Let's do that because now either it makes sense or you want to do correction on it. Even you have done different analysis or you have done it before on your tracing paper, when it comes to the real drawing and hatching techniques, you have to see what's going on under. You understand better after you have done it, you're like, Okay, looks good, or maybe no it doesn't look good, I'm just going to delete it. I'm just going to erase it and redo it. Which is completely fine, guys. About you and your imagination, your creativity as well. Because you have learned the techniques, you know how to apply them. Now it's about tuning them, refining them, depending the shadows right areas in the areas that requires more depth, intensify the darkness by applying more layers of cross hatching because you have learned it, how to do it, and if you have done it, you didn't like it and erase it, it all depends on you. After you have done a few practices, you know where to press harder or use a softer pencil like B values pencils. Now of here should have some balance light, maintain the brightness. We need to even avoid overworking these sections, the middle part sections, sometimes less is more. Beautiful hatching here. G on the shadows even more on these parts. The overlap, the overlap so make sense. That's why we have to reduce this part and redo it because it didn't make sense. It didn't look natural. That's why we have to do it again. Now to do the same thing on the other point. We need to assess our work, evaluate our work. Make sure sometimes you step back from your work, see it from a new perspective, assess the balance, the overall effect of your hatching and detailing. See if you need to erase it and redo it, or if you have overdone it, We're almost done with this taterial, but these details that I'm adding are the most important ones, compared to anything else that I have done so far. If you do everything, but you don't add these interesting lines with good hand pressure, our drawing is not going to look good at the end. Adding last bits of details. While we are finishing up this practice, we need to mention about practice because practice is key to mastering all these techniques. For instance, if you have done this hand, maybe do a second time or time a few times and see your progress. Then you'll understand you will observe how lights with different surfaces and forms. You will understand where and how to apply these advanced hatching techniques. Even though you're watching it, only by watching and one time applying it, you're not going to master it. Your muscle memory is not trained yet. You need to do it few times so you memorize these techniques. Then without watching, you know how to apply any techniques. For instance, when it comes to the hatching, when it comes to give volumes or to create more highlights or to erase and redo it. All these things depends on your practice. A few more lines, wrinkles feeling lines here, here as well. Doing the last bit of cross hatching, and then we're done. How was it, guys? Did you enjoy this theaterial as much as I did? Please send me your assignments, your practices, this one, the previous two theaals, and if you had any questions, let me know, and I see you in the next theaterial. Bop by now, D. 31. Portrait Grid Method : Hi, everyone, and welcome back to another taterial. In today's video, we are going to go through this beautiful portrait drawing from scratch. We have the artwork printed out on the right side. I chose this portrait, and then we have our blank paper next to the artwork. I have prepared a ruler because in this torial, the first part, we are going to learn how to do grids. I know in your downloadable resources, you do have access to ready made outlines and grids, but it's good that you learn how to do this as well. The measurement is well, my measurement is usually centimeters. I'm going to do three by 3 centimeters. That's going to be the square patterns on my model. Each measuring is going to be three by three. However, if you wanted to see another measurement, please ask Google and how to do different measurements. I replicate these square lines on my drawing paper, creating a puzzle like arrangement. I continue discrete across the entire paper. Please follow along and you see how I'm going to do that. First, on the artwork, I'm going to place my ruler and then have a look, and this is a four as well. Probably we're going to have to have nine rows. As you can see, let's start here, one, two, three, four and five. We have done it. Let's do the corner sides as well. Now let's go towards the bottom part, the end part. Let's do the same thing. We will. You can see that this is on A four paper. We have to continue the same one. Two. Make sure it's correct, three, four, five, and the last one. I counted one more because I counted the first part as well, which I didn't do it at the very beginning, so don't get confused. Now let's connect them because the last one is not a full square. I can see it perfectly, but maybe because under camera that I'm filling this taterial, it might not show perfectly, but it still is visible. L et's connect them. This is a very important part, guys. Please make sure that you take your time while doing this. I'm going to connect the lines from the top to the bottom and from right to left. Let's try to work with bold and distinct line that it shows. While I'm doing this, let's talk setting up grids, creating a grid on the reference image. Usually you select a reference, such as this one, the one that you enjoy doing it, the one that you want to practice. Because if you like your artwork, you're going to spend a lot of time doing it. Maybe your favorite actor or actress, model, or your idol, whoever it is, as long as you are happy with your tw, you're going to enjoy the whole process. For instance, this is a two hour and a half tuial. Which is it has four parts. However, I'm going to enjoy this because I quite like this artwork that you can see. Choose a clear and high resolution portrait for photos guys. This will be a reference image throughout the drawing process. After we printed it, we're going to draw the grid lines. As you saw, we're going to use a ruler, draw grid over the printed image, make each square three by three centimeter, resulting in grid that divides the image into nine squares. Use a light pencil as well, but make sure that is visible. What's the purpose of using grids? Proportion control. Grids help ensure that all aspects of your subject are in correct proportion, relative to each other. By breaking down a complex image, something like this into smaller manageable squares, you can focus on replicating one section at a time without losing track of overall composition. That's why I always have grids and ready made grid in your downloadable resources. Now it's ready. We're going to connect the right and left side together. Also, you're going to be very accurate when it comes to details. Grets enable artists to capture intricate details. This is crucial when working on portrait or realistic landscape where precision is key to achieving life like results. One, two, three. Let's go through the first one. Row number four. Take your time. You can see that I take my time. I'm not speeding up the process because I want you to see how long it takes. Just drawing the squares, is taking 14, 15 minutes to do so. That's only thing we're going to practice in this today's video. In part number two, we're going to transfer these details onto our paper. It means again, we have to draw the grades on the paper. Also, the grids will really help you when you need to change the size of an image. Grids can help scale up or down while maintaining the correct proportions. This is particularly valuable for artists working on murals or larger canvases. Now we are ready to transfer this onto our w onto our blank paper. Let's make sure double check everything that you set up your grid correctly. It's really great to choose a clear detailed reference image and the paper you will be drawing on. Make sure that your paper is a good paper for drawing suitable level of detail that you want to capture. This is another A four. I'm making sure I'm capturing that tiny space between the lines. Can you see that? This one, let me show it to you. L et's make sure we're going to do it on the other side as well here. There are two blank white parts on both sides. We just have to make sure we capture that. We need to be detailed when we are doing grades. Every little details important to notice. Both on top and also bottom of the paper, we do have those blank spaces. Now we're going to go through the measurement, the squares, exactly what we have done on the artwork. Now we're going to transfer it here. Use a ruler to measure that you're comfortable with guys. Divide the reference image into try to do equal squares. Maybe measure it few times. The size of the squares can vary depending on the complexity of the image and the details needed. Commonly, squares are made 1-1 centimeter to five, and five by five. On by one, three by three or five by five are good numbers. One important point that I would like to mention. I'm sure that you know it, but just in case, Use a light and removable marker or pencil to draw the gris on the reference image and on your paper. If it's too much, and suddenly you have done a lot of you put lots of effort and you have already transfer even your main image onto your paper. Suddenly, you cannot erase all these lines, it will be a disaster. Make sure that your your hand pressure not move too much. You can erase all these guidelines afterwards. Also be precise and consistent with your lines to avoid confusion later. Make sure maybe count them a few times, sure the grid on your drawing paper has exactly the same number of squares and dimensions as a grid on the reference. Unless you're scaling the image. If you're scaling, adjust the size of the squares accordingly, but keep the ratio consistent. Double check that the grid is aligned currently on your drawing paper. This means starting and ending the grid lines at the point as on the reference. Now, all the lines, they are very light, so they don't interfere with your final drawing. They're easily erasable, you can see. They're light enough. Later on, we will work square by square to avoid feeling overwhelmed by the complexity of the image. This approach can help maintain accuracy. Now I'm doing this all over on each part. I would like to mention another point that will be for digital tools. For digital artists, grits can be easily applied and remove using layers in moth graphic editing software. This simplifies the process and doesn't require physically drawing on the reference image. We're almost done. We just have to connect them now together. It might feel like consuming task, but try to go through it as delicately as possible and step by step. Use minimum hand pressure while we are trying to fix the squares. Great work so far. Let's connect these ones as well and then we're done. As I mentioned in the next part, we're going to go through how to transfer the art onto our paper because we have the grids ready. Now, this one, as I was mentioning, grids are a powerful tool in the artists toolkit. Useful, not just for beginner learning to manage proportions, but also for experienced artists, tackling complex or large scale projects. By mastering the use of grids, you can enhance your accuracy and confidence in drawing from references, allowing for more detailed and proportionally correct artworks. So Let's see what we have done in this tterial. We have created the grid on the reference image, and also we replicate the grid on our drawing paper. In the next terial, we are going to transfer these beautiful portrait outlines onto our main paper. We will begin the outline transfer very soon. If you are not tired, let's prepare your grids, take your time, and I see you in the next tterial. For now, take care and Bebi. 32. Grid Method Transfer : I. Hello, and welcome back to the second part of this theaterial. In today's video, we are going to transfer this beautiful artwork that we have already ready, and we do have the grids on it onto our paper. Everything ready, we have our nine squares, free by 3 centimeters. I did the sketching in the previous taterial. If you have missed it, please go through that and make sure everything is correctly done. Let's do double check, do the size one more time before we actually transfer. Because if anything's done incorrectly, it will be not good to start go g transfer the image. At the very beginning. Carefully observe each pattern. Now, we have to see how we start. We're going to start from the left side of the eyebrow. Now I'm going to do pencil measurement on the grid. This is another important technique that we're going to go through today. Slowly follow my hand. What we're going to do in this titerio, and what we're going to do in the next part, which is next lesson, quite similar, but what's the difference? We're going to apply minimum pressure and just going to make sure that where everything should be, like the eyebrow measurement, the eyes, everything, and then we have to do a lot of correction. But in the next one, next lesson, we're going to make sure and refine the outlines and add more details before apply any techniques. Take your time. I'm going to spend some time on this one. Then I'm going to move to the next square as you can see for the eyebrows and complete the corner of the eyebrows. Still I'm doing a corner of the eyebrows here. You have to count which square I'm doing in frien square number two or number three from the top. All of these details the matter. This is real time. Video. I would like you guys to see how much I take my time. There is no rush, so I want you to do the same thing. Now let's do the full measurement for the left eyebrow here. It's correct. For each part, double check everything, please. It's quite important. You make sure of all the details, especially if this is your first time doing great. But however, if you are intermediate or advanced level, it's fine, you can maybe do it faster or you can even do it free hand style because we had learned in this course, a lot of free hand styles. A porches and. Facial features. Now I'm going to do this part. Look where i brows start, the right side one, and where it ends. You can see the some parts of it are in between the squares. I'm just going to follow and count this one, one, two, three here. One, two, three. Let's go through number four. Keep counting guys. I'm going to get good at math here, which I'm not. Excellent work so far. Always start with basic shapes or where you're comfortable. For instance, I'm comfortable with the eyebrows. That's going to determine everything else as well. That's the best one to start. But for instance, do some experiment. It's okay. For instance, experiment, if I want to start with the nose or the eyes, or the actual pale. However, I suggest you follow my hand movements and start with the eyebrows. But again, that's quite personal preference. The best way is to start with basic shapes. Look at each square individually and begin transferring what you see from each grade on the photo to the correspondent grid on your drawing paper. Let's focus on drawing basic shapes and lines, not details now. Just the basic ones. The detail ones, we will go through next theateral. Today, let's just get the main outline. Figure it out. Not details. We're going to maintain the proportions. Pay close attention to where features line up in relation to the grid line. For example, how far and I is from the grid edge or the corner of the eyebrows. After this, I'm going to move towards the right side eye and then the left eye, and then gradually, I'm going to go through the rest of the face features. Frequently, step back to view your drawing from distance. This helps in checking the alignment and proportion like different proportions of the features as they relate to the overall face. For now, let's focus on the upper eyelid. This one should be even more accurate than the eyebrows. Eyes are the most important one. That's why I wanted to have the eyebrows done first. So we have more reference, more guidelines. Look, how many times, I'm going to make sure of the measurement on top of between the eyebrows and the upper eyelid and also lower eyelid here. Let's connect this part together now. How's going so far, I hope you are following along. After we are sure about the positioning of the outline, when it comes to the eye drawing, then we're going to add the details of the i. Also, if we're good to mention that I'm using HB or two B pencil for this lesson, and our paper can be any paper that is suitable for pencil or charcoal. Great job, everyone. Try to follow with the same speed. We keep analyzing the refresh image before beginning any part of the transfer. Spend some time closely examining each line, like for instance, here is the ris ron. And the pup I mean. Maybe we should mention how to notice how the lines of the face such as the edges of the eyes, nose, limbs, and jaw line intersect with the grid lines. This will help you more accurately replicate the positions and curves of these lines on your drawing. In our common section, you know we have a community and comment section and you can also message me directly. I would be really interested to see which part you start to do first. For instance, did you start with which key feature? Could you let me know? Did you start exactly with the eyebrows, what you saw in this, or you preferred, for instance to start with the eye itself or the leaves? For some reason. If you let me know, I'm very interested to see how you have done your transfer. However, again, let's do a recap, begin by transferring the most central features of the face, such as the eyes, starting with the eyebrows, nose and mouth. These are like comes at the end. These feature often define the rest of the proportions. Getting this accurate is crucial. We need to maintain proportions, make sure that the scale and proportions are maintained. As you transfer each feature. Now we have moved for instance towards the left eye. Look at the lines, the columns, and the rows. Look at the corner in between. The t, O. Let's do pencil measurement from the eye rows to the corner of the eye. So transfer each part correctly, please. Look how much space each feature occupies within each square and replicate that on your drawing paper. For instance, if the I, as you can see here, t takes up half the square or in in between of the square on the reference, it should do the same on your grid. And make sure you understand what is pencil measurement and how to do it, for instance, I'm not going to sharpen my pencil anymore. On tip, I have to let you know about pencil measurement. Make sure that you don't change your pencil when you're doing pencil measurement because that's going to even 1 millimeter if it changes is not good for realistic drawings. Now I'm doing this pencil measurement. Imagine I sharpen this and the tip of it would be twice the size now. Everything would be quite a disaster. Try to remain like use the same pencil. We're going to go through all these details one by one, but first let's finish this. If we felt unsure about each part, just erase it and redo it. Look how much space each one they have in between. Analyze all the features. We need to after we position the eye, we need to draw the details inside the both right eye and left eye. And then later you can add the eyelashes and work on eye res and pupil even more. Let's first get the main outline, correct? Get it right. Now, done with the upper eyelid. Again, let's do the measurement for the left side the corner side of the left eye. Slowly, let's do this. If you had any questions regarding degrees or any other u If you had any other questions, let me know. Also, you know that you do have this grids ready in your downloadable resources. I think I always mentioned this at least one time or twice each lesson. You have memorized it that you do have it. Sometimes I receive some comments that we don't have enough assignments or different materials, which maybe I feel like you guys haven't reached out to the downloadable resources. That's one of the reasons I keep mentioning them to make sure that you guys are aware of this fact. If you couldn't find it, let me know because for some reason, maybe you cannot find them, so I will send it to you. Now, I would like to count the squares to go through the nose drawing, 12345 should be. And then s to the pencil measurement for this one. Now we need to understand the nose proportion here and maintain it. Go through the tip of the nose and the nostrils. I'm going to speed up a little here. I have speed up the video, not the actual my hand movements. You have seen so far for the past 15 minutes, how slow I move and how I take my time. For anyone who wants to a little see the end results, I'm going to speed it up, but you can always stop the video at any moment and then finish up that area that you are drawing and then resume the video. But for now, a little speed up the process. The side, the wings of the nose. We call this, the side ones. Look at here. Now this is one. Please make sure when you do the pencil measurement with your thumb and when you bring it here, you don't really change it that. These points are quite important. We're going to go the lips part. Check and adjust, please. We are doing the initial features. Then we have to step back and review the drawing from a distance as well again for each part actually. Then you can always adjust proportions if anything looks off. Now is the time to make corrections, not after you have started the actual hatching and shading. It actually is easier to adjust lines at this stage. That once the detail shading and finishing touch have been added, it would be really h to correct. Now, I'm just going to spend some time on the lives. If you wanted to do any other artworks, let me know. If you had questions for different examples, when it comes to different examples, I'm more than happy to go through these examples with you and analyze them. So we are done with this one. Let's do some Let's make sure it's done correctly, and if we want to do any adjustment. Now let's go more details of these parts. Now we're going to go through the Min outline. Look at the ear is there. Let's do one more. We do have lots of different fabric or for instance, jewelry details here. We're going to go through all of those in the next theaters. I think that would be the last lesson. As I mentioned in the next one, we're going to refine all these details. For now, it just transfer everything that we see and take our time while we're doing that. Now this is going through the jaw line. L et's be mindful of our line quality. Use a light hand to sketch the initial lines as some might need adjusting as the drawing progresses. Let's make sure that our lines are clean. When we do line drawing is one time we do it, not like five times go on it. If we want to do that, make sure the lines are so lightly done that we can erase it and just keep that main line. Now we have finished both sides, the jaw lines, going through this one. Let's go up. They cross each this one. We're going to spend some time closely on this part. Examine each s and count them. You have to make notice how the lines of the face, the edges of the Here and the jaw line. We have to make sure of the main phase event. Did you see how just did the full phase proportion analysis? You do need to step back and look at everything, all the details. That's quite important, guys. Even though you have done it, do it for the second time and the third one time? Try to take your time. It's okay. Spend as much as you can on this one. This can be one of the most important lessons in this course. Of course, all of them are, but this one when it comes to grids drawing and transfer all the details. This much is very important. That's why I wanted to put this at the very beginning of your course, maybe even first lesson, but I didn't want to scare you off. I was like, maybe not yet, let them go through the introduction, and then they're going to go through the grades. As you can see, I mentioned previously, we're going to go through the details here. Even drawing the jeweler wants, everything around here. Even here, make sure that you do your pencil measuring technique. It's not just about the phase, everything should be as precise as possible. Almost done with this taterial as well. Maybe we're going to spend five more minutes on