Transcripts
1. Introduction: Mouth: This class is the fifth
episode in the series Daily Exercises to improve your portraits and will
focus on the mouth. Here, we have three studies
to complete, which together, will give you the opportunity to render photorealistic
drawings, including hyperrealistic
lip and skin detail, shallow depth of field effect, super smooth transitions,
and highlight detailing, all utilizing a full
range of value. Hi, my name is Shane, a professional portrait
artist based in the UK. I run my own commission
based art business, we help clients recreate
heartwarming moments by drawing photorealistic
portraiture of their loved ones. Whether you're interested in photorealism or hyperrealism, knowing how to utilize
a full range of values is foundational
to achieving both. It's impossible to achieve this by using graphite pencils alone, so we need to incorporate
different types of pencils to give us a
full spectrum of value. It can be quite a daunting
prospect when starting out, even if you have a
little more experience and just want to up your game, trying to figure out which
techniques to use or which materials to buy can
be a frustrating process. So I wanted to develop a class whereby at
completion of that class, students will have nurtured
the skills necessary to produce stunning
photorealistic portraiture. I'll guide you through 26 small, manageable fun drawing
studies that will take you from novice to
advanced in one class. You'll learn a specific
lambing process that uses graphite, carbon, and charcoal pencils together to showcase a full range
of beautifully rich, saturated tones with
exceptional results. Separated this class into a series of eight mini episodes, each focusing on different
elements within a portrait. Please feel free to visit my
homepage where you'll find all eight episodes within the series to be added
over the coming months. Students will learn how
to observe and recreate details that help achieve
realism and authenticity, a skill set that actually translates beyond
portraiture and pencil drawing as it's relevant practice for
lots of visual arts. Beginner to advanced
students welcomed. I want to assure the
very best of luck, so grab those pencils
and let's get cracking. A
2. Class Orientation: Mouth: So welcome back to the fifth installment of Daily Exercises to
improve your portraits. It's lovely to see you here. There are eight class
episodes within this series. In this episode, we'll
focus on the mouth. You'll get the chance once
again to practice creating super soft transitions
using tissue and brushwork, blending stump and brushwork
to render a shallow depth of field effect and the battery
and monozero erasers for highlighting hair detail. One study has low
lighting where we'll mostly be needing pencils
from the darker Stelar range. One has dynamic lighting, where we'll need to add hyper realistic highlight
and skin detail, and one, which includes
soft and hard elements, for example, focused and unfocused shallow
depth of field effect. If this is the first
episode you've come across, I encourage you to visit my home page where you
locate all class episodes. I intended for the series
to be worked through from the beginning as
each individual lesson builds on the last and
has been organized in such a way so as to further
your skill set as you go, either by introducing
tools or techniques, increasing time and
improving patient or practicing newly learned
skills and honing techniques. Also, there are fundamental
techniques located within the first episode
that are important to master if you want to get
the most out of this series. Completing small
studies will not only help keep your
attention focused, but will also help
prevent you from feeling overwhelmed,
tired, and frustrated. Using a full set of values is key to creating photorealism. But if you place a
deep black charcoal directly on top of graphite, the contrast will
look too stark, so I'll show you how to layer different pencil compositions to maintain a consistency
in tone and keep all values in
harmony with one another. I've uploaded gridded
printable sheets in resources below this video, along with reference photos, materials list and schedule. Can mark out the boulder
shapes and use a grid method for outlining or free
hand, if you prefer. To get the most out of
this realism class, I recommend that you one, mentally prepare yourself
to slow down before each lesson and take your
time with every project. Two, take a photo of each
finished study as you progress, place it alongside the reference
photo using an app like layout or on your desktop and make any necessary
adjustments. This is such an
important part of the process when learning
and will give you a greater understanding of any difficulties you may
be facing. And three, try to increase the time
spent adjusting and perfecting your work at
the end of each study. The basic materials
you'll need to get started will be Arches paper, Stedler graphite
only pencil set, Stedler graphite carbon
mixed pencil set, one contipary charcoal pencil, a few cheap brushes,
and some erasers. You can find a whole lesson
on materials in Episode one. Before we move on
to the next lesson, I'd like to give you a
bit of encouragement. There are four years between
these two portraits. My journey was self taught, so it took me a very long time
to figure everything out. Completing all the
lessons within this class will speed up your learning
process immensely. And if you create a
daily drawing habit, you'll be killing it
in no time at all. So have fun, and I'll see
you in the upcoming lesson.