it, and then let's have some rests. In the next tateral, we're going to refine all the outlines, get rid of the grades, erase everything, clean up the space, and we're going to add all the details. Next, actually tateral, going to be exciting one because when you are sure you have all the details done correctly, you have draw them in the perfect way. You spend so much time on it. Now we should be really excited to go and add all the details. M We are kind of working on the garment until everything is complete. The collar, the necklace, and we should know where where is the hairline as well. We are kind of almost done with the detail of the necklace here. Let's move towards the left side. Make sure where they are. Should be this is part of the hand, the arm here, and also the shoulder down there. Now let's count here and make sure we have drawn it correctly. The lines here, the hair and the ear, also. This is the ear part. Also there is another ear ring on the left side as well. Pay attention to his figure, how the earring is quite carry earring. Quite interesting, even for all time vogue, I have to say. If you know which g, which ear this belongs to, let me know. I will be I will be very interested to know. Now, go through the hairline. We're almost done. Don't forget to go through your downloadable resources and assignments as well. If you had any questions, let me know. One more time, I would like to add, please use minimum hand pressure and pencil pressure. In the next lesson, we're going to add more pencil pressure and refine all the lines. For now, please take care and we're done. I'll see you in the next theorial. Bye bye now. 33. Full Portrait Outline: Hi, everyone, and welcome back to this portray drawing part number three, deferred one. If you have gone through the last few parts, you recall that we have learned how to do grids and how to transfer our main outlines onto our paper. Now it's time to actually go through the outlines and refine them. The drawing is complete. Start working from the pupil and the iris. Also, I'm going to use a darker tone pencil, a softer one, which can be maybe two be if you were using, for instance, H pencil or HB pencil in the previous session, which was just transferring the outline with the minimum. And pressure, now's time to add more pressure. L et's go trace the phle and the iris. First, we're going to work on the upper eyelid and then the lower eyelid. I know that we are sure everything's done correctly, but at some point, maybe every now and then, do the measurement one more time, since you have the grids still on your paper, and if this is your first time doing it. Now you can see I slowly move my hand, I take my time. If your pencil like mine has become so short, you can use pencil extender. The Wt one would be good. Or pencil holder, depends if you go to your art local shop or when you're searching online, you can search both terms. That would be okay. So talking more about perfecting outlines. Even now I'm doing pencil measurement to make sure to ensure that everything is done correctly. This is what I was mentioning a few minutes ago. While we are talking about refine and outlines, I'm just going to work on the right side, and then slowly, I'm going to go through the eyebrow and then the left side, I and the eyebrow. Let's talk about smooth and adjust with the basic shapes in place, refine outlines to smooth any rough or inaccurate edge edges here. Let's adjust the curves of facial features, anything that we have done. Even later like the jaw line, nose, and lips, these are the things we need to adjust. Like create those carvings, those beautiful placements. We need to define facial features now. Even though we have done some drawing outlines, we haven't defined it yet. Begin to more clearly define the eyes. Now we are doing the eyebrow and also the hair strokes quite important. I have talked about hair strokes quite a bit. I'm not sure if you have gone through those lessons yet or not. However, we talked about how much effort you should put for line drawing and practice and hair strokes, especially when it comes to eyebrows and eyelashes. Make sure begin to more clearly define the eyes and all the details inside the eyes that we are doing now, then move on to the nose, mouth, the ear placements, using the grid as guide still for symmetry and alignment. As you can see, I'm really taking my time because perfecting the outlines in a portrait drawing, maybe not even in still life, especially or landscape. But when it comes to portrait drawing, perfecting this kind of outlines is a crucial ph guise where you refine and clarity the initial lines you have transferred ing the method. This step ensures that facial features are accurately shaped and proportioned before moving on to the more details like the hatching and shading, because we are adding details here. For instance, now I'm doing the eyebrows and some of the hair on it, the hair strokes. Let's compare this one and when I'm doing the actual shading and hatching in the next theater. You can see how crucial this phase is. This step, I told you going to ensure that the facial features have been done correctly. We're kind of perfecting the outlines now. Also, we need to assess everything, begin by critically assessing the accuracy of your initial lines, yourself, sometimes step back. Look at it. Keep measuring de grades, and again, your outlines, compare each features placement, size, and shape against your reference. Look for any that you feel is not correct, like maybe in angles, curves, and distances between features. For instance, now that I have done the tip of the nose and the sides, Let's see if we can understand the sides between the lips and the noses correct. Let's do the measurement one more time. Do this details, please. I'm still using clean and sharp pencil to smooth out any rough edges. However, please make sure even though I'm doing more pencil pressure, but it's not that much that is going to hurt the paper. I'm controlling my hand, I'm controlling the pencil, and I'm doing it within one line. For instance, when you're going through the main outline and the jaw line and the chain, let's try to do it in one go. Not all the lines should have the same pressure on it. So parts should be darker, some parts lighter, that's the beauty of it. That's we show and differentiate between a beginning level and advanced level. Slowly, going through the detail of the earring. Let's take our time to do the care of lines parallel next to each other. For any line drawing, try to use sharp pencil. Let's go through the neck line, all the fabric and the collar and the necklace design, if any features at any point appear out of proportion, now is the time to adjust them. This might involve slightly moving the position, for instance, of the eyes. I know that we didn't do it in this session because we spend so time in the previous. But if you need it like slightly moving the position of any eyes resizing the nose or adjusting the curve of the leaves. This is the time now. It's crucial to get these features right as they greatly affect the likeness and expression of the portrait. The detail for the necklace will affect less, but the position of the eyes will definitely do have some effect. A few things we need to take care of is eye details that we have done and nose and lips, ears, and hair line. I just mentioned them. The ones that I felt is more important to the ones less important when it comes to proportion, they're all important. Look at the Look at my hand movements I wanted to say and the details of the necklace, please and overall harmony of the whole. Step back and view and the details around it. We have to see if all features are cohesively interacting and facial expression is consistent with the intended emotions the emotion. After this, we're going to use our eraser really soon and get rid of this outline. It's very useful at the beginning, but now let's get rid of them. One point I would like to say, I know that you might have seen it in previous tterials. Whenever I use my eraser and we have left over the rubber some leftover on our paper. Let's not touch it with our hands and smudge everything all around. Let's for instance, have a clean brush next to ourselves and clean up everything that are extra on the paper with that. Also, it's important to go through some tips, maybe, keep steady hand. Use confident steady strokes to refine your outline. Maybe having shaky outlines is not good, hesitant or shaky lines can make the portrait appear less polished. When you keep going back and forth on the line, it's not really refined line. You need to practice your line drawings quite a bit. No hesitancy. The hesitant or shaky lines is not good. Try to practice any of the lines before bringing it onto your paper. That would be quite an important practice. Like for instance, when I say confident line, this is what I mean. Look how I move my hand. Even I might feel like it's wrong, but still I have some confident lines there, which is not wrong because we have we have measured the outline quite precisely in the previous torial. Since we are using reference, is worth mentioning that continually refer back to your original image. Keep it next to you, keep it close by and frequent compare it to your drawing, even well, definitely in the next terior, because we need it for hatching and shading. One more thing, if you felt having it in color is hard. Maybe use some computer effect and turn it into black and white picture. You can see the highlights, the shading, the shadows, the cast shadow, everything the With a normal eraser or with a needed eraser. You can go through the whole thing and as you can see, let's get rid of everything we have done. Also, another practice that you have seen, I taught you before if you haven't gone through facial features, yet, so you don't know this. I usually put a tracing paper on the actual artwork and trace the outline before actually drawing it. Even before the grid, that would be a great practice to warm up your hand. We didn't have it in this tal, but I do have it in a lot of theaterial in this course. Sometimes having some of the grease on the eye or lips is okay, but we should not have it on the skin, even a tiny trace of it. It's okay to take your time while raising any parts. Even if you go on your main outline, is fine. Just get rid of everything. I have sped up the video, however you can take your time, do it slowly. Because for instance, just imagine I have mentioned this, shading a part of the eye, and we have some guidelines on it. The shading is not going to look professional because the guidelines still there and it doesn't look good. So done with the main part of the face, and then the shoulders, the color, all these parts, everything that you see. L et's not forget the eyebrow. Everything here. I still have some traces down there, so it's okay. Okay, guys, we're almost done. If you would like, have some rest, then let's dive into the next part, which we're going to use our shading and hatching tie and complete this one. Take care and I see you in the next theater for now, bye bye. 34. Full Portrait Shading: Hi, everyone, and welcome back to the last part of this tutorial. You have learned how to do this portrait and to do the grids, how to do the outlines, how to transfer the outlines onto your paper, and how to refine the outlines. Now it's time to go through the hatching and shading techniques. In this course, We do have different facial features and you have either you have gone through those videos or not yet. We have learned how to do each facial features separately, eyes, nose, lips, all those details. Now it's time to put everything together and to create these artworks that we can see next to us and create a beautiful portrait. For this full portrait drawing, we're going to start with the eyes, as you can see. Always go through the pupil first. Make sure that it's done correctly. It's dark. Use your either two B or three B pencil. Go through the iris. Take your time while you're doing this, make sure that you're not going to go on to the highlight because we need the highlight, the whiteness of the paper for it. Even we try our best, we cannot create that beautiful highlight with eraser. Keep it intact, and then add not some, eyebrows, eyelashes here. My apology. Because we have done the outline quite beautifully, they're all accurate. We just have to go on it and refine them even more. As you can see, we started with the right eye, begin shading the right eye, pay attention to the eye ras, the people, the eyelid shadows, use fine hatching to create depth and texture. The best way to do your practice is to follow my hand movement. Doing the lower eye late and the eye lashes. At any point, please stop the video and complete the eye, the right side eye, and then move to the left one. I'm moving my right left, right left. I keep doing this method. Is quite important method for realistic drawing. I am uncomfortable with this pencil yet. However, if you are not use pencil holder or extender. Now let's do some hatching on here, upper eyelid until the eyebrow, and also underneath the eye. Make sure that your pencil is sharp while you are going through the details of the eye and also the hair strokes for the eyebrows. Earlier, in the previous tutorial, I mentioned to you if coloring this model that they are in color, they're challenging for you, you can choose a black and white photo as well. Or easily with any photo edit, you can turn it into black and white, even if you have iPhone or Android, your phone can turn them. You don't have to go on any certain app to do that. If you didn't know exactly how to do it with any of your apps, either with iPhone or Android, let me know. I can guide you through those apps as well. Zoom in, please. I put more energy and more hand pressure on the right side of the eye row compared to the left side, I like the beginning of the strokes because those are single hair strands. Whilst this one, we have some tangled hair hair strokes together. If you felt you have done too much, just clean it up and redo it. Always there are some rooms for errors. It just you have to figure them out, take a step back and look at it again and see if there are any parts that you need to clean up and redo. Finalizing this work with our two P pencil. A going through all the shapes, the shadows, Look at the eyebrow lines. Now we're going to give some highlights to our eyebrow with our pencil eraser and take away any feeling of our guide line from the previous part from it. I spend some time on this. Take my time. Eyebrow is quite important and drawing it like this will require some time. I know for the first few times that you're drawing it, it might be challenging, but try to practice it on a separate paper and then transfer your skill, transfer your skill, what you have done, your experience onto your main model. We don't have any whiteness on this part. We have to actually have some great tone on all the areas, especially the tier dog, which is going to be dark as well, the corner of the eye. That's what it's called tier dog. Starting with the left eye pu, the pup is darkest part of the model, and I should completely darken it. As you can see, this model has bright eyes. We should not really emphasize on the iris. Make sure that your lines and your shading techniques is quite light, not too much h pressure. Either you do line drawing on it or circular hand movements. Again, like the previous one here, make sure that you don't go onto your highlight. I'm doing some layering, first layer and second layer. Why we don't give all these layers in one go. That's not how it works. We have to create that volume, that texture, and we can create it just by going through different layers, creating different layers. For now, let's repeat the process, ensuring both eyes look symmetrical and convey the correct expression. The gaze of this girl is amazing. We have to make sure that we really convey this expression. Very charismatic. Great job so far. Look, I'm going through the eyelashes, please repeat after me. I'm sure eyelashes can be very tricky. It might be a little harder at the beginning, and you feel like, all the hair stroke should be parallel, the same size, not curve enough. It's okay, just practice more and keep looking at this theial. Also, I have done lots of eye drawing in these taterials as well and different facial features, go through those. You will see more examples. You have one lesson that I have that I drew one young face next to older version of the face. I did emphasize on the eyebrows and eyelashes a lot there. That's a great example for you guys. I'm not sure which lesson it is. Please make sure that when you go through it, you catch up. Going through more details. The lower eyelid eyelashes. Look how I move my hand. M hand movement is quite important that you follow the curvines Then look how I'm holding the pencil here. I do have wide range of movements when I hold a pencil like this, and I use minimum pressure. That's why I hold the like this when I'm going through these areas. Part four of this portrait that we are going through shading and hatching is where your portrait starts to come to life with depth, texture and dimension. Like for instance, holding pencil in a certain way, adding a certain details. All those factors, all those details is where your portrait starts to come to life. This phase is extremely crucial in transforming a flat line drawing into a realistic representation through the strategic use of light and shadows Even hair drawing, while I'm going through this certain eyebrow, the way I'm moving my hand and and putting all these lines together is quite crucial. We are going to go through an in depth exploration of how to proceed with this intricate process. But I would like to ask you to try to repeat after me, and I don't want to say imitate. It just practice exactly what you are saying because that's the best practice. Maybe just practice the eyebrows on the side, the eyes separately, everything separately once or twice, and then when you're doing it here, you know what you are doing and how to do it. Of course, watching the tutor a few times going to help a lot. We're going to start shading the upper eyelid between the eyebrow and the upper eyelid using soft shading to define the curvature of the upper eyelid, which typically casts a shadow over the eye. Go through the eyes again. Every now and then it's good that to go around add more details, keep building up the layers. This helps overall shape overall features, appear more resist and realistic. Go through the nose now. And the shape of the nostrils, applying some hatching around them. Please let's note that I'm not going to shape the tip of the nose here. After that, after we're done with this part, we're going to go through sides of the face. They shape the eyebrows and surrounding areas to give some volumes with darker shadows. Still, please have a look I holding the pencil. We need to pay attention to the nose structure, breach and sides. Start by lightly shading the sides of the nose, increase the shadow under the tip and nostrils as well. Now we have moved to the sides. We need to have a smooth transition here. Now you can see from the side, I'm going through in between the eyebrows. Please have a look I'm adding the first layer of hatching. We're going to build up layer layer by layer. It's good that I mentioned. I keep looking at my artwork next to me. You should do that as well. It's not that I memorize everything. For the leaves, I follow the same process, work on the upper leap and darken it with great tone. Look holding up up and down, holding the pencil here. Use ing method for this shading. We need to define the form. Upper lip. Typically, the upper lip is less illuminated than the lower lip. Shade this part slightly darker. Use curved hatching as well, that follows the form of the live to enhance volume. However, for this one, the lower lip, especially the corner part is darker. Use lighter shading, but reinforce the shadow under the leaf to make it appear fuller at subtle vertical line to mimic the natural texture. Also remember the details and highlights. There are lots of details on this. Add a slight highlight to the central part of the lower leap to reflect light, contributing to the plumess. Plumbness, is that correct? Yeah, I believe so. Be careful with the placement and intensity of highlights to maintain a natural though. We're going to go on it one more time. That's okay, or maybe a few times. It really depends on your hand pressure and pencil pressure. Add more vertical lines, the hatching lines in a vy way. Keep going back and forth. We darken the lower leave as well, we close up close set hatching. Slightly look at this part of. This is how we should work on it. I'm practicing on my main model. Maybe this is a good practice for you to understand how you should do that as well. Let's keep working on the lower lip and darken it with these tones. Now, while I'm holding it like this, it means I want to focus on detail on line drawing rather than just shading. Now when I'm doing the shading, look how I'm holding the pencil. If you had any questions about how to hold the pencil, let me know as well, p. Just going around, making sure everywhere. I'm not missing any parts. That's what I wanted to say. We are like adding some shading, upper left side of the face, diagonal hatching towards the eyebrow. Also we need to shade under the eyebrows and the eye the corner of it as well. Again. Also the checks beside the ear to create depth. T. Forehead and cheeks they are related next to each other. Use a combination of soft shading and fine hatching to build up the tones on larger areas like the forehead later and checks with the side of the forehead, I have to say. This should be subtle to maintain a smooth skin texture. Then we go to the jaw line and in with a slightly darker shading to enhance the fas structure. Still I'm using the pencil like this. Now you can see, I started doing some shading, for the upper lip under the nose as well. Using diagonal and vertical hatching with light pressure, holding the pencil like this, extend the lines toward the nose to make them darker. After this, we're going to spend some time on the sides of the nose, and then we're going to move towards the right right side of the I wanted to say forehead, but it's the side parts and the cheeks, but it's better maybe to work on the earrings a bit. For instance here, still you can see the amount of pressure on bring it in. I suggest you do the same as well. Take your time. Here, I'm going to add a bit more pressure comparing to the ones that I was doing a few seconds ago. In order to have some effective shading and hatching on this part, let's have consistent light source, and we need to understand how light works as well. Always keep in mind the direction of the light source. This consistency is key to realistic shading. We have talked about light and dark areas in other lessons as well. I have to say, but it's good. It's worth mentioning it again as well. As you can see here, for instance, the cheek parts and towards the jaw line is how I gradually building up the layer. Build shadows and textures gradually, please. Layering slowly allows for more control and prevent overworking the drawing guys. Have control over the line drawing. See how creating these carry lines. We learned how to do this actually when we were doing the hair section. We had lots of carry hair, and that I think helped us to build up of these layers. It's quite similar to that one. Now make sure next to the line, you add more pressure and have some highlights in between. That's how you can create a realistic version of the earring. Hope you are enjoying so far and following along at the same time. That's quite important. Make sure you keep your tools sharp, all your pencils. Sharp pencils provide more control and precision, especially important for fine disels that we just did on the earring, but the most important one would be the eyes to be honest with you. Let's make sure you have sharp pencils. To create fine, subtle textures. Working on the details. In the meantime, if you wanted to add high lights, you can use pencil eraser and go in between your hatching technique shadings or even hair lines to create those highlights with your pencil eraser. Look at this part. This part next to the cheek and also side of the eye. Keep adding more shading here. I'm just going to get rid of them with our needed eraser if we didn't need it and redo