3. Mouth Study 1.1: Light to Dark Tone Blends - Base Tones & Smooth Transitions: Yeah. So the goal for this lesson is to
render a base with the correct values to give us a perfect foundation on
which to apply detail. We'll use our tissue and brushes to help create value
transitions that are smooth and different erasers to help maintain solid even tones. We have a full spectrum of
values to work with once again from bright white highlights
to the deepest of shadows, so we get an opportunity to render light to dark skin tones. Remember to use extremely
light pressure throughout and use your value chart to
help you hit the right tones. Okay? Let's get into it. Okay, so we've outlined
our study, and once again, I begin marking out all
the important lines with the HB black, all the time, being
careful not to go over any lines that aren't as
dark as the HB black. Then I lay down a five
B blue undercoat for the shadowed areas and then use the kho brush
to blend together. But a tissue or another brush
will work just as well. Then using the five B blue, I begin to add some shading
to the upper lip area, being mindful to keep
the pencil lines going in the same direction
as the patterns of the lip. Also adding some light
lines for the outline. There isn't a sharp line to the right side of the upper lip, so I leave that blank
for the time being. Then I add some of
our darkest value the eight to be black between the lips and smooth out using a stump or small
angled makeup brush. I begin this corner
area here using a two H blue and
tissue to blend. I'll probably need to add a couple layers later to make
it a shade or two darker. And then lay down
my first layer on the face using the same
pencil, the two h blue. Notice how I'm not covering the small light area here to
the right side of the lips. I try to keep all the
subtle changes in value in place as I
build the contours of the face and use small circular motions wherever possible to smooth
out using a tissue. And back to the HB black to add the outline of the
right side of the lip. The lip blends into
the skin around this area so there
isn't a solid line. So I'm making very light lines in keeping with the directional
patterns of the lip. I want to get a
better understanding of value around this area, so I'm adding some of our
darkest value now the B black for the shadow
to the bottom lip. This will better help me judge how dark I need to go
for all other values. And smooth out once again
using the Ikho brush. Being extra careful here, not too smudge the dark
tone onto the lighter tone. Now that we have a base
layer on the face, I can begin building the
contours of the face, starting with an F blue. Then smooth out with a tissue. A tissue will give you a much smoother result
with the lighter tones and now to start the
shadowed side of the face using the
seven B black. And don't forget to use
unbelievably light pressure and try not to leave
any visible lines before blending together. Use a combination of small circular motions
and lines going in all different
directions to create an even cover before smoothing. Smooth out with a
brush, and then I repeat the process with the eight B black as I feel I
need to go a little darker. I'm mindful at this moment
that the shadow part of the face is a shade lighter
than the small shoulder area. I will give the
shoulder area a coat of cont three B towards the end of the drawing to make
it a little darker. And now the B blue to strengthen the contours and smooth
out with a tissue. The line of the shadow
here is still quite sharp, so we need to soften it a bit. I'll grab a slightly lighter
grade from the black range, the four B, and soften
the transition of TD. And then use the Dawn
stiff Filbert brush to make it super smooth. Remember what I said about
a stiff brush working better than tissue at
blending the black stdlers. The line around
this lighter area here is a little too heavy, so I'm using the
eraser to dab up some graphite to make the transition a
little bit smoother. Now for the opposite
side of the face, using the F blue. Don't forget to smooth out. The B blue to strengthen
the outline of the face. Gently dabbing up
any imperfections using the kable eraser. Using the two B blue here just
to soften the transition. I want to create
a little texture with the to be blue here, so I use small
circular motions with extremely light
pressure to leave lighter areas in
between the circles. So before you begin, remember that the main focus
for the first stage of this study is to create solid tones with
smooth transitions. Use a combination of tissue and brush work to smooth out and to make sure your tones represent the reference
photo correctly. Tissue works great
for lighter tones, whereas brushes work
better with arca tones. Using your value
scale chart will help let you know when you've
reached a correct tone. So have fun creating
your base layers. I'll be waiting for you in the upcoming liston
where we'll be adding hyperalistic detail to the lips. I'll see you there. Yeah.
4. Mouth Study 1.2: Light to Dark Tone Blends - Lip Detail: Yes. Okay, so now we have our base tones
laid down for the skin. Let's complete the lips. A light source is coming
from in front of the model, but slightly above and
slightly to the left. Study the reference
photo and pay close attention to where
the light source hits, any cracks, bumps or
indentations on the lips. You're trying to see which
side of these markings reflect the light so you know exactly where to
place the highlights. A small raised lump in the
lips will most likely mean the highlight will be on the
upper left side of the lump, the same side as
the light source, whereas the reflection will most likely be on
the right side of any cracks or lower right
for any indentation. Don't forget to keep
your pencils sharp. You can use your sandpaper
block if necessary. Okay, so firstly, whenever
I'm starting the lips, I mark out all the
important lines before we start building
the body of the lips. This is so we don't lose
the markings when blending. I'm using the HB blue here. Be mindful not to go over any lines which aren't
as dark as a HB. This side of the lips
is quite shaded, so I'm adding lines that
are close together, making sure they're going in the same directional flow
as the contour of the lips. And then the to be black to begin building the darker lines. Once we have most
of the lines down, we can then use a
sharpened monozeo eraser to pull out some highlights. And now the six be black
for the real dark lines. And sharpening the
monozeo eraser along the blending stump ready to pick out some highlights. This side is slightly lighter, so I begin using HB blue, making the same
directional lines and then smooth
out using a brush. Then build the darker
lines with the HB black. Adjusting some value
around the face now, I'm constantly
going backwards and forwards throughout the
whole process touching up here and now as I
build value using small circular motions to create a little texture like what we did in the base tones lesson. I'm adjusting the
shape of the upper lip here just a little
with the Tehu. I'm not actually
turning it on as that will lift up
too much graphite. Just creating some
small value adjustments before we move on
to the lower lip. Moving on to the lower lip, I laid a first layer of HB blue, keeping the strokes going
in the same direction as the curvature of the lips
and smooth out with a brush, leaving out areas for
highlights wherever necessary. And now the to be black to deepen the value
for the shadows. Using the Tb once again
to add some skin texture, it's not a solid
tone that I need. So using unbelievably
light pressure, I create texture by drawing tiny half circles combined with stippling to give
the impression of tiny bumps and
indentations on the skin. If the drawing was much bigger, I would need to focus more
on every single skin bore. Sharpening the mono zero eraser, getting ready to make
some highlights. Our light source is coming
from the upper left side, so highlights will generally be to the right side of
the cracks in the lips. Always double checking that
my values are correct. I need to go a little darker, so making some lines
with the four B blue, then smoothing out with
a brush once again. I I'm using the Tehu here with a combination
of power on and off to make soft
and bright highlights. I use a combination of different length lines and
dots for the highlights. Dabbing with a brush will dampen a highlight
that's too bright. Just keep working away until
you're happy with results. The blending stumps are
great for softening lines in tight spaces or adding texture by dabbing
graphite spots onto the drawing
like I'm doing here. Don't go overboard using the seven B black only used for the darkest
shadows in the lip. We'll use the same process to build the left side of the lip, albeit with lighter
grades of pencils, as there aren't
any deep shadows. I'll let you follow along for
a couple of minutes without too much interruption from me while I finish this section. Try not to add
highlights randomly. Se whether they're at
the bottom of a small, dark line or dot indicating
that there's an indentation or at the top of a dark spot indicating that
it's a small lump. So before you begin, remember to add all the
important lines before you start adding
the mid tones to the body of the lips so
you don't lose them. And try to keep the
pencil strokes going in the same direction as the
natural curvature of the lips. Also, pay close attention
to where the light reflects on every bit of
detail within the lips. So have fun, and I'll catch you in the
next lesson where we'll be completing detail in the
skin and finishing our study. Yeah.