them. Holding the pencil like this, maybe a longer pencil. It can be F or H or two B even. Now with maybe a darker pencil, for instance, again, two or four B. Let's add these details going through the hairline. Look at my hand movements, I'm doing the Kerry lines. Very fine lines, guys. I expect your lines to be like this after a while as well. Try to keep practicing. Now, look how holding the pencil when I want to add precise hairline. But if I just wanted to do a wide range of it, I would hold the pencil differently. Now here, let's add some as well. If you look at the artwork here is quite the darkest one, the darkest shadow. We have done shading the hair. It's time to go through the rest of the details, especially the color, the clothes, the neckline she's wearing, and all the details of the necklace. Very important to have sharp pencil guys. I just change a pencil to maybe a lighter one. It's easier for me to be faster when I'm moving. I'm putting more pressure on the jaw line, and these parts. Look at the angle and how like here, the least pressure that I can bring in. Now, now I'm adding more pressure, like it's for the second layer or third layer. Let's do that. How we are doing the hatching, please go according to the line. For instance, our hatching is quite curvy, not very straight. These are the details of the necklace. Every time we are doing fabric, for instance, we have to pay attention to the clothing textures like fabric folds, pay attention to the fools and creases in the clothing. Use sharp angular line for stiff fabrics and softer c lines for fluid fabric. This differentiation helps convey the type of material and how it interacts with the body. Also, there are some skin of the neck showing in between the fabrics here. Ayer shading for depth as well. We need to talk about this, so it means build up shading and layers and clothing to create death, especially under folds or over the fabric bunches. While we are working on the necklace, adding detailed elements like necklaces and closing to portrait can significantly enhance its realism and its appeal. Be careful of the outline the necklace and try to do the outlines the way I'm doing, carefully sketch the outlines. Be it does have some intricate designs elements. Make sure these are proportionally correct and well positioned, relative to the figures anatomy as well, such as the neckline and color bone. H For fabric, apply base shading, use a light touch of shade around and under the necklace around the neck as well, creating a subtle shadow that suggests weight and presence on the figures neck. This helps to integrate the necklace into the overall sinus, making it appear as part of the figure rather than just placed on top. Look holding the pencil here, moving my hand faster in different direction, hatching direction. I'm shading each part like individually, each component individually, considering how light interacts with rounded surfaces, I have to say, use circular hatching, I have to say, for round beads to enhance their volume. Here, maybe we need to identify the fabric. Sometimes you need to identify the fabric if you really want to do hyper realistic. Since we are doing realistic drawing, that's fine. But if you are doing hyperrealistic drawing, identify the fabric type. Like different fabrics have different textures and we reflect light differently. That's what I wanted to say. Like linen, silk and cotton. For instance, should be treated distinctly in terms of hatching. Silk might requires smoother shading with soft transition, whereas cotton could have more texture. Also, while we are working on the head, let's see where the lines they meet. To create the texture and the volume here. The density and direction of our hatching is quite important here. We cannot see part of the head here, so I'm just doing this part from my own imagination, maybe. However, we can see some parts. Also this is old hairstyle. Very classic one. I shouldn't have said my apology. It's very classic, beautiful hairstyle. We did have this waviness at a time. Now again, holding the pencil towards the towards the end of it and doing the hatching in this way, this angle. We're entering towards finite touches. I have to say. We need to go back towards the details with the figure, ensure that all details such as this part of the nose and the lips at the very end, we're going to add a lot of layers on it, so don't worry about the lips, but we have to go around and make sure that all the layers are done correctly. If we wanted to add highlights, we can use eraser to pull out highlights on any area. We need to check overall balance as well. Look at this part of the nose, how we are checking overall balance. We sometimes have to step back and review the nose shading. For instance, which part of it, it has more shadow, which part has more highlights. The details should lead the viewer's eye across the artwork without causing distractions from the central focus, which is the face. By carefully considering how you hatch and shade details, you can add rich layer of realism to your portraits, making them more lifelike and visually engaging. That's why we spend quite a bit of time. And all the details. This was a very thorough lesson a guys from the greed initial outline, transferring the outlines, and then now going through layers building up the layers. Quite important. We are making our portrait more lifelike and visually engaging. That's why we are trying to a. These details while subtle play a crucial role in the overall narrative and depth of the portrait guys. Now, it's all about layering, let's have a look together and try to repeat after me. Step by step, we're going to go through the nose and then more maybe towards the cheekbones. Keep adding subtle highlight. I'm going to clean up the forehead. We don't want to see any tracing of previous outlines. Need to go around and have careful consideration of light, texture and dep. Now, we're going to work on it for maybe ten more minutes, 15 more minutes. At this stage, we need to review existing work and build up our layer and keep adding layers correctly actually. Begin by critically assessing the work you have done so far, look for areas that might need more depth or correction. Identify features that require more definition or areas where the shading may be too harsh or too light. For instance, next to the jaw line and the cheeks, we have to add, especially on the left side comparing to the right side. Now here, next to the hair line, let's add more. Look at my hand movements and the way I'm doing the carvings. It's all about your layering techniques, guys. Gradually build up the shading using layers of hatching, starting with the lightest layer and moving to darker layers. I know have said it many times, even in this course and other lessons. What is good that we keep reminding that? Because it will be interesting to see if some of you guys just send me your artworks and you have done just one layer. Even after mentioning it maybe more than ten times in this course. Make sure that you do gradually built up the shading using layers of hatching. Maybe this is the third or fourth some. I'm going towards the hair part. However, one more thing, overdoing it is not good as well. It's not that to keep layering and that layering is going to give us volume. It's not just that correctly doing it. That's important. Let's see how many layers we're going to add because we have done first and second layer before. The lightest one. Now we're going to move in towards darker layers. Let's emphasize on the middle line. At any point, if you get tired working on the lips, maybe go around at some let's say, on the fabric with different hand direction, at more curvy lines. That's okay as well or the hair lines. Then you can go back to the and keep layering it. You will look at it with fresh eyes if you do so. For instance here. Now I'm holding the pencil like this because I want to emphasize on the lines here. Now we can move on to create more layers here. This time, I'm going to add more pressure comparing to the previous two or four layers that we have done. I lost count. Consistency is very important here. Consistently apply your understanding of light and dark shading across this upper lip and also lower one. Keep looking at your artwork, where it should be darker and where we have light source. Lift up any additional layers that you don't want it to be there. Now going to go towards the left side of it. I'm really taking my time to build up because she has quite beautiful lives. We need to spend some time to create that volume on it and all the textures. Let's focus on the small details even here to give character to each part. We always start shading from the corner of the lips and work inward. The corners are typically less exposed to light, but still depends on your artwork. Therefore, they are darker. Especially near the lines. We need to add a gradient effect by increasing the lightness as you move towards the center of the lips, which usually catches more light, especially on the lower lip. You can see on this artwork, we have so much highlight on the lower one, the lower lip one. Libs act they have unique texture due to their natural line and moisture. Create this effect by adding very fine vertical line on the lives. Especially here, very fine lines and vertical a bit curvy. These lines should be subtle to avoid giving the lives like appearance. We don't want it to feel like it's been cut. For a more hydrated look, something like what we have here, leave some small areas of higher brightness, high litament, on the lower lips, volume, reflecting light and giving them a plump look. Make sure we do have some clean edges. Define the edges of the lives by reinforcing the line between the lives and the mouth line, which can be slightly darker, but should not be stark. Solid line. It should blend out slightly into the surrounding skin. I'm leaving out the highlights. I'm really careful not to go on it too much. Use a very light touch here to add a faint shadow. Helps to set the lives off from the chin and add depth. Use radar here to gently off a very light area along the center of the upper lip and also lower lip. Maybe a tiny spot on these areas that you can see to mimic the natural gloss or moisture of leaves. Now I'm I had a sharp run next to me and quickly, I just make sure I have a sharp pencil. Very important to have sharp pencil guys. Again, you can go back to the corners and add more line details, hatching details. You can see I started more towards the corner side and then move to center of the lips. Here catches more light. That's what we are building. The step off some here with our needed eraser. Hope you enjoy this theater our beautiful model. Resembles our artwork now. It's quite similar now and I'm happy with the outcome. I look forward to receiving your portrait at any stage. Are there even grades one, the initial outlines, so I can give you feedback before you apply this a lot of hatching because you can spent around more than 1 hour just on the hatching and shading techniques. I sped up some parts. That's why it was less than 1 hour. But in real time, I spent more than 1.5 to 2 hours on the shading parts. Make sure you take your time as well. Just went on the I highlight to emphasize on it a bit here. Look, I'm holding my pencil at this stage. Almost the end. We're almost done with this tateral. I really hope you enjoyed it. If you wanted to work on any other artworks, let me know. You also have some more examples I in your assignments. Please go through them and let me know if you needed some help with those as well, your new challenges. Just adding more onto the main line in between them in between two lives, upper and lower, and then we're done. All right guys, we finish hatching slash shading this por from scratch, I have to say. If you haven't finished any other theaters yet, please go through them and send me those assignments as well. For now, take care and bye bye. A 35. Hair Drawing Hatching: Hi, everyone, we'll come back to another theaterial. In today's video, we are going to continue our discussion on pencil drawing. This time, I will be working on the sketch and the shading of this hair stock that you can see on the right side. Look at the original model, please, draw a curve line from the top of the head, and I will continue it in order to complete the hair part. Draw a line for the skull part from the top, then a vertical line for the side of the face, and a curve line for the back of the head. It's the best that you follow my hand movements here. I'm going to show you a pencil measurement as well, how I hold the pencil, follow the movements and pay attention to the way I'm holding the pencil here exactly. This way, I can apply minimum hand pressure. That's why I'm holding a car here. Another important point is printing out and having the sample picture ready right either next to you or front of you so you can constantly check it out and follow the lines. We're not going to work that much on the sketch. For the face part is only about hair and the hatching technique that we're going to apply on it. Our main focus would be on just the hair. We're going to go through the general shape of the face now. That's sufficient here. Have a look. Again, I'm holding the pencil, be careful of your pencil pressure and hand pressure. Define the placement of the face with simple lines. You have seen that I draw vertical line for the neck under the chin, and then I have completed the hair part on the right side. I'm using a two B pencil. Look how I'm actually doing the measurement with a pencil like this. Repeat after me, and make sure that you're using this pencil correctly and you have sharpened it before. Again, I have said this many times. Please use minimum hand pressure, which enables you easily remove any line that we are not sure about it with an eraser, either a normal eraser or I use needed eraser. Never be afraid of drying your lines and layers, experiment with them, with your hand pressure, with your pencil pressure. It's okay to make mistakes. You can always erase and work on your lines again. Try to get used to practice more and more. By looking at the video and try to repeat after me. Complete the hair part now. You can see I spend quite a bit time just going through the outline. It's very important that you make sure you're happy with the main outline before you start hatching techniques or shading techniques on any of your drawings. Even going through the face again to make sure that the placement is correct. Keep comparing it to the right side and the artwork that I have printed out. You do have access to all of this in your downloadable resources. These are all without details. We are not going to go through this face with details. The hair banks from the front with horizontal line and a vertical line in front. Overall frame of the face, as you can see. Hope you are following these hand movements at the same time while you're watching this. Now I'm going to do more details on this side of the hair, the banks. Now you can see the form of the head a bit better. Add more lines on this part. It's it's a free quarter view side of the face and the hair. Some parts should be longer the hair I mean and some of them shorter. After we have done some more details on the hair, I'm going to start the hatching. Going to teach you how to do hatching parts. This hatching techniques is quite my favorite ones. From here, diagonal lines first and then horizontal hatching. We're going to do a lot of cross hatching here today as well. For you to see for instance this part the darkest parts, how we're going to do that, and how we should move our hands and do layering. We do not have this part that I just show you to you the head parts, the roots of the hair in the photograph. Maybe the photograph is not that good or maybe sometimes blurry, the ones that you're using, but we can work on it based on the rest of the parts that we have. Here, look at my hand movements doing the cross hatching. Consider the general form of the pace, please. Shading from the front side. The shorter part of the hair on the front and diagonal lines first and then horizontal line. Excellent work so far, the minimum hand pressure that you can bring, please. Look here I'm doing the cross hatching. I do part by part, not to go through all of them. You can see these techniques on animate drawings as well a. Either maybe comic books or different animations, we do have this cross hatching on different characters. I've started from the upper part of the head and added our initial hatching lines according to the form of the head. Also the darkness that I see. It's quite important, guys that you exactly apply the angles, the direction of the cross hatching that I'm doing. Please try to imitate as much as you can, especially if you're beginner level. Dway your hands, your muscle memories. You're going to remember how to do these things for future references. Shade downwards now under the chain with vertical and faint shadow feelings. Then we're going to darken this just part. You can see next to it should be lighter due to the artwork. Use gentle hand movements. I'm going to go on the line, you can see. It's quite a beautiful hatching when you go on the line. Carefully control your hand pressure while working on these parts, depending on the dark areas and lighter areas. We can see on the sample, we're going to adjust our hand pressure. I'm hatching lines it downwards now from the front of the face, shading diagonally here. Look closely please as my hand moves. Now I'm going to go through the front view. This part, even less minimum hand pressure. Really careful because it's more details. It's good that you change the pencil, for instance, you use H pencil, which is much harsher and also lighter pencil compared to two B pencil that we were using. Look at the difference for the highlights. This might be better. You can control your hand pressure and pencil pressure better here. Great work, everyone. If you had any difficulty doing with one pencil, have H or two H pencils in order to control the highlights of your drawing. For instance, I just eliminated this part, erased it to have highlights and to go on it with lighter pencil. Now for this part, you can see the highlights on the artworks. That's why I'm still using either H pencil or two H pencil. The same direction of the hair next to it, but with lighter pencil. Now look at this part, you can see on the on the artwork. I mean, the highlights where they are, so we have to control it on our drawings as well. Even with two H, I'm using minimum hand pressure, and you can understand that because I'm holding the pencil like this. More towards the t part of the pencil, more pressure you can bring on and also control. I'm doing layering now. Even going on the previous layer of the two B pencil, doing cross hatching, look at the directions, please and start adding exactly how you're seeing on the video. Please look how I'm going on opposite direction as well. You've already determined the darker parts and add our shading layers. From now on we're going to work on the mid tones. I really love this hatching. I hope you are enjoying as well. Sometimes hatching techniques are more enjoyable than shading, because first of all, you can create very beautiful like layers, compared to shading that you need to spend way more times in order to create the beauty of it and create realistic feeling, which I love shading as well. This one is much faster, and it looks beautiful. Again, let's use two B pencil for this part. We have changed the pencil. You can do that as well. Well, for this part, you need to use the HB or two B pencil. You cannot continue with H collections that you have learned about them in the introduction section. You have to make sure that H one is not going to give you that darkness satisfaction that your artworks needed. I have to ask how's your practice going. Please do send me either the finish artwork or even gradual if you have done like half of it or just the outline and you want to get some feedback. Before aplying the techniques, please send me all your artworks. Don't forget to go to your downloadable resources as well, which you have the outlines and the grids as well in order to do. Just make these lines distinguished. Screen here. Drawing the hair lines with a sharp pen and more hand pressure, creating dark and light lines. This one is quite a standout. If you look at the artwork next to it, Now, from bottom to the top, doing more layering here. Use sharp tip of the pencil. Make sure that is always sharp while you are doing at this part. Look at my hand weapons, how many times I have changed my hand directions. Just doing the top of the head for now, continuing the lines and the hatching until our work is done. We have to be careful not to overdo it as well. Let's see how many times For instance, this is like a 15 minutes, 17 minutes artwork. You can use maybe half an hour if you have to stop and watch the video and continue, but we should not overdo this one because it's not shading technique. It's a beautiful hatching cross hatching layers. Maintain the form, please do not go out of the outlines of these areas. Try to do this parse any of them delicately. You can see that I don't put any there is no pressure on the pencil now. That's all about your hand movements. Once more, we're going to go onto these areas. You can see that I have put more pressure on this one, and how many times I change it. Not all the directions should be done at the same time. The hatching directions. I mean, especially on the lower parts. We have darker areas on this area. Comparing to the rest of the parts on this side of the head. As the head is the three quarter view. We can see only some parts of the hair on this part, the right side. Just make sure that this was only darker and when you go towards the more right side, less dark highlight area. In order to create highlights, you can use your needed eraser or in order to clean up your work, you still can use some needed eraser as well. Make sure you're not removing any of the main lines and the layers. Like this, you can remove anytime you want. Don't be afraid if you wanted to remove and go on the layers again. For instance, we needed more highlights here. Let's see how we're going to create that again. To create the lights on this part of the front side of the head. You can use H pencil, much lighter comparing to the TV as I mentioned. You can see how I'm holding the pencil while I'm doing while I'm working with H pencil like here. Just going to go around the last details. Now, working on this part, a bit more pressure on your hatching technique, but not too much. We need to keep the highlights guys. But maintain the outline. Just sharpening the pen and add the pencil now. Please make sure your pencils are all sharp as well and you're using the correct one. Just following the main lines. If you had any questions, please send me as well. We are almost done with our taterial. After this, if you are not tired, go to the next tutorial right away and keep practicing, or you can watch this a few times or practice your hair and hatching techniques a few times as well. For instance, how to do the hair lines here, how to add more pressure and less pressure. This is a very important practice, guys, even though it doesn't have the facial features. But in order to get the outlines correctly, the correct size and also to do this hatching techniques is a very important lesson. Just going to do more pressure on the lines and then we're done. Well done and great practice. That's it for today's tateria, and I see you in the next lesson. For now, bye bye. 36. Wavy Hair Drawing: Hi, everyone, and welcome back to another taterial. In today's video, we are going to draw Jennifer Aniston hair, which is famously known for its smooth layer style and often highlighted with the sun kissed L. Can be a great exercise for practicing hair drawing and shading technique. Also, here's a step by step guide, help you draw and render our beautiful actress iconic hairstyle effectively. As you can see, I already have the paper next to the here on the screen, and also look how I'm holding the pencil with two B or HB pencil. We're going to start doing the outline. Please follow my hand movements. You have access to all the artworks in your downloadable resources. Also what kind of materials I use. Now, it's important that you follow my hand movements, I'm doing the measurement. For instance, when it comes to free hand measurement. The pencil measurement, this is how I'm doing it from the tip of the pencil until I measure with my fingers here. For instance, the forehead, the triangle shape here, we're not going to go through the facial, just the hair, and how to shade it, how to actually to understand the highlights and the dark points of the hair here. I have you have started going through this one with me as well. Quite different from other taterals that we have, either you have gone through the hair taterals, or this is the first one. We have many different examples like braided hair, ec hair, a different hair styles. This one, I thought it would be a good example for you to practice this of shading. It's great that you analyze your artworks, the measurement like everything that I'm doing before you go through the main techniques. For instance, doing the outlines a few times, make sure that you're confident with your main outline, then start outlining the techniques. You could understand the flow, the volume color and the texture of her hair. We are doing the basic sketch now, outline the head. Started with basic outline of her hair and face, ensure that proportionally the sketch we sketch out where the hair will sit on the head. I'm just going to draw the general shape of the right side. As you can see, I'm just making sure the measurement is correct. Jennifer Aniston often sports a parted style with smooth rounded volume that framed her face, as you can see here. After we have done here, the next step would be adding details like strands and layers, wave patterns. You know that this kind of hairstyles is known for its detailed layered look. Draw the top layer, top layers lightly, following for under layers to pick through like here now, I'm done with the underlayer. This can be achieved by lightly sketching lines that follow the flow of he hair from the roots to the tips. While her hair is not overly curly, it has soft wavy texture. Include these waves by adding gentle curves to the strands here. Great work. If you're doing at the same time excellent job because that's the best way to practice while you're watching this video, you follow my hand movements, you see how I'm doing the measurement. For instance, these curving ones, which ones should be on top of each other, how I'm doing the top part of the head. And the underlayer. All these things quite important. You follow along at the same time. If you had any questions about the materials and tools, let me know. I'm always online to answer your question either you can submit your assignments or your questions or you can just message me directly if you don't want others to see what kind of questions you have. But it's okay when you just post it on our community, you can see and encourage your fellow artists to practice more when they see your beautiful practices. Just going to go with normal eraser to clean up the space and use brush to take away the remainings. Because if you touch it maybe smudged around, so you don't want that happen. Now with either HB pencil or two B pencil, continue the details. When it's come to shading and texture, it's great that you understand the light source, the base shade, and then we build layers and highlights. What I mean by light source. I'm sure that you have gone through many of the lessons. That's why you are here because we had a lot of facial features examples, the introduction part, and also lots of detailed lesson that we went through. The light source determine where the light is coming from in your drawing. This will guide where you place highlights and shadows. Just going to emphasize on the chin part. I just do a little more hand pressure here. Use a light pencil, maybe HB or two B to lightly shade over the head, and also the outline, establishing a base tone. For this part, please follow my hand movements. I started going through the details. For instance, look at this part of the detail of the ha. Let's determine where we should place it. For a few minutes, I'm just going to focus on going and making sure that the outlines are correctly done. This will guide you to do better when it comes to the building layers and the shading parts, which I'm going to go through the whole hair line, and then I'm going to add the techniques, the shading techniques onto it. Great work so far. You can see that even when it comes to the line drawing, I take my time. No forceful, not too much hand fresher. Even when it comes to line drawing. That's why I keep saying line drawing is quite important practice for you guys. It is like a music. It's like dancing, everything that is delicate. This is delicate as well. Look how I'm doing the lines. Effortlessly try to put the line on your paper. A bit of earring details here. Okay. If you didn't want to do the earn detail that's win because this is a lesson that we focus on the headline. But it's good that even you get yourself familiar with extra details that you see around, you will get used to it to be foro when it comes to your drawings. This is a real time drawing, I'm not using any speed. You can see that I myself, I take my time, look at the way I'm doing the lines here. Sometimes you don't have to do a brake line, a gradual one. As you can see, we continue our pencil hair drawing here. Always have your sample next to your hand. Just going to make sure that I add the details and determine the right place for the work, general placement of all the outlines. Try to hold the pencil in your hands like me. For instance, here, I need to have more control and add more details on the roots. That's why I'm holding it like this to have a wide range of movements. Also, you will have even wider range of movements if you hold it more towards back of the pencil. That's when you want to do the main outline of the hair or any other outline. Still with the same pencil, you have to make sure the symmetrical point is there. Even now it's good that you use your pencil to measure part of the fore like the back of the had that we are doing, the upper parts of the head moment. We are drawing the over volume. Here, still using the same pencil. Some of them are parallel, some of the more curvy lines, drawing in a subtle way to shape the whole part. Look at my hand movements right left to right and back and for. That's the right way to do. Look at the line, the vy line practice that I'm doing. It will be great, great work, great practice. If we could do this on the side, then you do it on the head, your model. Some of them irregular lines, some of them more regular, considering the overall shape of the models, or this model that we are doing. Make sure you have confident when you're doing the lines and working on the sketch. Never afraid of doing any kind of experiment on it. For esp, if you overdid it here, just erase it and do it again with minimum hand pressure, so you can erase it and remove the lines and layers when you're not happy with that. Let's add extra extra lines here. You can go back and forth with HB pencil and two B pencil to have darker shading, darker pencil pressure, continuing lines on this part before we go back to the left side of the hair. Also, you can use four B as well. L et's draw the curve lines here. Look closely as my hand movements, please and repeat after. Look how I'm just crossing it now. It's better you do the back ones like the back hair lines and then the care we cross lines. Let's continue and do this part. Make sure your pencils are sharp, they have sharp tep you could do the lines drawing perfectly like this. If you had any questions, when it comes to any, and not just this lesson, but when it comes to hair drawing the line practice, and Kerry lines, please let me know. Just erase that part to add this area. Even though I have emphasized it, many times about the sharpness of your pencil, it is quite important, guys. Look, if I couldn't have done this line drawing right now if my pencil wasn't sharp, it wouldn't come out nice. We're moving from up to this part, the half of the hair. Look at the hair strands that I'm doing on the left side. At any point, you can remove extra lines with an eraser if you didn't like them, even now. Look how the air ones. Carefully follow the line and the outline, the initial sketch, make sure you're using your guidelines, which are the main outlines that we did. That's why we spend quite a bit of time doing the lines accurately one by one before doing this hair shading. Add in different hair strands with different hand direction. Now let's move on to the right side. Please start from the beginning of the root. Don't start from the middle part doesn't make sense. If you want to have broken lines. Again, you see that I go back from the beginning, then I add in the mid part again from the beginning. That's quite important, you follow the movements correctly. Let's complete the general parts of this part as well. Just for the other side. This part of you can see on the actual artwork, this side is completely dark. Well, I can say dark brown because of the picture. We add these details. Keep our eye on the sample constantly and adjust your hand pressure and movements and also the details that I'm adding. Gradually working on the lower parts. As I mentioned, if you ever wanted to just don't be afraid to use any kind of lines, you have eraser, you can remove extra lines and then redo them. Some of the hair strengths are entangled, one another. That's why we're doing it this way, especially on the lower parts. Is a hair style, so we have to follow the hairstyle. Look closely. I'm doing the second layer now. This one is going to be a bit different because it's not just line drying. It has some shading on it as well. Now, I can see that how the hair looks like on the root area. That's why I'm adding darker layers specifically on this part. We have done the midtones. Now we're going to do the darker ones. Look at my hand movements back and forth. How it moves. Please try to practice this. Well, it's not just hand movement. It's mainly related to my wrist movement, and also my hand pressure. And also pc movements. So you really have to have all of bear all these de cels in mind. You can see the hand pressure I'm bringing here is much darker, isn't it? Comparing to the other ones we have done so far. Because you can see on the picture, this part of the hair, we have lots of shadows on it. Now even here, continue adding more hatching lines, hair strands. With more hand pressure. Sometimes it's good that take a step back from your work and look at the initial sketch, look at the mid tones, and all the details that you have done before moving on to the next steps. I have to be careful that my pencils are all sharp. Otherwise, this part is not going to come out interesting. Especially the second layer. If you wanted to do any other artworks, make sure you collect some maybe high quality image and when it comes to the hair, so you can see the details. You can focus on the hair from different angles in different lighting condition. This is a great practice for you guys. It will help you to understand the flow, the volume, the texture of the hair. Look how this time, the direction of my hand movement. M hand movement was different here. Very smooth. Doing more strands and layers, lightly adding more. We have to allow under layer to have a peek through it shows, we should not overdo the second layer, nothing shows from the underlayer. It's very important you do have that balance in your work to achieve that light sketching lines. That follow the flow of the hair from the roots to the bottom parts to the tip part of the hair. This is how I can create highlights. Either it's you're doing charcoal or pencil. You can use your pencil eraser easily and create a lot of highlights. I use it a lot and it's a great tool to use to create the strands. Take away the extra ones with the brush or maybe a tissue, but or don't overdo it, not with too much pressure. Okay. Doing a bit more here. How is it going so far? I hope you're enjoying as well. I really love doing this hair style. Now after we have erased it, let's do use our monos pencil eraser here. When I say monozer, Maser, they have they rounded. The t parts, they don't have a square. Be careful. This style of pencil eraser. There are two kinds. Some of them circle, and some of them square. Don't get the square ones. I've never used them. Always use this one. Also, at some point, you can use some blending stem if you want to soften and blend the graphite, mimicing the smooth texture of the hair, but I don't use it for here. Now it's about detailing, as you can see. We have to go back, look at our model, refine the waves, and the edges of the hair at more detailed lines to suggest the individual strands and the layers. That's what we are doing here. We're just adjusting the contrast now. Depending on the overall look, let's adjust the contrast by deepening shadows or enhancing highlights with our pencil eraser to make the hair looks more free dimensional. When it comes to the final touches, it's good that you always do a clean up, use a needed eraser to clean up any stray marks outside the hair area or any dark or if you have done some smudging, please clean it up, so your practice your art looks neat. Maybe it's good that we go through some tips for drawing realistic hair as well guys. First is observation, second is patience, and then the lastly is practice. When it comes to observation, spend time observing how hair behaves in different lights and angles. Even look at your hairs, look at your family members hair, how it looks like in for instance dark time or in light. The more you understand it dynamics, the better you can replicate it in your drawings. Hair especially detail a layer like Jennifer Anistons, requires patients to build up the layer and texture gradually. Especially you have to be careful of the caness and all those details. The more you practice, these curvy lines and your hair strands drawing or just line drawings, the more intuitive the placement of shadows, highlights and textures will become. This kind of hair drying, especially, Jennifer Aniston, hair can be a delightful challenge. Especially for myself, I really love this actress, one of my favorites that allows you to hone your skills in hair tture and shading. Each step can be adapted based on the style or specific look that you're trying to achieve or you'd really love to to actually practice, making this a versatile project. Just going to add one more layer, then we are done. Please follow along at the same time. Look how I'm holding the pencil here. These are fine details that I'm adding on the corners on the edges, a bit more hand pressure here. Darker layers on this part, beneath the rest of the layers, consider their forms and add them one by one, like how I'm doing I'm adding the hair strands one by one on this part. Now you see how it looks like. You can create that cavins with this technique. I've reached the darker section in between the strands of hair. The reason we can use these details at these details because we already determined the right part of the lighter and darker layers, so we can easily emphasize on them now. I keep looking at my sample on the right side. Keep adding here, right and left, look at my hand movements, how I'm doing this, adding a bit more darker layer here. So lonely hair strands on it as well. Add more details. Remove any extra lines that you don't want with your eraser and remove the remains with your hand or with a brush with a clean brush from your paper. I mentioned if you don't do that, your paper might get dy. Near the phase where we have some figure lines for the strands of the head. The rest of the layers are mainly light. That is why we are removing more and more layers from those areas as well. Here should be the force darker. You can see I change how I'm holding the pencil. I have wider range of hand movements here. I just want to add more and more and quicker. That's why I'm holding it like this. Again, even though I'm holding the pencil still the same, but the direction of my hand movement change. Every now and then, take a step back from the work, see what you have done, and compare it to the sample picture, analyze it, observe it, observe the process of your work and build up the layers and add more details afterwards. I'm using minimum minimum hand pressure here. Just trying to have that mid tone that slight graininess, grayish feeling on the hair. That's why we are doing this. We just to have some color on the hair, so it's not just white paper. That's why I'm holding the pencil like this and adding the layers this way. You can control the lagers, the colors more and more. Now for this part, look here. We need to add some highlights, these areas. Either you're doing with charcoal or pencil, always use your monos. I have mentioned this in the middle of this lesson. But I'm emphasizing again, that's how you can create the highlights. And then you can use spare brush to remove the extra erasor remains from the work. I'm still creating those highlight strands. We're almost done with this torial guys. How was it? I hope you enjoyed it. You did you have done it and you had some rest in between as well and continued. If the videos, you had any questions for any of the videos and the torial let me know. I'm just going to remove the remains of the erasers and then we're done. Don't forget to go through the next theorial. You can either go through some other hair examples that I have in this lesson, but you're ready to go through other lessons as well. As you can see, make sure you clean up your artworks, everything around it, and then wrap it up. I'll see in the next theorial. Bye bye. 37. Beginner Braided Hair: Hi, everyone, and welcome back to another lesson. In this eateri, we are going to go through this example, as you can see, to go through the braided hair of this model, or sketch, and shade a section for this. In the next taterial, we're going to do another braided example, but that one, the texture and also how we're going to do and apply all the texts we have learned is very different. This is the first lesson for this braided hair, and the next lesson, we're going to do more realistic, a different version of it. Let's go. We're going to do only this part of the hair. If we wanted to go through the whole thing, it would have taken a long time. That's why we're just going to go through this sample, Let's determine the right place of this part of the hair, and we're going to work on it with our pencil. First, let's define the upper and lower limits of our drawing. This pencil measurement that I have done it. We don't need rulers. Let's do it with our hand. T para lines on the top and the hair. Let's follow my hand movements and observe how I'm doing. Start from here. Look how I'm going to do this. We're going to go through this sample but realistic version in the next tateria as well. This is a good practice, a quiet, fast practice before we move on to the next lesson. No and no too much hand pressure, please. Make sure that your pencils and you will control your pencil and hand pressure while you are doing this because we don't want our outlines damage the tooth of the paper. Despite having look I'm doing, we're going to work on the second, smaller version, opposite direction. Please follow my hand movements. The placement, how they are. Take your time while you're doing this. I don't want you to do this in a few seconds. Make sure that you take your time, you pulse the video, finish each portion of it, and then resume the video. Make sure the tip of your pencil, which is HP pencil that I'm using is sharp. Use minimum hand pressure. Look how I'm going to connect them almost. This is the important part. Again, this is just the first practice in the next lesson, we're going to do this in a realistic way. And then we're going to apply our shading techniques on it. Look at my hand direction. You can see the whole work here. Again, don't forget that you need sharp tip pencil. With your pencil eraser, this is called mono Zero eraser. Go through the outline on the sides and erase them. Clean up your surface. Excellent work. Just have a certain paper in your hand and try to repeat after me. If you're not sure about the texture of your paper and pencil, which one you need to use, you can send me your questions. This part of the hair, you can see how I'm connecting them. Like this. Look at the shape, please. Still initial sketch, you have to make sure you're satisfied with the main outline before you move on. As we're going to make sure all our pencils are sharp, I'm just analyzing how and where we're going to have the darkest area and the highlights. For instance, look at this here. This is the highlight and the direction of the highlight. I have to make sure for instance if it was here, I would have had the highlights in a different way. Also, I have to compare it. It's good that you analyze and just not apply all the techniques the same amount, the same way. You need to analyze it and make it different and similar to your artwork. That's why it's good to have your artwork next to you. Here, just from this moment, follow exactly what you're seeing if you're done with the main outline. If not, pause the video and finish the outline first. I'm going to do the left and left part of departed hair. I just change the direction on my hand. Now again. Right to left, a bit more hand pressure. If the parts are small, we need to make sure we consider the small lights that will help us to add dimensional values to the work. Just the other part of the hair here that you can see light and shadows, they intervene. We have to have them all here. You can change your pencil to be pencil in order to have better shading on the left part. We have done the dark line from the bottom part of the hair, then we continue to the top part, a bit more. Now, look at how I changed the direction of my hand and going through the main outlines and where I'm adding more pressure. You can see some parts, and I'll do go on it one more time, so you can have a look. Even the lines on the outline are being done in a very delicate way. You really need to practice your line drawings before going through any of the lessons. Because if you are confident with your line drawing, you can do a lot of different techniques. Please have a look where I'm adding more pressure. For the other side, you can see the initial lines now and the direction of my hand movements. Please consider them, either being convexities and concavities of it, adjust your hand pressure onto them as you're adding darker parts onto it. It's very important to consider the forms guys. Again, make sure you have your sharp pencils, emphasize on the lines now, making them bolder, showing the forms even better now. Always remember that whatever we add to the work, it will complement the general shape and the forms. Look closely at my hand movements and repeat after me. If you had any questions regarding tools, materials, or any of the techniques, please let me know. I'm always online to answer you and also go through your downloadable resources. Great job so far. Have a look how doing the shading. You can use mono zero s, your pencil eraser because this is very pointy, it can emphasize the light. These are the parts that we need to have those lights on. You will see the difference between this lesson and the next one and how this one in 10 minutes, we wrapped it up. But next one, we're going to take our time for the braided hair, and we're going to do it in a more realistic way. Next to the line, I'm doing more emphasize. I'm adding more layers. Please do that, but do not overdo it p, especially for the right side. Keep it clean. I'm paying a lot of attention to the forms and add them one by one. Again, it would be good to use either HB pencil and two B pencil. Then if you were not okay with your hand pressure and pencil pressure yet, you can use H pencil for the lighter areas. But I think at this point, you're comfortable using these two pencils and control your hand pressure. You can see I'm going on the middle part a bit for the second layer. Continue the process until we're finished. We're going to finish in one or 2 minutes. We're almost done. If you look at the technique and what we have done here and you can see what we're going to do in the next lesson now on the corner of this theater. You can definitely distinguish you can see the difference between the two techniques. We continue building up the layers even more. Great job so far if you're following and doing your practice at the same time. I'm just going through