5. Mouth Study 1.3: Light to Dark Tone Blends - Skin Detail & Highlighting: Yeah. Okay, so we've already made sure all the
values in the face are correct, so we now need to add skin pause and detail
to finish off. We'll be using a combination of erasers to create marks
of different tones, and then adding highlights and cast shadows
to those markings. The shadows will be on the opposite side to
the light source for any raised lumps in the skin and the same side as the light
source for any indentations. Okay. Let's get into it. Okay, so let's begin
detailing the skin by adding several small lines
protruding up from the lip. Then I'll add some
bright highlights using the battery eraser. Once again, using a
combination of power on and off with the Tehu to create
dull and bright highlights, press very lightly throughout. Quite a lot of highlighted pores within this area of the skin. So firstly, I'll be creating
many dots with this eraser. Then later on we'll dab
a few small locations within this area to dull the brightness of
some of the highlights. This will add a
little more detail to the area so it
doesn't look flat. Okay, so now we've created
the bright highlights. We want to create some
soft subtle highlights using the Faber castle
perfection eraser. We do this by gently
dabbing the eraser to pick up a light
layer of graphite. We can use a combination of erasers with
different techniques to create different amounts of brightnesses needed for texture. Twisting the eraser on the page will pick up a little
more graphite if needed. And now making some soft marks using the graphite on
the blending stump. You can create some powder by rubbing a two H
blue pencil along the sandpaper block or dab the stump into some dark value that's already on the page. We can then soften some of
the highlights by dabbing a brush to add a little more
detail. Any brush will do. Same tools and technique
for the right side of face. I realize that I need to
widen the shadow a little. The extra amount
will allow me to add skin texture to the beginning
of the shadow line, so it looks like the
skin texture is fading into the shadow. Okay. Now I'll finish off the
skin detailing by adding some cast shadow to the
bottom right side of the highlights just made to give the impression that some are tiny raised
bumps on the skin. I don't do this to every
mark just randomly. The same again, but
with a lighter value. We're nearly coming to
the end of this study, so I'll let you follow along without too much
interference from me while I add the finishing touches and
catch you in a bit. And now for the final layer, our darkest pencil, the quanti
three B charcoal pencil. Notice how I use the brush to push the powder over the edge of the outline so to create
an out of focus effect. And using a pointed
adabll eraser to make some subtle value
changes to finish off. And lastly, I use the A B black for one more pass over
the darkest areas. Notice that the
edge of the shadow here isn't exactly
a straight line. Taking the time to add
all these tiny details will have a tremendous
result in the final piece. So remember, we can dab a blunt perfection eraser to
lift some graphite to create subtle light markings
on the skin and a rounded blending stump to
add soft graphite tones. We can make many tiny highlights using the battery eraser and then dab those highlights with a small brush here
and there to soften. Before you begin, study the skin pores and try to see
how many are raised or indented and don't
forget to fade the detail into the deep shadow
to the right or the face. So enjoy adding the finishing
touches to your study. I'll catch you in
the upcoming lesson. Yeah.
6. Mouth Study 2.1: Mid to Dark Blends - Smooth Charcoal & Graphite Transitions - Base Layers: Yes. Hey, guys. Welcome back. So for today's study, we'll be rendering a mouth with
a low light setting. These kinds of
drawings are great for getting used to the
darker pencil ranges. It's so important to use
extremely light pressure with a black range of pencils
to achieve smooth results. You don't want to see any lines on the page before
smoothing out. To achieve this, we combine
light pressure with different directional
strokes until an even cover is created. You'll see how light
my pressure is during the demo as it'll be
barely noticeable at times that any value
is being added to the page lots of brush work to finish
off great pencil work, and you should start to get
unbelievably smooth results. I've mentioned previously that tissue doesn't work so well with the darker pencils
as it acts more like an eraser and can actually
lift a tone or two. So do bear that in mind. We have the monozera
eraser to use and lots of quanti three B
charcoal powder to work with, which is always so
satisfying to blend with. So have fun, and I'll
see you at the end. Okay, so as you should
all know by now, I begin the drawing by outlining all the important lines
with the HB black, mindful not to go over any lines that aren't
quite as dark as a HB and then add my first
undercoat layer of five B blue to
all the dark areas. Not only will this
layer help you make better sense
of your portrait, but the blue graphite
only pencils are a little easier to erase
in case of mistakes. Important for when working
on really detailed projects. I now add the first
layers to the neck area, that being the first coat of two H blue and the
second coat of H blue. Smooth each layer with a tissue. Use circular motions wherever possible when smoothing
out with a tissue? I want to add some of my darkest values sooner
rather than later, so I apply two coats
of eight B black, smoothing out each layer with
the Ike show makeup brush. Remember not to leave
any visible lines, keep pressure unbelievably light and create an even
cover before smoothing. To do this, apply lines going in all different
directions combined with small circular motions. This part of the
neck is quite dark, so I'm going to add
an undercoat layer of five B blue to start. Smoothing out with
the chow brush. I use the AB black
to make a nice, sharp chin line and begin to deepen the
values in the neck. And now for the six B black, using a brush to
blend will always deepen the darker
values a little, so that's something
to be mindful of, whereas using the tissue for the really dark tones will
actually lift a tone or two. A bit like an eraser.
Making it slightly lighter. I'm using the B blue
here just to soften the transition from B black to the lighter
tone of the neck. I lighten the pressure as I move away from
the darker tone, so it blends smoothly into
the lighter tone below. If the blend isn't as
smooth as you'd hoped, using a tissue will give
you a smoother blend. Same again with
the four B black. Remember to always build from lighter values until the
required tone is reached. This helps create
a solid tone and also helps prevent you
from going too dark. Working on a neck transition, some more with the four B blue, lightening the pressure as I get further away
from the dark value. Okay, so now I'm
going to lay down some conti three B
charcoal and use my medium stiffness brush to push the charcoal
powder about the pencil leaves onto the neck to make a
really smooth blend. Using the Monzero eraser to re establish
light hair strands. If working on a pitch
black area like here, and I needed to make
light tone hairs strands, I will draw around the area
and leave space for them. The erasers will only leave a mid tone if erasing
the really dark values. Just working on this area using a combination of the lighter grade pencils from
the blue range, the H, B, four B, and two B, along with the
sharpened mono zero eraser. But I pay close attention to all the subtle changes in value within the lighter
strands of hair. You can see that some strands
are lighter than others. Okay, so I begin the opposite
side using the AB black. I want a sharp outline
to the face as it will help me determine
the value for the face. However, I don't want to cover the whole dark area as
it'll create more of an opportunity to smudge dark value onto the face
tones when blending. Most of the tones in the
face are quite dark, so I begin building
the contours of the face using the F blue. Notice how the brush will make a tone slightly darker
when smoothing out. Using a tissue wouldn't do this. Also, the blend isn't quite as smooth as when using a tissue. As mentioned previously, brushes work really well
for the dark tones. If ever I use a brush on the mid tones and I'm not
happy with the smoothness, I'll finish off with the tissue, as you'll see in a moment. Layer two using the to blue. I'm varying the pressure
with this layer to keep the relevant
value changes intact. I use the four B black, then the eight B black to
create the dark line between the lips and smooth out
with the Iv show brush. Now we start the really dark values to the left
side of the face, always using unbelievably
light pressure and smooth out with the Iv
show makeup brush once again. You can tell how
light I'm pressing as hardly any value is
being left on the page. If small clumps of value
are being left on the page, you could be pressing
a little too hard. As I apply this dark
value to the jaw line, you'll see that I'm
leaving a very thin line at the edge of the jaw as
in the reference photo. I prefer to do this
rather than use an eraser at the end
as it looks smoother. A Just keep working away with the brushes and tissue until you are completely
happy with results. Another layer with the
same process as before, deepening the tone
using the six B black. Notice how I'm not covering
the whole of this area, but fading the six B into the lighter layer below
about halfway across. There are lots of lovely smooth transitions to
creating this join, so take your time and
use delicate pressure when trying to make your
transition super smooth.