the outline. You need to hold the pencil like this. You can see is more straight, so I have more control on the pencil. Just going through the outline. Not too much, guys, please, just a bit more. Keep applying it. I'm just doing some on the left side now. Continue and adding more hand pressure ale, too. Then again, with your moiser, we're going to do some highlights in between them. See how I'm holding it and going on it. This we're adding some dimension of the values onto the work. Keep working on the lights with the sharp tip of the mono zero eraser. I usually don't touch the leftovers of the eraser. I do it with brush, so there is no extra smutch on the paper and you have a clean surface. We're done with this theaterial. I hope you enjoyed it. Make sure that you do your practice and send me any questions that you had. I see you in the next tal as we're going to go through the sample that you just saw earlier and we can learn different technique on this. Have a great day and bye bye. 38. Braided Hair Drawing Shading: Hi, everyone, and welcome back to another theorial. In the previous theateral, we'll learn how to do display that hair in a different style and technique. In today's video, we're going to go through our sample. You can have the artworks and download them from your downloadable resources, but lets draw them in a free hand style. Please follow my hand movements, have your paper and your either HB or two B pencil. Next, let's start going through this. It the initial lines. Let's do the sketching. Then we're going to do more realistic shading compared to the previous terial. I'm quite excited to go through the outlines now. Please follow along. While I'm doing this curry nees for the braided hair, make sure that you pause the video and finish up this part and then resume. Lightly sketch from the left side. We're going to finish it up here around this area. Look at how I'm doing the measurement, please repeat after me, and we're going to erase the extra parts. Please also pay attention to the way I'm holding the pencil. This way you can control it and use minimum hand pressure, which is crucial for the initial sketch. During initial sketch, we need to do it like this. I just take my time, make sure I'm ha with the braided hair, the initial sketch as I mentioned that I'm doing. Control my hand pressure. The reason I keep repeating this because it's so important and even after one year working with some of my students, they still struggle with the hand and pencil pressure. They send me a lot of their assignments and I see that the main outline is so dark, it's done in a way that it's not even erasable anymore. That that how much hand pressure they have used for their outline. Let's practice on that. Now I'm going through this part of it. If the main outline is quite challenging for you at the beginning, therefore, just download your downloadable resources, which it contains this outline and also the grids. Now, I just made sure the tip of the pencil that I'm using is perfectly sharpened and allows me to work delicately as possible on the lines. We are drawing the second one. Almost done with this one. How's it going for you guys? Are you doing it at the same time as well? If you are not happy with your main outline, just erase it and start over, do not insist on an outline that most of it is not okay. Done wrong. We can redo it and also practice as well. The more you practice, the better you get. Let's refine the sketch with our needed eraser like this. Why I am going on this because we want to not to have all the outlines show too much. That's why. Now we see how the pencil, how sharp the pencil is. Now, after I have erased the first initial, I see a hint of it on the paper. So let's pay attention to my hand movements now, which part of the cave lines darker and which part has less darkness under it? These details makes different. Your work from either looks a beginner level or advanced level. Step by step, I'm going to make the lines bolder and gradually add more hand pressure onto them. Now let's move on to this part. After we're done, you can see how much I'm taking my time. Then I'm going to move on to the shading area. Please have a look at the connection in the middle how I'm doing it. It has a beautiful canes on to it. Like this. If you compare this tuorial with the previous one, you see how much more we are spending for onto the outline and Also when we go through the techniques, you'll see the difference as well. This is the difference between a 10 minutes artwork and also a half an hour artwork. Great work. If you had any questions, let me know as well. I hope the twists and the turns are done on the hair now with correct hand movements. We have done the same thing for both left and the right side. It's just more different direction. Now, the hatching lines, let's see how I'm going to create dark shadows on it. Pay attention to my hand movements, and let's start going according to the form of the hair, the caring. When you're closer to the outline to the main outline, it should be darker, and when you're away, for instance, the middle parts, should be a bit lighter. You can create that dimension. It feels like it's more curvy like this. Look at the difference. I know I have mentioned this many times, but it will be great to follow along while you're watching the torial. Then it takes more time. But whenever you're drawing, just wait for a bit, stop the video, complete that part, then resume it. That's the best way to learn. Maybe have another piece of paper next to you. Repeat the technique, somewhere else, then bring it onto your main art, for instance here. It feels like we are working on each part separately, but the all small sections they are related to each other. We have to make sure we analyze it, pay attention to each form, and we have to do the hatching lines according to the form. If you had any questions about the tools and materials, let me know as well. Here, you can see from the middle part, I added a bit more pressure and went away less pressure. Now, again, the same technique repeated. It's a very simple technique, but this repetition, while you're repeating this is going to help you tremendously. The am is a beauty of how closer to the outline, you have to have more hand pressure and pencil pressure, and then you go away less. When you finish this braided hair, these two parts, your techniques has improved a lot. That's why I wanted to have two different braided hair section in this course. One really quick. You get warm up and get familiar with how to do drying. Then this time, you take your time and create a realistic version of it. I'm controlling the pencil quite a lot now. Especially where the hair parts are crossing each other, the lines become darker. Look at the concavity of the form, and the lighter sections. I'm still using the same pencil. Only two B is a perfect pencil for this lesson, this is a specific one. Darker the corners of the hair and near the outlines, I mean, I just making sure take my time more because it's closer to the other side. I have to make sure that the color. It doesn't match too much, but it's not too dark as well. Because this one is more front, it should be darker than the ones behind. How is it going? So far, are you following along? Now here, I'm just trying to slowly match them up and connect them. How easy it is the technique. It's all about your hand movements and the pressure that you bring with your pencil. Apply more hand pressure shadows to the central vertical line of the hair, darken it towards the bottom part, and let's continue the process until the end is the same process guys. While we are repeating this process, let's go back and repeat what we have done so far about the sketch for the braid hair. First, we started with the outline with basic outline of the brad shape, sketching light wavy lines to indicate the flow and major sections that you can see here. We divided the b, marked the section where the strands overlap. Each typically looks like small stretch diamond. After say, then we refine the sketch. That's what we did. Shape the segment. Each segment should be taper and curve according to the braids tension and direction, as you can see, especially in my hand direction. Then we added the details. Sketch in individual strand, which each segment for a more detailed texture. After sketching, which you can see and you have done it so far, we started doing the shading, you have to analyze your work guys, identify the light source, determine where the light is coming from, to guide your shading. This is not for this specific lesson, it is for all lessons in this course, or any other course that you actually purchase. The base layer and built de is quite important. When it comes to our base layer, which we have already done it, and we're going through half the second one, use a light pressure with a two B pencil to lay down a base shade on the underside of each bread segment, where shadows naturally occur. Increase pencil pressure afterwards or switch to a softer pencil like four B or six B, if you're beginner to depend the shadows under the overlaps and out the outer edges of the bread, like how you can see here. You have learned in the introduction. You could use blending stump as well. I really don't want you to use it here. But if you're not comfortable with just pencil, you can use your blending stump or your fingers to soften and blend the pencil marks, creating a gradual transition between light and dark. I still don't suggest you do that. Just try to do what I'm teaching you here. However, you have learned how to do it, especially into introduction. Why not just experiment it because we have already those tools. I well, you have your fingers, so you can try to see how you can soften and blend the pencil marks. But maybe not do it on this specific lesson, maybe another one. Another example, the same example, but another version. That's what I mean. This way you're creating a gradual transition between light and dark. Then it's all about high lights and texture lines. You can use a needed eraser to gently lift graphite off the highest part of the brad where light heats directly, which you can obviously see where they are now. After we have done like two of them. This lesson with a harder pencil, maybe HB or H, I'll gently add fine lines along the brad to suggest texture and enhance the realism. But we're going to just do this one with two B pencil or four B pencil, both would be fine. Even HB would be fine. That's okay. Whatever tools you have, you don't have to buy too many of them. It all comes to final details, which I'm doing now. Review the light and shadows, make final adjustment. It's okay that you erase it to ensure the brad looks free dimensional and vibrant. This is what is important. Also, when it comes to straight hair, you can see how I'm doing it. I'm trying to show that we do have that straight heirs feeling, add a few straight hairs around the brad to break up the uniformity and add life to your drawing. That's why this one is different from the previous lesson that we have done, guys. Now next to the outline, make sure it's darker. It's consistent practice. These are tips for effective drawing, not just for this lesson guys, is for every other lesson that you go through in this course. Regular drawing helps in developing steady hand and natural feel for varying pressure. We're done with di first layer. Now it's all about details, creating more highlights, making sure doing any adjustment that we need to do. Even though I mentioned, any kind of material is fine, but if you use quality materials, the good quality pencil and paper can make a significant difference in the control you have over shading and textures. That's the important thing. Another tip that I would like to tell you is be patient, especially if with complex forms like braided hair. Take your time to build layers and details. For instance, you can see I went on it for the first time. I'm not leaving it alone now. I'm just going to go on it one more time. Just make sure that it's okay, you're happy with it. For instance, now I'm emphasizing on the straight hairs. Adding a few hair strays that I mentioned, going to break up the uniformity of the first layer that you have done and add life to your drawing. That's why we are doing this. That's why we are doing more lights and shadow on the second layer. Analyze it and and add those straight hairs. Master and hand pressure is all about this. It's all about these examples. Applying it to specific drawing challenges such as the spray that hair allows you guys to create detailed realistic, expressive artworks. This skill enhances not only the technical quality of your drawing, but also the overall beauty and impact. More practice, the better, as I was mentioning, these practices is all about gradual line drawing. Draw lines that start with lightly and gradually increase to very dark. Try to make the transition as smooth as possible, L here. This helps in understanding how pressure affects the darkness and thickness of life. Also, now we are doing more shading, but do practice the difference between hatching and cross hatching. Also, for instance, this one is more towards realistic shading. This comparison and practices with different pencil grades to see the effects will help you a lot. But always regardless of what kind of techniques you're doing, start with light pressure and maybe like HB pencil or harder pencil and use softer pencil with firmer pressure afterwards like maybe 2b4b after that is a great exercise for improving hand and stability and precision. Also, one practice I would like to again emphasize is your circle and line drawings. Fill pages with circles and lines. For instance, I don't want to see the lines is all in one in same pressure, varying the pressure to create different shades within each shape or line. This is extremely useful, guys for any kind of practice. When you do just circle drawing and line drawings, you have no idea how much is going to improve your skills. Way more. It will also teach you how to control your hand pressure. It will teach you how to apply the techniques. If we want to repeat what we have done, we're going on this is a third layer or it can be our fourth layer depending on your hand pressure. See, I'm just repeating and adding more layers here, especially near the outlines. If we go back, we structure the hair, started with simple strand brace and gradually worked up more complex style. For more practice, maybe you can do different, more complex styles as well, focus on getting the structure right before adding any details. You can search them online from different websites and get different artworks example or just go onto your assignments. You could get access to more practices. I really look forward to receiving this specific practice from you guys. I want to see how you have done with draw hand and pencil pressure. It's quite important for me to see your progress. When it comes to sequential drawing, break down the brad into its components in step by step drawing. This kind of approach helps in understanding the brace construction and how effectively render with pencil. Also, it's very good if you could use photographs of different braided hair styles as reference, try to replicate the brads, using your drawing skills, paying close attention to how light interacts with the hair and where the shadows and highlights fall. It's all about repetition and variation guys. Draw the same brad multiple times, experimenting with different lighting conditions and angles. This repetition helps in understanding the form and texture of brads better and becomes a powerful learning tool. Look at here how I'm just putting way more hand pressure on this part of the outline. You have to do it like the first layer, second layer, third layer, fourth layer, or even fifth layer depending on your hand pressure. This repetition is going to help you, as I mentioned, become better and better and understand the form and texture. This is like practice create different textures on braids. The shininess, smooth and the course. I'm really careful of the dynamic light sources, draw braids with varying light source. You can see not all the high lights like the same on this specific example, they all varies. This practice helps in making your drawing more adaptable to different environment. Well, we say color blending as well, color blending practice. If color pencil, that's different. But when it comes to using one pencil, that's coloring as well. We are practicing blending different shades of gray colors braided hair here. It's really good. If you want to like to know how to do better practice, keep Sketchbook, maintain a dedicated sketchbook for these exercises, O time you will be able to see your progress. I always had sketchbook, made sure that whenever I want or had some time, I did some practice, and you can't send me any kind of practice. It doesn't have to be just braided hair. You can do any kind of practice and send me so we can look at your practices and I can send you feedback. So if you share your work with me and also all our students in this community that we have, you get constructive feedback, and that's the best. As you can see, I'll just use some needed eraser whenever you want to take away some of the areas you have done or even create highlights, use your needed eraser or pencil eraser. I'm going to finish this layer. I'll add maybe one more layer or two more layers and we are done. Really beautiful technique shading techniques that we are working on now. Work on step by step. Make sure when you're doing the artworks, if you want to make sure that everything is clean around you, have a piece of paper underneath your hand, so your main paper, it doesn't get dark. All my pencils are always sharp while I'm adding a delay, especially the strands hair strands here. If you had any questions, let me know as well. Either for this lesson or any of the lessons that you have done. Try to keep an eye on the sample. I'm just adding more single line effect on the hair now. This should be done at this time of the practice lesson because first we have done the layers underneath layers, then we added details on it. While you're working on this part of the layer the details, we need to care about the direction more. From which part we start doing the hair strands and where you finish and we should not overdo it as well. For instance, next to the next to the edges, I have more pressure of this hair strand and when I go out, less pressure. Now we create some highlights in between. Lo I'm doing it. At the beginning of this lesson, I mentioned, this one is more front, so it should be darker comparing to the ones behind, but we're going to add another layer on that one as well. Now we are done with this part of the with the needed eraser. Then it's time to go through the last layer for the other one, and then we are done. How's it going so far? I hope you're enjoying this as well as much as I'm doing right now. You really need to enjoy any techniques that you're applying. This way, you enjoy your time and also your painting your going to looks much better. Just going to a little move faster now since you have learned it, but I assume that you're going to maintain the speed. The previous speed, the so you take your time. You can't take your time. Next to the lines. This darknck, next to the line and edges. This goes for everything. For instance, when I'm doing eye drawing and eye shading, when I'm closer, for instance to the upper eyelid is like that kind of vy lines, is darker and the darkest one. It's quite the same technique. Continue adding more strands of hair with sharpen. Gradually darken this one, and then we're done. You can see first we apply midtone gray, then we apply more with more hand pressure, create darker shadows on shadings on the hair. Again, you wanted to create more highlights or take away some of the colors. You can do it with your needed is. Like this, or. Let's make sure that our outlines they show, continue shaping it and incorrect direction. Now, this part, going back to the end part of the braided hair at, additional hatching layers. Even now that I have been using my pencil for half an hour, my pencil is still sharp. It's me I keep sharp in it. Please do the same thing as well. That's very important detail you need to consider all the time. These are the last details. Since we have finished this one, how was it? I hope you enjoyed it. Please send me your artworks and assignments. If you had any difficulties locating your downloadable resources, let me know. Also if you had any questions, please let me know as well. L et's add the last details, and then I'm going to see you in the next theaterial. Don't forget to take your time and add as much as detail as you can, but don't overdo it. We need to know where when and how to stop as well at the right time. I'll see you in the next thei and Bobby. 39. Hair Design Shading: Hi, everyone. Welcome back to another taterial of hair drawing. We are going to continue and go through the sketching of this hair. This hair style. It's good that you have your paper ready next to you. I'm going to put the artworks here, and I'm going to show it to you how we could do this part of the hair. Enhance the volume of hair by playing with lights and dark tones. I'm going to go through all those details and teach you how to do this hair style. We have done many different hair styles in this course, and this one would be the last one. If you have done the previous ones, maybe not according to the way that I have put them in your course, this might not be the last one, but it's the most complicated one when it comes to the vi, all those curves. Now I'm doing the measurement. Look at the picture of reference, the horizontal and vertical lines around the model's head. Start with the horizontal line, then vertical line, match drawing to the size of the original model. Please work with these guidelines that I'm doing. It will be much easier for you. From the upper left corner of the head, draw a prominent line. Extend this line from the front of the face from the back. Draw a line and imagine a circle for the bomb. The bone of the hair, and that draw a raised line from under the gathered hair, I have to say. Then we're going to do the neck and the back of the head. We are using pencil measurement techniques here. Look how I'm doing this, for instance, now here, now should be we should extend it from this part, so the space is correctly done. Now this one, let's look at the size is here. Perfect, please follow along. Now let's do the space for this one is almost correct. We don't need to change it. But if you do the measurement for instance for this one, now you see here. You couldn't just guess it. It's good that you learn about pencil measurements as well and know the size of the bone, the hair parts, and also all those spaces around it. Minimum hand pressure. Please have a look holding the pencil. This way, I have control over my pencil and I have a wide range of hand movements without having too much pressure on it. Make sure that the sizes are correct. I usually say this in all these taterias, that we need to measure the right sizes with the pencil. Before we are happy, we are sure about the sizes. Then we move to the either shading, hatching, or just give volumes with our pencils, different techniques onto it. If you're not sure about the outline, please do not move away. Now let's look at the caves. We're still doing pencil measurement techniques. Step by step, we're going to go through each part at initial lines, accordingly. Minimum hand pressure, guys, please. At this point, I don't want to see any harsh out lines or too much pencil pressure. Look at the lines that I've started to do here. Please focus while you are doing this. Maybe put away anything that's going to distract you. While you're watching this, go through pencil measurement, look how we are doing it, stop the video, finish that part, and then resume the video. See my hand movements here. I'm going through the outline. I'm really taking my time and measuring it precisely using fine point of the pencil. You can see I set from top of the head and continue drawing lines below here. There are many details on this hairstyle. We need to consider them all. All the high lights, the shadows, where they start, how many wins we see there. It's a beautiful hair style, hard to draw, but it's beautiful. Look closely at my hand movements and repeat after me, please. It the easiest way while you are following, break the work into smaller pieces and work on them one by one. Start by carefully observing the sample, analyzing it, the measuring parts, with your pencil, then you can transform them onto your paper onto your work. We need to work on these carry lines for a while and build up layers. Just make sure you're using minimum hand pressure and considering all the details. Just don't leave out any of them. If you do it part by part, it will be easier. Even for the curvines to the measurement, because now I just did one of them. I was not correct. I erased it, and I'm redoing it again. It's worth mentioning, if you had any questions regarding the tools and materials, they are in your downloadable resources, but you still can message me at any time. For instance, when you're done with the outline of this artwork, just send me the outline while you're resuming the video, so I can go through your practices, look at your work, and before you apply the techniques, I can correct your outline. That's the best way. That feels like you have your instructor with you. I don't want to say 24 second, but every day. You also have all the outlines and these artworks on grids in your downloadable resources. If you couldn't do free hand style, those ones going to help you. Also, you know, one of the practices I asked my students to do is with tracing paper to put a tracing paper on your artwork, practice de sizes, how you should draw it, and then you're going to transform that onto your blank paper. Look carefully at all the details that I'm doing and how much time I'm spending here. Just take your time. For now, let's measure different parts carefully, determining the right places. Later on, we're going to add more details onto each layer. This is not hatching and cross hatching layers, and it's not shading layers as well. It's just creating and drawing this hairstyle. Then we're going the technique we're using is to add strands of hair in a curly form onto it. With different hand pressure style. Now I'm just making sure of the spaces around this part. Look how I'm holding the pencil when I'm drawing it. It's very important you hold it the same way. You need to get used to it now. Let's measure it correctly. Try to work the same time with me. Whenever you need to use eraser to remove the lines of the work, please do so. Sometimes we need to correct it and sometimes we need to get rid of the outlines in order to do the techniques on our work. Also, you have to careful placement of the e, especially when you go around it. After I'm done going through the old drawing parts, then I'm going to refine the lines carefully. L et's make sure this part is correct, which we needed to correct it again. I'm really going to take my time. For instance has been 10 minutes, we have We have been working on this part of the, the outlines, with the same hand pressure. Let's erase the guidelines around it, the square one. Now let's refine the lines with more hand pressure, or you can change your pencil. For esp, if you are using H pencil or two H pencil, you can use two B or HB pencil. It's not good to use four B still if you cannot control your hand pressure. If you can control your hand pressure, you can use four B. That's fine. Be if you adjust your hand pressure to the level of darkness of layer, you will have a better drawing. I really take my time. Even I have done the outline, and I'm just refining the lines, I'm going to take my time to do the details step by step. Just emphasizing on some of the lines a bit more and some of them less. I carefully follow the lines, the initial sketch that I have done. Then after that, we're going to do hair strands one by one. I constantly check my sample. I'm not just doing it from memory. I keep looking at next to my hand, which the artwork is. You can put it maybe in front of you as well. Look at the hair strands here. L ese do measurements here to make sure it's correctly done. As keep ani on the sample, especially when we do the forehead area. Pay attention to my hand movement here. Now the ear part around it. This part is more delicate. You need to take your time. Any of these lines, they have been divided to maybe lighter tones, mid tones, and darker tones. Moving down here, the lower part of the hair. We're going to clean it up, and focus on this part for now. Look going to do the shading here. If we look at the artwork, here is the darkest one, so we're going to go through the darkest areas. My hand directions each time is different. This one as well. Have a look. I'm just going to continue around this area. I'm going to make sure that I'm close to the outlines. When I start darkening each part, then when I move away from the outlines, I will reduce my hand pressure and pencil pressure. The highlight they show themselves more. I just need to finish up shading every dark part of the hair. It's quite easy part. Just make sure that you have done the outlines correctly. And when the placement, are all all right, this part would be easy shading the dark parts. Let's pay attention to my hand movements here and how many layers I'm creating. We need to show the contrast next to the medium grace to complete the work. For instance, every time I add more hair strands, please have a look how I'm moving my hands and consider all the details that you see in this trial. Look how moving the pencil now. Make sure that your pencils there is sharp, s continue shading in this manner until we are done with this part. We can have lighter and darker bonds here. Creating textures with this way of shading. Creating this of hair style with a bond and elegant curves can be an excellent exercise to practice shading techniques guise. This step by step material will help you sketch and shade this style effectively. Let's now focus on creating volume textures in a intermediate beginner realism style. We have to make sure ensure the proportions are all correct. The outline of the hair, including the position of the bone at the top or back of the head. These parts that I'm showing it to, we need to make sure they're all correct. Keep measuring it. Remember the bond should look rounded and voluminous. With your hand movements and shading, you still have to keep the feeling of the bone on the hair. For this first layer, make sure you are doing soft carrying lines coming from different parts of the head towards the bone. This shading lines ensures c for elegance and flow. While we are working on it, we need to again emphasize on initial shading, the first layer, the directional light, which we have to determine where the light source is coming from, and Also by looking at the subject like the artworks next to our hand. This will influence where highlights and shadows fall. Use light pencils such as HB, or maybe two B, but HB would be a good one here to apply gentle base shade over the entire hair. This establishes a mid tone upon which you can build darker shadows and brighter highlights. Here on these areas, we have to deepen shadow the shadows here. If you have any difficulties for these areas, maybe use two B or four B pencils, begin shading the areas under the bone, which we have done it. Also where the hair twist or overlaps, I have to say. I'm not sure we call this twists or overlaps. At the roots, we have to go through all these parts. Choose the sections that are easier for you. But please try to repeat after what I'm doing. The areas that are typically less exposed to light really shows on the artwork. So we can begin with those parts. It's really great for this theaterial, we are doing smooth gradients to create a natural appearance, and with this way we can blend our pencil strokes, which this one is quite different from the hatching techniques we're going to go through, like the ones we have used for the hand drawings, the hand lessons. We had so many hand lessons and we did a certain very nice hatching techniques. This one is very different from that one. If you had any difficulties to do this blending with pencils, you can use blending stump or piece of tissue or even with your finger. You can soften the surface. Spot out the gradients between the dark shadows and midtones. Then for instance, now, you can see what I'm doing is detailing and more highlighting. It's like fine details, those hair strands, with sharp pencils. Let's create the fine lines that suggest individual hair strands. These lines should follow the flow of the hair. As you can see here, look at my hand movements and add to the texture. It will we're enhancing the volume here, adding more layers of shading to the bond. It will enhance the volume. Let's pay special attention to how the section of bond overlap and cast shadows on each other. This caness, we still have to keep it intact, follow the line, the main outlines. We have to look at the highlights maybe after a while you can use a pencil eraser event, to gently remove some graphite to create highlights or keep the whiteness of paper. I. I'm going to do more hand pressure on this parts. We need to check our contrast, reassess the overall contrast of our drawing and then add more shading, more hand pressure, pencil pressure on our painting on our drawing. Also, we need to ensure there is a good balance between the dest shadows and the lightest highlights to give the hair a free dimensional look. Also don't forget the clean up part, use a needed eraser to clean up any stray marks outside the hair area to ensure a clean presentation. If you you feel it's going to become too messy, maybe have a piece of paper underneath your hands. You control the messiness, I have to say. Some tips for drawing hair maybe is flow and form and also layering and observation. What I mean by that always consider the form and the flow of the hair. Curves should be smooth and natural, contributing to the overall elegance of the ho. And when it comes to layering, build layers of shading gradually. This allows for more control over the tonal depth and complexity of the hair. Also the observation that I mentioned, Study photographs or real life examples of similar hairstyle to understand how hair naturally behaves in such style, how it reflects light and cast shadows. You can see I use brushes here whenever I have some extra stuff on the paper, and I don't touch it with my hand because it's going to be the paper might get dirty. What we are learning here is this tutorial provides a structured approach to drawing and shading this of hairstyle with a bon, emphasizing the creation volume and the interplay of lie, alight and shadow to achieve a realistic and appealing results. You need to have patience, follow along, make sure that you do the outline correctly. All these details are quite important guys. Now, this is what I meant for creating highlights. You need to use pencil eraser to achieve the highlights that we were talking about. Here, we need to have a talk about use variety of pencil strokes. We are using a lot of pencil strokes to add richness to the hair texture. Not all of them the same as you can see, especially on this part. For example, short and sharp strokes can mimic different hair styles. While longer, smoother strokes are ideal for slick sections of the hair. Layer your strokes in different direction guys, where the hair naturally changes direction or where there are twists and overlap in the bond. Here I created more highlights with my pencil eraser, and then I go on it with my two B pencil or HP pencil. Look how I'm creating those hair strands, creating the volume on it. This is how you should hold the pencil. Discontinue adjusting the shading around the bone. Depend the sense of volume here. All this mix of highlight and shadows. Let's pay attention to the way shadows form in the deeper parts of the bond and under any loose strands. Use the side maybe while either exactly imitate what I'm doing or use the side of your pencil lead to create broader softer shading areas that suggest the bulk of the hair without defining it too sharply, which can flatten the appearance. These are all tips and hacks. Adding realism to your hair style, to your hair drawing through highlights and shadows guys. When you go through the hair section of this course, I don't think there's any other hairstyle. We have worked on them all. After you have gone through all the lessons of the hair lessons of this course, you can tackle all kind of hair styles. Just do the observation, try to practice, make sure that you follow this tutorial step by step, all of them, not just this one. Also, in regards to any of the lessons, if you had any questions, let me know, please. Adding more and more layers here. Use pointed eraser to lift some of the graphites in or to create light catching strands. Remember, guys, Highlights are not just uniform lines. They should vary in thickness and intensity. Especially where hair bends or turns. Your hand movements, they should be like what you're seeing here. Please try to repeat after me. We're deepening the shadow areas of this part. Even though we're going to leave it as it is, you can use maybe darker pencil such as six P, that's quite dark, and then even add more and more. You experience a different version of this hair after you have practiced this. See how it's going to be. Try to experiment it yourself as well, gently apply those darker tones. Another point that you need to bear in mind is consider the overall shape of the head. When did I consider it at the beginning, when I was doing the outline, when I was doing the undertone, the mid tones, and even now, I'm considering it. You have to consider the overall shape at all times, especially when placing these shadows, ensuring they follow n c the curves and enhance the three dimensional feel. I really love this lonely strands here. Just let's not overdo it. We can clean up and then make sure we have a clean space. These loose strands, these flyaway hair or lose strands can significantly increase the realism of the hairstyle. Try to practice them as much as you can. This should be drawn with a very light or very sharp. In different places where they will enhance the style. Typically, as you can see here, they should be around the face and at the edges of the bond. As I mentioned, use a very sharp maybe HB or two H pencil to create these final details. The harder pencil will prevent the lines from becoming too dark or dominant. Let's bear that in mind. All these details that I'm doing, we have to make sure these diss are well integrated into the rest of the hairstyles. They should enhance the drawing, not distract from it. Moderation is very important as well. Use light shading around these areas to blend them smoothly into the rest of the hair. Then we have to do final review and touchos, which is we are almost at the end of this theaterial. The overall harmony. Let's step back from your work and view it from a distance. This perspective can help you see the balance and flow of the entire drawing. C heck for any areas that may need more balancing in terms of tone, textures or details at the very end. While you are looking at it maybe from a certain distance. Make sure the darkest shadows and the brightest highlights are where they should be to maximize the impact of the light. Then it comes polishing. Use your eraser to clean up any smudges or stray marks that might have occurred during the drying process. This will help sharpen overall appearance and ensure the focus remains on the detailed work that you have done. By following these detailed steps and focusing on the lights, shadows, texture, your hair drawing, this kind of hair drawing with a bond, we not only capture the elegance and style of this kind of hairstyle, but also showcase your skill in rendering detailed and realistic textures in pencil drawings. For this lesson, I use either one HB, but mostly two B pencil and my mono zero eraser. You don't need a lot of tools and materials to draw something this beautiful, beautiful hairstyles. You can do it with one pencil and wrap up your artwork. That's the beauty of it when it comes to pencil drawing. So we're almost done. I'm just adding a few highlights here. Make sure you clean it up, and then let's wrap it up. If you had any questions, let me know, and I look forward seeing your practices. I'll see you in the next taterial, and bye bye. 40. Curly Hair Drawing: Hi, everyone, and welcome back to another taterial. As we can see, we go to continue our topic of hair drawing and shading. With our pencil two B and four B pencils. In this lesson, we're going to work on this short curly hair that you saw at the very beginning of the taterial. Make sure you have all the tools and materials and the artwork that you can from your downloadable resources next to your hand, ready and let's start work together. I'm going to go through the initial sketch now, with our sharp pen with two B pencil. Let's start with the main outline of the face, although we are not going to draw the face and its features, but our focus remains on the hair. This prominent jaw line, let's go through it. Please follow my head movements. If you follow the titeral is fast for you. At any moment, please stop the video and then draw it, what you see on the screen. If you had any questions, please send me your questions, and then you can resume the video. This is overall shape of the hair with minimum hand pressure. Let's do the general outlines the general form of the hair around the face. I just did the pencil measurement on the sides. Let's keep an eye on the sample picture. Now, I'm going to go through the curves to see how they should look like here. You're just emphasizing on the lines around the face first and the form to see it clearly. Let's do it step by step. This might take a while to do. Please spend maybe around 1 hour for this hair drawing. It is a great way to warm over your hands and learn how to do different sidings when it comes to this style. Square is a three quarter angle view. Now we are doing the curves ones, as you can see. Please follow along. Look at all these ones. Drawing curly hair can be actually very rewarding challenge, especially given its complex texture and shadows. While you can see, we're going to use two B or four B pencils along with monoizer, and needed erases. You can effectively render the depth and dynamism of curs. As I mentioned, this is step by step guide to drawing a curly hair style. Incorporating both hatching and shading techniques. I'll show you what I mean in a bit. At first, this by ones that you see just going to show to you how what's the feeling of it? Then with hatching style, I'm going to do the underlayer like this. Let's start doing it. We're going to do cross hatching. When it comes to materials from two B pencils, they are really good for medium shading and detailing, F B pencils, for darker shading and deeper shadows, and mono zero eraser for the highlights, details, and corrections. But needed eraser for lifting graphite to create soft highlights and for cleaning edges. We have already positioned the curves, but let's do the cross hatching these areas on these areas. We're going to observe and do the sketch. You can look at your artworks, observing the curves, either from a reference photo or maybe even a live model. But these photos that you can download from this course would be sufficient. With any kind of artworks that you have either from this course or online, notice how each, its direction, the thickness, and how it looks. We're just sketching the general flow of the Keels lightly with a two B pencil, or four B pencil, depends which one you have, and both of them fine as long as you control your hand pressure. We're going to do this cross hatching for a while. At speed up this part because it takes a while. You just take your time. You don't have to rush it just because I'm speeding up the video. You can take your time and do this slower. We have to do this all over until it's done. Even though the videos faster, I usually really prefer not to do this, but this one is quite repetitive and you need to do it is a great practice for your cross hatching guys. Just try to take your time and practice this step by step. You are doing sketch the general flow of the curse lightly with our pencil. Don't worry about the details yet. Focus capturing the volume and the direction. At this stage. A Then we're going to define curves. For now, we're defining them with hatching. We are just use light hatching to mark the darkest area. These are typically found at the maybe roots and where cls overlap or talk under each other. Also, why we are doing different direction, the direction of your hatching should follow the curve of each car, which helps reinforces the form and volume guys. We are almost done. I hope you didn't mind that I had to speed up this part. I'm just adding a bit more hand pressure on some areas. You can see, not all the cross hatchings, they are the same. Now at this part of the arterial, make sure that when we have started the curves, you have a very sharp pencil. Start using your FB and look how doing the curves. This actually should be your real speed. How much I'm taking my time, and creating the curves. With the initial hatch marks in place, Let's start defining the shapes more clearly here. Adjust the curves and loops to vary the size and direction of the curves, to create a natural. Remember this. C, these curly hairs are rarely perfect. They vary greatly. They're all different in shape and tightness. We can see now, even at this stage, I'm doing some layered ch add another layer of h to increase the depth, especially in the under layers of the hair. This technique is particularly used for showing the density of curly hair. S. Keep the pencil stroke, light and consistent, ensuring the curves along with the hair to enhance the They have geometric shapes, I have to say forms like cylinder shape, when it comes to each car. Look how I'm doing the curves on this part. Follow my hand. You can see the left side, darker, and the right side has more highlights onto it. Now, if we use our needed eraser, let's see the effect. We're going to lift some graphite. Then it's because we need to create softer highlights and clean the edges, as I mentioned earlier. Now we're going to do one next to it. I hope you're following along as well. When it comes to this curly hair drawing. The first step is understanding and positioning the curl skis. Observation and sketching is very important. For instance, here, see when I'm doing the curls, how I'm positioning them. Begin by observing curs either from a reference that I mentioned or just by looking at my hand movements. Look at the direction, the thickness, how it looks. First, we understand how to sketch the general for flow of each one that I'm doing here. Don't worry about the details. Just try to repeat after me, focus on capturing the volume and direction. That's what we want for this part. You will get better and better. We have already defined all of them with our hatching. That's the reason because if you want to do this one without any underlayer, it would have taken more time and Carly hairs, it's very time consuming to be honest with you. This hairs, if you want to do it realistic style, it might take a few days actually to just finish this one, not in half an hour, as you can see here. That's why it is still realistic style, but we are just wrapping it up quite faster. You have learned in this course how to do hyper realistic as well and all the techniques. It depends what kind of techniques you want to use. Even you can just use catching and cross hatching that you have learned in the hand section. That would be interesting as well. If any of you wanted to apply that kind of techniques, please let me know. It will be very interesting to see how your artwork is to look like. How I'm doing these parts together. If you want, you can slow down the video. There are some On the video, you can either do twice the speed or even reduce it. Depends on your personal preference. We use light hatching to mark the darkest areas within the cars actually. So I think I mentioned this, but I'm going to say it again. These are typically found at the roots and very curls overlap or talk under each other. The direction of your hatching should follow the curve of each carl. Exactly what I'm doing here, which helps reinform the form and volume. Bear that in mind, please. Look how I'm doing. Just take your time when you're doing this. Some of them the hair st the lose hair strands at the end of the edge. L here. That was step number one. Step number two is refining the curl shape. When you go back on it, for each part, you have to make sure you're refining it like here. For instance, I go back on each one after I've done the first layer, and then I make that for instance the left side of it is darker and right side lighter. With the initial hatch marks in place, start defining the shapes more clearly. Adjust the curves and loops with different size and direction of the curves to create a natural look. None of them should be perfect. Just try to make sure that you're doing this, drawing it in this way to actually create a n actually. The shape and tightness they are all different. Here we're going to add another layer of hatching, shading here to increase the, especially in the under layers of the hair. This technique that you can see here is particularly useful for showing the density of curly hair. One point that it will be interesting to mention is that if you start from the left side, it might be easier for some of you. I feel like your artwork, your paper is going to get dirty, smudge all over, just have a piece of paper underneath your hand or start from the left side, and then go towards the right side. Make sure your pencils sharp and apply pressure gradually to build up the darkness without overwhelming the lighter areas. Create fine lines, follow the curl pattern to mimic individual strands as well like here. This step brings a bit more realistic texture to the hair, making each curl distinct and tangible, I have to say. At any point, if you wanted to create highlights, use the mono zero erase to carve out in lines of highlights on the upper side of the curls where the light naturally heats Also, let's not forget our needed eraser. Needed erasor can be dubbed on broader areas to softly lift graphite, creating softer highlights and also increase the volume. If you notice here or on top of the head, the strands of hair and the curls are going to be shorter, consider their forms and add them one by one. Let's perform the same progress on the left side, shading the hair and the head and the hair. It's exactly the same technique as we have done on the right side. Also, it's worth mentioning, again, try to hold the pencil like ham holding and sometimes from the middle part, so you can maintain a safe distance between your hand and the surface of the work. Let's look at my hand movements here. Maybe let me know if you felt the right side, it was different from the left side. It would be interesting to hear your observation, your analysis. For those curls that are close to the face, as they become shorter, be careful with their forms. Look at these loose hair strands, but is Cary, quite different from the previous hairstyles that we have done. Consider the form and the length of the curves and adjust your hand pressure while you are doing it. More towards downwards, from the left side, shaping the hair into a twisted forms, all of this. Let's maintain both light and shadows. Continue adding more and more. Hope is going well for you as well. At any point, you can use another pencil, maybe four B or six b if you wanted to add bolder lines. Lift off some graphite. If you want to have more delicate lines, especially for the face area. This will be interesting to show it. It feels like more modern painting when it doesn't have the facial features on it. What are we going to do now? We're going to go on it again with sharper pen with a darker one. If we were using two B, let's use four B. If you were using HB, let's use two B. You can see, it should be a darker pencil. We're going to go on each part, add more details, and then we're going to use our eraser on different areas as some highlights and also needed eraser, then add a bit more details, and that's it, then we are done. These are our final adjustment that we are doing. We have to review it, step back and review our drawing and add all these details. Understand the balance of light and shadows, adjust any necessary parts that we feel left out. They need to look more free dimensional and vibrant guys. That's why we're adding more here. Just make sure you don't overdo it. Again, use the eraser to clean up any smudges or like, what I'm doing, add more hair strands. On the sides, the edges. Drawing curly hair using this technique allows you to wrap it up faster and also captures unique texture and volume effectively. By I have to say gradually building up layers of graphite and carefully managing highlights and shadows, you can create a lively and realistic depiction of curly hair. Just adding more loose strand hair strands here. F sharp lines in a. Just going on it another layer, and then we're done. Whenever you use your monel eraser and you have extra rubber stuff on your paper, try to use a clean spare brush to remove extra the remains from your work instead of like touching it. These details are quite actually important, it shows difference between intermediate and advanced or from beginner to intermediate level. As I mentioned, this final touch is quite important. So I'm just going to add a bit more, and then I'm going to start using my monorizer. Also, have a look where I'm holding the pencil like this or more vertically in my hand. We're going to use our mono eraser all over, and then again, we going to have we're going to bring our pencil one more time to do final polishing, and then we're done. Remember that not all curs in a head of hair are identical. Almost done. Just adding the last details. I do need to mention not overdue your mono eraser as well. We're just going to do it some areas. We're just adjusting overall balance. It needs to have a balance, not all of it needs to be dark, not all of them needs to be lighter. We don't need to use our pencil eraser everywhere to create that highlight. Some place needs to be darker, some lighter. This is for overall balance and composition guys, to adjust the contrast and depth where needed to ensure that the hair integrates seamlessly with the rest of the drawing, maintaining consistent light, shadow, texture across the work. And we are almost done. Again, I look forward to seeing the end results of your work. If you had any questions, let me know. Try to do your practice step by step. And consider all the techniques that you have learned, the hatching ones, which was like under layer, how you used to use different pencils, first two B or four B ones. When you create highlights with your monozer, how to add more color layers. With your pencil, let's consider all these factors. I hope you enjoy these theorial, guys. We're done and I see you in the next lesson. For now, take care of yourself and Bye bye. D. 41. Grid Nose Drawing: Hi, everyone, and welcome back to another theaterial. In today's video, we are going to draw this nose using greed approach. Look at my hand moves. Let's have a ruler. If you don't have that's fine, just do free hand drawing. With our two B pencil, we're going to do the sketching. Start, pick up your ruler. Draw a square round around the nose from the below here. Draw the line and next to the nostrils. Then we're going to draw two vertical lines four by 4 centimeters. If you have different measurement from different countries, that's fine as well. T equal squares would be fine, four of them. Good job so far. If the video is too fast for you, please stop the video, draw the squares, and there isso. Now, just making sure that the size is correct, both sides. Connect these ones as well. And then here, another two centimeter. Here we go. This is it. We have it now. Now from here, please follow my hand movements, how we're going to draw it and we side now it's time to draw exactly what we have seen on our paper. It's very important to make sure drawing the guiding lines are drawn correctly. Double check your measurement, please. Also, you have all these available, all the downloads the grades available on your downloadable resources. You can find different information there, which they are already done for you. So you can get access. Now two centimeter here. Let's connect these two together. Excellent work so far, guys. Please send me your practices as well. This is quite a quick one. We are not going to spend too much time shading it. We're just going to go through drawing to make sure that you know how to do g outlines, to do the measurement and correctly draw the nose here. Now look at here the nostril, the right side. Keep an eye on the sample, transfer what you see exactly what you see based on the grid lines onto the other grid lines onto your paper. Now, slowly, I'm just going to go and here. That's it. We have it here. Let's do the tip of the nose here. You can see is more towards the side of the line. Then and then decide, please have a look, how how it is here. We're just going to connect this part together and then go up. We're almost done with the main drawing of the nose on this part here. When you want to do the measurement, you can do it with a pencil. The tip of the pencil until the main line. Look at my hands. That's it. We have done it correctly. Now, after this is all about going through the shading part. We are done with the main outlines. Look at the side of the eye. This is how this part of the nose and the upper side of the eye, they get connected. We're done. The nose is completed now. Quite happy with it. Now, just to go through the darkening parts. When it comes to the main example and good hatching, your pencil, the tip of the pencil needs to be quite sharp. But now it's okay. We just have to go through the outlines, the measurement, that's what we are doing here. For you to practice and warm up your hand and get more comfortable when it comes to grit drawing and just shading afterwards. With more hand pressure, satiating the nose, the nostrils area and the wings on the sides. Now, I'm just going to darken this ones. Look at my hand movements. Even when I'm trying to darken the lines, for instance, here, as you can see, has more darkness is darker than the middle part. When you're drawing a certain line, not all of them should have the same tone. Make sure that you bring that beauty of different tones, different gradients onto your drawings. Now, these areas, I'm going to do some cross hatching, the tip of the nose, and then some on the other side. Both side of the nostrils, I add some hatching, add a bit more here. You can see on the picture because there are too much light on this certain picture and photo, we cannot add more shading onto it. That's one of the maybe good thing because you can finish it up quite quickly, but it's a downside of this photograph. When you're choosing your photograph or artwork that you are drawing from, quite be careful, if it's too bright like this one, you won't be able to analyze it at the beginning. Maybe one good thing is that there are many apps that you can gray turn this into white and black. Picture. It will help you much better to understand the the gradients, which one should be, which size should be lighter and the highlights where they are. It's going to help you a lot. We're done with this one as well. Please send me your assignments or any questions that you have. Don't forget to download your downloadable resources as well. That's a bit darker on the sides, and that's it. I see you in the next theaterial, Bybi. 42. Nose Drawing Hatching : Everyone, welcome to this taterial. In today's lesson. I'm going to do a very quick nose drawing and nose shading. Right away, let's draw a nose using guidelines. First, I draw the guideline from the top to the bottom of the paper. Horizontal and vertical lines. Like a cross. Now, from here, I would like you to exactly follow my hand bopens where we are placing the nostrils on both sides of the guideline. Make sure your hand pressure and pencil pressure are moderate. Just draw two smart cave lines, please follow along. If you felt the video is too fast for you, please stop the video, make sure that you draw it exactly as you see. For instance, where you have to put the nostrils right here. This is the right side and the left side quite different. Next to the nostrils, I draw the cave lines of the nose, the wings, we call it alongside the guideline. I draw straight vertical line for the nasal bone. With more hand pressure, we're going to make this parse much darker, distinguish. This is a three quarter angle nose drawing, as you can see, We are actually almost done. That's it, guys. Now let's just do the hatching. See how fast we ate. Start dking the lines. Look at my hand weapons and repeat after me, please. Continue the shading lines. These areas are the ones that you have to do. The canes of the hatching here on the sides. And here above the lips. Every time you use needed erasor to remove the guiding lines as we do not need them anymore. Be careful not to remove any of the remaining lines and layers, keep them where they are. This side, we do some cross hatching and here a bit here on the nose, below part, and here. Keep an eye on the sample, especially this one, determine in order to determine the right spots for the shadow while using thing lines according to the form. How is it going so far? We are almost done guys. See how quick it was. We took our time sometimes with some of the leaps and eye drawings and also facial drawings like two, 3 hours. But this one, a four minute one. That's it. You can see different versions, different drawings you can do depends on your personal preference. I really hope you enjoyed this quick video. Please send me your practices so we can see and let me know how long it took you to draw this. This means you have to draw this a few times. All right, guys, that's it, and I see you in the next uterial as well. Don't forget the guidelines and don't forget to do the correct hatching for now, bye bye. 43. Front Nose Drawing Hatching: Everyone, I welcome back to another lesson. In this theateria, we're going to continue our facial features education. This time we're going to design this nose, and we're going to add our shading. As you can see, I have added our tracing paper. You should be familiar how to do this. I have placed the tracing paper on the print already, copying a personal choice. We're going to learn how to draw the nose of our model and how to do hatching and shading. Start with simple outlines, and then we're going to progress to the details. It will help us to understand the depth and the intricacy of these facial features, especially of the nose. I'm using a certain pencil, which you can be two or HP that you are using or any other pencils that you have. Please follow my hand movements as you can see. Again, I have place a tracing paper on the printed model. I'm just analyzing, learning what I should do, where are the lines, and then after this, we're going to write away in this theater, going to draw this free hand style in another paper, and we're going to learn how to it in a very good way. Please follow along until we complete this lesson. You have already seen how I've done the nose wings, the nasal, the bone structure of the nose. You can see the hatching, how I'm doing the cross hatching. These are the things you need to analyze as well, for instance, if you're doing a new artwork that you're maybe not familiar with, this is the best way maybe as a beginner level, you can analyze. This part the darkest area, comparing to the right side of the nose. Look at the darkness, comparing the left side darkness and the right side. Look at the difference. This part is the highlight of the nose, especially the tip of the nose and on the forehead in between the eyebrows. We're almost done with analyzing it. After that, we're going to put this beautiful artwork next to our hand. I suggest you how you do the same thing, have the artwork next to you. Then, or on the right side or left side, how either your right handed or left left hand. Please put the artwork and then have your pencils ready next to you and we start doing it. Quite excited to go through this model. I have already learned how to do it. I have analyzed it. As usual, let's do the guideline. I'm going to do the measurement. Look at my hand, exactly, please follow along. I will demonstrate here how to do the nose, without copying it, without the tracing paper. Going to make it twice the size of this of the main subject, here and here. We have to simplify the nose, draw the small circles for the T and the wings. Please follow along. If the video is quite fast for you, please stop the video. Draw everything that you're seeing, try to experiment with your pencil measurement, and then resume the video. I'm just showing you all the dimension both length, the, and how we should double it. Look here and here. Make sure you don't change the tip of the pencil, so your measurement it doesn't go wrong. And the two circles here. I do have master classes that I'm going to go through many different facial a portrait drawings. But as I mentioned, that's in charcoal drawing. If you wanted to have a look at it, please do so. This is these are dark area, the nostrils area, and then I'm going to connect these ones together. Great job so far if you're practicing at the same time while you're watching this. If you had any questions, please let me know, send me your assignments. We do have also downloadable resources that I have put all every material such as the outline. If you didn't have tracing paper, that's fine and the grids, and also, as I mentioned, your assignments are there. Just raise the guidelines, so you have a clean space. As I mentioned, I started with those three nose circles, and then I outlined the nose wings. And then now I'm going to go up these parts. Now, I'm just going to put the artwork side because I want you to just focus on the shading and the hatching parts. Let's follow my hand movement, make sure that your pencil is very sharp. You can use maybe five B pencil here, which is very good for the dark areas. I'm going to show you how to do that. Continue towards the lines and the tip of the nose. Just make sure you don't overdo it because we don't want the whole outline to be dark. The beauty of hatching is like we do have broken lines. For instance, here, if it's very dark, maybe a little away from it, it should be less dark like exactly here. Look I'm just changing the tone. One part darker, one lighter. If you feel you have done it overdid it, just make sure that you get rid of those darkness. Excellent work so far. If you had any questions, let me know. You can also send me like part of the progress as well, you don't have to wait and send me the finished material. Now we're going to go through here. After that, I'm going to get rid of this part. Redo it in a better way. This nose shading hatching is one of my favorite ones actually. You will see I really adore this style. It gives me that old fashion, but still you can use it in a modern way. After I have finished hatching the whole nose, you will understand why I love this style of hatching. Quite different from the other hatchings that we have done in this course, which the other ones may be extremely realistic, or some of them maybe towards more shading. But this one, the hatching is particularly like I have to say, is very pleasing when you do it this way. Look at the curve lines of the nose wings extending upwards. Please follow along. Take your time sp this comes to the outline. Look at here. I have spent maybe five to 10 minutes only doing the outlines. I made sure that everything is fine. Now I have started doing the hatching and then I'm going to go and to do some cross hatching on the c parts of the nose. Start with the line, and then when you go out of the line, it should be less dark. Look at my hand movements, how I'm doing this caving is really this hatching is quite beautiful. I really really adore this technique. You can see not all of them the same. You have to make sure you do have some highlights in between. Pay attention to the placements of the highlights and where I put more and less. For instance, if when I'm doing it again, if you want to do it, how it will look like? I'm just connecting this ones. You can see from the wing side, the outline of the nose wing, the part here, as you can see darker, and when we go further away, it should be lighter, for instance here. You have to pay attention to these things. When you're just moving your pencil, not all of them has the same darkness. Now we are shading areas next to the lines. Look, I just did a cross hatching on the side and also here, see how neat they are. Downwards, I have to say, keep going downwards and in a carry way. Do not overdo it and make sure please make sure that your pencils is sharp when you're doing this hatching. If it's not sharp, it's not going to look like this. From this part until the end of this tateria, is all about you following exactly what you're seeing. The techniques you have learned it is all about you follow what you're seeing and try to practice it a few times, not one time a few times, especially for instance, this cross hatching here. You saw how I did it on the left side, then I did a cross hatch from the right side of the nose to the left and I just did the middle part. Just take your time for this hatching, please. For instance here, see how I take my time to do this. Did a diagonal hatching over here on the right side. For instance, I just need to reduce some part. This is how you do it. We didn't need to do it, but if you need it, this is how you should do. Repeat the process. Keep doing your cross hatching. We're just making the lower part of the nose darker here. Please control the hand pressure and your pencil pressure and make sure you go around the high lights so you don't overdo the highlights area because we need the witness of the paper. Use your needed erasor. I didn't mention but I assume that you know that this is needed erasor that I'm using because you have seen me using it quite a bit in this course. Creating high ls places I want. Look at the way I have I'm holding the needed eraser. That's how you should do it as well. As you can see, I continue creating the highlights. Took away some of the darker areas in order to add some cross hatching on a diagonal one way. You can actually finish it here, but we're going to add more so you can see I wanted to say finished product, but finished artwork when you continue, for instance, here, just making some changes. On the nose, this part a bit. The tip of the pencil barely touching the paper right now. I'm quite careful with the hand pressure with the pencil pressure, I'm sorry this time that I'm bringing onto the paper. Even here, I keep doing layering rather than just create the whole darkness there over one time like drawing. No. I just keep and overdoing it, make sure that the layering is done quite correctly and I have not rushed it. That's what I want you to do. This part of the nose next to the dark areas always we have some highlights. Now it's all about building up layers as you can see. Maybe sometimes challenge yourself to have the side by side comparison of the trace noes that you just did versus your free hand one that you are doing now. This reinforces the skills that you have done so far and also demonstrates your progress. L et me know how you feel about free hand drawing and also greed drawing, which one you prefer? I'm just not saying if I'm doing hatching or cross hatching because I'm 100% sure that you know after going through all the introduction and everything, I'm just doing the layers, building up the layers right now. That's the only thing I should do. After that, I'm going to go the middle part of the nose and complete that part, and then we are done with this lesson as well. Whenever you are doing this, make sure that you understand the shapes and sizes, you have analyzed it. Make sure you understand you want to do hatching style, this hatching style, or you want to do shading. You just don't do a mix and match that doesn't go well with each other. I think here we understood variety of tonal values as well. Even in this short lesson. Created a range of shades from deeper black that you can see on sides of the nose to subtle gray. Look at my hand. I just created that feeling of shading just by but when you do this style, please do not overdo. Otherwise, your artwork is not going to look looks nice. Just going through some last details, we are almost done with this tarial. This is standard cross hashing that I did, and I just went on it with my finger to create some layer underneath it that it feels like it has more volume onto it. Now here as well. Very last details. Make sure that you analyze and understand my hand movements and also how I hold the pencil in different timings, not all of them the same. Just doing a bit more faster hand movements, but you can't take your time when you're doing it. I just change my pencil to more subtle one for this part. You can use maybe HB or even H pencil. Look here, some of our last cross hatching. How is this going so far? Are you practicing at the same time, which I'm hoping you're doing that. Just taking off some of the darkness from this area because if you remember our main artwork, this part was much lighter comparing to the left side. Make sure that you analyze these things. I wanted to have some more distinguished nose hatching on this part. Everyone, I hope you enjoy this theaterial. We are finished. I would love to see this artwork and your practices, please send me and I see you in the next theateral. Bye bye. 44. Front View Lips Drawing Shading: Hi, rev, and welcome back to another taterial. In today's video, we are going to sketch the lips with a profile view and with more details using gray shading. Start by sketching the upper lip. Draw a gentle curve for this upper lip part, extending the lip lines towards the corner of the mouth. Then define the volume of the lips and proceed to draw the lower one. Please follow along. This is a free hand drawing. You can also begin with a short horizontal line for the center of the lower leap and continue the lies towards the corner of the mouth. Excellent work so far. All the outlines available for you if you couldn't do free hand drawing. As well, you can download your downloadable resources and get access to all the artworks. Also the grids as well. I use a sharp pencil tip, which is a two B pencil. I'm going to go this part of the middle part of the lid. A simple sketch, and then we're going to spend our time doing the shading. This is not hatching technique, this is shading techniques. Even though we will use some hatching and cross hatching techniques to create this more realistic shading technique. Please repeat after me. If the video is quite fast for you, please pause the video at any moment, make sure that you do it and then continue. I wanted to make some changes here. You can see. Look the change that is going to happen, especially at the corner of the mouth. Look at the corner parts, how it should be. Excellent work. Now, I'm going to connect this as well in the V way. Now, this part of the lives, always you have to add these detils. The details are quite important for you to add. Especially when you're doing the outline, take your time to make sure that you have all the outlines correctly. There is no rush. Make sure you spend the same amount of time, amount of practice that you see on this lesson. For this is 25 minutes practice, try to practice this in half an hour. Drawing lips accurately is a crucial component in portrait arts. As lips are a central feature, shows the express a wide range of emotions as well. For instance, smiling or non smiling. The expression and the likeness of person. Using hatching technique and shading techniques to draw leaves can add depth, realism, and texture, enhancing the emotive quality of approached guys. Here's a detailed look, how we should do that. This leaves drawing, and how hatching techniques, shading can be effectively applied. I have added a lot of lives drawing actually in this course. It is because of the importance of drawing lives as well, which is expression of emotion, focal point of intraction, and also the that shows the complexity of anatomical complexity. You can see I started shading from the corner of the mouse. I'm going through the first layer doing in a circular hand movements. Please follow along. Throughout the work play attention to the direction of the lines. You need to add the different directions that you need to add to different parts. All the layers. We add to complement the form and the way you move your hands quite important. See how slowly I'm moving my hand. I'm using circular hand movements and technique. You have learned this in the introduction. I have completed the corner and I'm going to connect the two parts. Carefully moving my hand. Please repeat after me. Creating enough darkness. Again, let's repeat what we have done already. We have started shading from the right side of the upper leap, creating darkness. At this stage of the work. What matters is making sure that we are carefully controlling our hand pressure, which I have mentioned a few times in this course to build up the layers for the darker and lighter parts. I simultaneously lift off the pencil, while shading spots on the lips. Follow my hand movements. Especially this area, you can see I have left some areas to be lighter. Try to have your sample next to your hand, so you can look at it while you are doing your drawings. I still using gentle circular shading technique for the upper lip, especially next to the outline with gray midtone shadows. For instance, we are going to spend 25 minutes on this. But if you want to do another lips drawing such as this one, you need to spend more than 1 hour on its techniques. While doing expression and emotion, especially on the lips, creating all these feelings, subtle changes in the curve thickness or position of the lips can dramatically alter the portrait emotion, form happiness, and warmth to sadness as well. In portrait lips, along with the eyes, often serve as focal points, viewers typically pay close attention to these features, making accurate and expressive depiction, essential for a successful portrait. This is the first layer I'm going through and make sure that the middle part of the lives are lighter, I reduce my hand pressure. Subtle hand movements in volume, texture and color. When I say color, we create the color with one pencil. Please follow the natural curve of the lips with your hatching lines. This technique helps to emphasize free dimensional form and the plumness characteristics of lips. That's why we spend some time and also slower hand movements. For deeper areas like the lines between the lips or areas where the lips meet, the skin cross hatching or this shading technique that I'm doing adds depths and shadows, increasing the realism of the lips. Look at the circular hand movements that I'm doing, especially the corner on the corner of the lips, slowly moving my hands and doing the second layer now. This building layers, building textures. Lips have a unique texture that is different from other facial features. Fine hatching can mimic the subtle textures and variation in tone that are necessary for lips to look lifelike. When it comes to leave shading, actually, varied line density can reflect the slightly uneven surface texture of the leaves as you can see here, for instance, this part, which is not perfectly smooth, but has ridges and variations. We need to also talk about light pressure ching and blending or shading. Using a lighter hand to crease softer transition now. This is particularly important at the edges of the lips where they meet the skin, ensuring they don't appear harshly defined or unnatural, for instance, queer. Smudging or blending over your shading or sometimes hatching techniques can soften the appearance. Using for showing the delicate transition in tone found in the center and outer edges of the lips. Also, when it comes to highlighting and detailing, leaves area of lighter hatching or blank space to represent highlights on the leaves, especially the middle parts, which are crucial for following the moist reflective quality of leaves surface. Details such as the subtle vertical lines on the leaves can be drawn using fine light shading, adding to the realistic appearance. Here, I just added that line between the chain and the lips here. We have full portrait drawings as well, but it's better you understand each facial portrait elements separately. Understand how shading and hatching works, then we're going to then move to the portrait drawing. Adding more layers next to the outlines. Since we are going around here is good that I mentioned again that if you had any questions regarding the tools and materials that are being used or any of the techniques that are applied, make sure you send me your messages and let me know if you had any questions. I'm always available online to go through your messages and answer you. Let's shape more intensely, I have to say, with more hand pressure from the outer left and also right corner of the upper. I'm going to do the same for the lower lip as well. We have to add more shading, to add more layers here. Look I'm emphasizing on some part of the middle line. We do have assignments for each lesson as well. Make sure that you go through your assignments and practice with more hand pressure, intensify the darkness. As you know, one of the best ways of learning is looking closely at my hand movements and repeat after me. Make sure you're constantly checking my hand movements and also the direction of my hand. Let's increase the darkness around here. So keep going back and first on the layers. Look I'm going right right and left. Wit more pressure now, a bit more pressure. Same now. Now with your needed eras, remove some of the spots. Always keep in mind that no matter the size of the work, we need to make sure that we have clean and clear work space. Shading techniques when applied to the drawings of lives can create a more dynamic and engaging portrait guys. As I mentioned earlier. I'm really happy you're going through all these techniques, either this one or more realistic technique of the another lives that we have, and we're going to go through it or the hatching ones that you have learned so far, the detailed textural rendering, the subtle shading, and the effective depiction of light and shadows. These techniques going to really help you throughout the whole course. By practicing these methods, artists, which you can enhance it can enhance your ability to produce not only realistic, but also emotional emotion like beautiful resonant portraits, capturing expression, especially that lives can convey. I just change my hand direction. You can see every time. You can observe that the middle part has more highlights. Try not to create the whole layer in one go. Make sure that you spend the same amount of time on it. Now you can create the highlights with your need eras, the way I'm doing it, or even use electric eraser for this area, using it to create strong highlights. Then we're going to add more shading with sharper pencil in between them. They stand out. Look carefully how I'm doing it. I go around it with not too much hand pressure. When we analyze the samples carefully, before we start doing it, we can detect the smallest details and how the layers need to become lighter and darker. Also, if you recall, there is another great way to do this is when you put tracing paper, those transparent papers on your main artwork, you practice the outline and the hing on that, then you do the free hand drawings on this one. That's another good practice. Even though we didn't have it in this particular lesson, but you have learned how to do it. Just do some tapping. Now I'm going to clean around the surface to do this line one more time. L east hand pressure, and also this part, slowly and building up the layers. Just a bit on here, the care of parts, not all around the outlines. Then the circular hand movements, carefully going to darken these areas. I have changed the direction of my hand more towards left and right. Then this part is just those cracks that we need those textures on the leaves. When you create these textures, you need to go around them. Carefully control your hand pressure, especially here. Let's darken more, you can see, maybe this is the fourth or fifth layers that I'm adding, so you have to build up carefully. We're towards the end of our titerial. We just have to add more layers and then we're done. Please don't forget to send me all your assignments each time that you finish a lesson, that would be great that you take a photo of it and then you send me. I can see your progress. I can see where you can do better or if you had you were uncertain about a certain area, let me know. Absolutely no hand pressure here. I'm just building up the layer. Lives drawing quite enjoyable, especially when you're doing hatching or shading on it, because you can create that expression of emotion. Any subtle changes that we're bringing on the curves, the thickness, or position of the lips can dramatically portray the emotion here. Going through this parts, creating more highlights around here. You can either do it with neither eraser or this eraser that you just saw, which is called, I don't quite remember, as a pencil eraser or with the electric eraser. If you didn't know where to find any of the materials as to your local shop or ask me, if you wanted specially to buy online. If you didn't have it and you were 100% sure you want to buy it, it would be great if you could ask me, maybe. Especially if it's from Amazon or another place. I can let you know if it's a good one or maybe another brand, is it better if the price is not that different. Now, I make sure that my two B pencil is quite sharp, going around the outlines. Take your time while you're doing this, going through these details. Please try to repeat after me, especially my hand movements. These are the last few details I'm adding. We're almost done with this lesson. I hope you really enjoyed it. I mentioned a lot, I think drawings enjoyable for me, especially shading it. I think still my favorite one our eyes because it's more complicated. We still lives enjoyable. Especially adding these details at the end of the shading onto your drawing. You can use electric eraser, create stronger highlights here. There's a bottom next to it when you press that, it's going to start circling around and will create harsher highlights on your drawing. Here, these details. I just took away the same thing and what I did there. I took it away with that and needed eraser because we didn't need to have that. You can do the same thing because your hand pressure is not a lot. Anything you do, you can erase it easily. Just adding a bit here. Create that dimension. That's it, guys. If you had any questions, please let me know. Also go through your assignments, and if you had any difficulty downloading your resources, let me know. So I can guide you better where they are. Don't forget to sharpen your pencils as well. I see you in the next theater. For now, bye bye and take care. 45. Side View Lips Drawing Shading: Hi, everyone, and welcome back to another taterial. In today's video, we are going to go through the lips drawing. This time, I'll be drawing the lips from the side view. Let's pick up our two V pencil, Sketch the mouth, the side view one, the side view lips. As you can see, unlike other tarial, our guide lines quite different. Please follow my hand movements and draw these two lines that they cross each other. Now I'm going to just do the upper lip, the side view one version. And then I'm going to do the lower one. Creating a gentle curve for the up per one, have a look, then move on to the lower leap, start by drawing sll another line, I have to say, on this side, line is, I think. Think what do we call it. Then now another guideline. Usually the lower lip needs to be some distance from the upper one. Just clean up the area. We don't need the guiding lines. That's what it. It's quite easy to draw side real lips. However, if we want to go more towards realistic like hyper realistic drawings, I do have a master course that I go through different drawings. But that one is with charcoal, not pencils. We finished these parts as well, the corner of the mouth. Try to place everything where they should be. When you're happy with the main outline, then we're going to move towards the shading parts. Make sure that you're happy wherever the sizes, the proportion and everything that you have done. Look at the, for instance, make sure that this part of the lives, the lower one. W so funny when I'm saying this, I'm actually pointing at my own lives. When I'm talking this ones. Maybe look at yourself on the mirror, try to see your friend or your family member are, and then try to imagine also the artwork, the prints that they are available for you to download and look at. You need to analyze it and understand the sizes. Starting with shading of this part, first, I darkened the lines, and then I started learning. First, we're going to do the upper, shading the upper lip, and then the lower one. I quite close to the main outline first. Now we need to pay attention to how the lines and layers we add are all in accordance with the general forms and are actually complementing them. Always have the general forms in mind and keep on working based on them. Now, doing the cross hatching. This is more to our shading guys honestly rather than just hatching style. It means the hatching lines quite next to each other, fin lines. No hand pressure whatsoever, please. Let's go through the main outline of the upper lip. Please have a look. These areas that I'm pointing right now, they are darker. Gradually add pressure. As you know, there are several ways we can use to darken certain part of our works. We can add to our hand pressure or we can use the same minimum to medium hand pressure, but build up our layers one by one, in other ways using a pencil with a darker core. You can see the tip of the pencil quite sharp. I'm going to do something a little different technique on this one. As I mentioned, this is more toward shading technique. After we have our main layer, and we are satisfied with it. I'm going to apply some hatching technique on shading technique, and you will see what I mean in a bit. It means you have the base all those colors that you need, especially like you can see, where are the darker areas on the upper and lower lip part. Then we're going to add some hatching and cross hatching technique. It's going to be very nice. Again, still with the same hand pressure. Let's go through them. Define the lines a bit more. Here we're going to use electricical eraser. Whenever I wanted to use this, it means you really want to create some highlights either on dark areas or you want to clean some areas that you feel like, it's hard to clean it with normal eraser. Now I'm going to use needed eraser to blend the light and shadows and create those highlights that we require. Hope you are following, if you had any questions, please let me know, send me your messages. I do have a lot of ebooks that I have written, even though for people like whoever not my students there for sale, but for you guys, you're my students. If you ask me for e books that are based on drawings, charcoal drawings, or I do have it on other techniques and mediums. If you send me a message that we would like to get access to your e books, I can send you the link. So you can download them and read them. You can see the upper lip quite darker now comparing to the lower one. Always remember that everything we do is careful observation and our previous analysis on every part that we have done. This is what I meant some cross hatching now on the shading areas. We have already started to apply different technique that you have learned so far. See the direction of the lines please and also my hand movements. It goes according to the general form of the in. They are not quite straight. Look at my hand movements. Now, let's do some cross hatching, minimum hand pressure guys. Just with the tp, you can shape the needed, your needed eraser, so you can make it quite sharp in order to create some highlights or take off some really in areas when you don't need it or create highlights as well as I mentioned. Now again, I'm just taking off some areas that I felt like is too dark just by tapping. How is it going so far? I hope you're enjoying this course and also this tuorial. This bit of the lip, I had to make it a bit darker compared to the other part and create some highlights on it. I took another pencil that is darker. You can maybe six B or four B would be okay for here. You can see. I'm not adding more hand pressure. It's just because I changed the pencil. It feels darker. I just doesn't feel darker, It is darker. Now again, be the previous one, which is, two B pencil. Let's go through this area. Great job so far. We're almost done with Dis Lson as well. I would love to see the end results for your works as well, so please send me anything that you have done, even the progress. You don't have to send me the end results, guys. You can send me the first layer, second, third one, like every picture. For instance, just the outline, that's fine as well. I can see and say, this is what you have to correct or this is what you need to add. A lot of times, I tell my student, please do not rush it. Just take your time. Okay guys, hope you enjoy this lesson and I see you in the next one. Bye bye now. T. 46. Three Quarter View Lips Shading: Hi, everyone, and welcome back to another titero. Today, we are going to go through this lips drawing. I'm going to draw the guidelines down. It's quite tilted lips like three quarter one. That's why we have to draw the cross like this. Start by as I mentioned, drawing the guidelines, the vertical and the horizontal line after that at a subtle slope and make it like this, right away, we're going to start going through our lives in the middle of it. The right side and the left side, please pay attention. A anytime, if you had any questions, let me know and if you felt like he needs some time, stop the video, make sure that you have done your drawing and then resume. Just having a normal paper that is suitable for shading and our pencil can be two B or four B. Look at the sides. Now I'm just going to go through it and bold the lines. Try to keep an eye on the sample. Look at the middle of the lips here. Pay attention to the carness of it, and how it is different from the other two side of the leaps. What I meant, it's important that you care about the carves and how you should draw each part differently. Now, straightaway, we jumped to go the shading area, started with a lower lip. Began shading, use vertical hatching to darken the lower lip. After shading the lower lip, I use hatching for the upper upper lip side, and drawing lines from top to bottom. Again, continuing going through the shapes. Now with more hand pressure, add more horizontal line on these areas that you can see, increase the hand pressure more and more, but not too much. Subtle g subtle. Hatch from this time from bottom to the top. The lower leap and preserve the area, the light, the high light area. One of the best ways learning is honestly looking at my hand movements and follow exactly as you are seeing it and repeating after me. If you had any questions in the meantime, just send me as well, please. Make the upper lip darker as well with cross hatching. Especially the meter part, the one that I just mentioned, define the border between the upper and lower lips with dark hatching, especially the corner sides, more hand pressure. Now another layer, even with more hand pressure. The sides darker. In a bit. I'm going to show you how you can use needed eraser or you can even use a pencil eraser and lighten up create some highlights for the lower leap. Then we're going to draw darken around it, and you'll see how it's going to looks like. Let's go. Create that to create that volume onto it, the dimension feeling. Now again, from this side, just make sure all of them connected correctly and you're happy with it. Just going to do the other side corner. My apology, if you cannot see a bit, it just exactly what I did on the left side, you're doing on this side as well. It just this is the correct way to hold the pencil. Please try to repeat after me. Darken the arch of the lower with more hand pressure. Carefully analyze where I put the darker area and the highlights and repeat, please. L et's start adding more layers after this. Quite happy with this part. We're almost done with the shading. Please do go through your assignments, each less and they have assignments, and more practices. Also, on your downloadable resources, you can get access to all the outlines, for instance, this Lips outline and the grid outline. They will help you to draw to draw anything, especially when it comes to the outline better and easier. Just make sure that there are no guiding lines visible. We're just going to add a bit more hatching around here, and then we're done. Thank you for watching this one. I hope you enjoyed it, everyone, and I see you in the next. Take care, send me your assignments and bye bye.