7. Mouth Study 2.2: Mid to Dark Blends - Smooth Charcoal & Graphite Transitions - Finishing Layers: Now using the five B blue for the base layer
for the upper lip, using varying pressure to create a couple of tonal
variations and try to keep the pencil
strokes traveling in the same direction as the
curvature of the lips. Smooth out with either
the blending stump or small makeup brush. Deepening the tone some more
using the eight B black. Following this, I'll use
a lighter grade pencil, the six B black to
lightly smooth out the eight B to the lighter
tone already on the page. Don't forget to use
your value scale to help you figure out if
you need to go darker. It can take an extraordinary
amount of time to become comfortable and familiar with how dark you need to go. I use the mid stiff
master touch brush here, but change to the
stiff Georgian brush as I feel I'm not quite
getting the smoothness I want. The stiff brush, will work
the graphite into the paper and push it around a page
better than the soft brush. Now time to add the dark value to the other side of the neck. The face tone at the
moment, looks quite dark, but will look much lighter
once the neck is black. That's why it's important to check your values along the way, especially as a beginner artist. Wouldn't normally
go straight from a five B blue layer to
an eight B black layer, as it can still
look a bit patchy, but I know my final layer for this area will be the
q3b charcoal pencil, and that layer will
make everything smooth. Just keep going over and over your values with the brush until you're happy with
all transitions. Don't forget to lift
any imperfections throughout the process
using the erasers. I have the seven B
black pencil to begin the strands of hair for
this side of the face. I make the relevant lines, then use the I show
brush to smooth out, which will also push some graphite over the
white lines that are left. Then I use a sharpened
monozero eraser to lift parts of the graphite, creating lighter parts
within the strands. Now I want to start adding
the final tones to the face. I begin lightly using
the eight B black, but realize I need to add my final layer to
the neck first, which is the conto three B. Then we can figure out the
final tones for the face. Notice that I'm not going
too close to the edge of the dark value on the neck where it meets a lighter value. This is because I'm going
to use a brush to push the charcoal towards
the lighter value to make a smooth transition. I'm also picking up
some charcoal with the brush and using it
to darken the face. I start in a small area first to make sure it's not
going to be too dark. Now the neck is complete, we can finish the last layers on the face using really light
pressure with the AB black. I had several small strokes to the hair strands
with the quant three B, not too many, though, only
in the really dark places. Using the four B black to soften the transition from dark to light value on the
bottom of the chin. Again, pushing the
conti powder onto the face and picking up some powder onto the brush
to again use on the face. If you have three
types of brushes, soft, medium, and
stiff, bristled, you'll very quickly get
to know which brush is suitable for different
stages of a project. There are subtle differences, but they are important. I begin to add the first lip
lines using the five B blue. I'll let you follow
along as I build a bottom lip without too
much interruption for me. Just remember, like
in the last lesson, try to keep all pencil
strokes going in the same direction as the
natural curvature of the lip. You can use the
perfection eraser just like a pencil
to adjust any tones. Remember that using
the perfection eraser, we'll give you a dull highlight. We will add some
bright highlights on top using the Ti
hu battery eraser. I use a combination of power on and off as I add
some skin texture. You'll be able to hear
as and when I switch. Using the four B black to
make some moles on the skin, then soften with
the blending stump. Okay, so we're coming to
the end of this study. There'll be a lot of
equipment changes as I finalize all
the imperfections. So I'll let you follow along for a couple of minutes
until completion. I'll be using a combination
of pencils, erasers, and brushwork to make sure all transitions are as
smooth as I can get them, and all values are correct and in harmony with one another. So before you begin,
the main things to keep in mind with this
study is that it can take many layers of light pressure pencil work to reach the required dark tone. This is when using the value scale chart can
really benefit you, especially if you're
just starting to familiarize yourself with
a darker tonal range. As mentioned in the demo, before I add the final
tones to the face, I laid down the darkest tone of the piece to the neck area, the three B charcoal pencil
as it's easier to gauge the correct value on the faces once that tone
has been added to the page. There are lots of lovely smooth transitions to
create in this join, so take your time and
use delicate pressure when trying to make your
transition super smooth. Good luck, and I'll be seeing
you in the upcoming lesson. Yeah.
8. Mouth Study 3.1: Light to Dark Blends - Shallow Depth of Field Effect - Base Layers: Yeah. Hey, guys,
and welcome back. So we have our last
study for this episode coming up where you'll
get another opportunity to practice rendering soft
and hard elements side by side and super
smooth skin texture utilizing a four value range. Similar techniques to
the third eye study we completed previously, so there'll be lots of fun brushwork to do
within this drawing. The goal for this
lesson is to render solid tones and smooth
transitions and to keep all hair looking out
of focus by keeping soft transitions between
all value changes. Okay, so once again,
to start this study, I'm outlining all the
important lines using the HB black so we don't
lose them during blending, and then I'll add the
first undercoat layer of five B blue to all the dark
value areas in the hair. I'm not overly concerned
about the smoothness of this layer as I'll be adding
many more layers on top, which will give me the chance to make the tone even and smooth. Then use the ehow makeup brush to blend the pencil
strokes together. Same again for the other side. I apply a second coat of five B blue whilst
concentrating on perfecting the shapes of the lighter areas with the help of the
perfection eraser. I applied the first layer to
the neck using the F blue. Remember to use strokes going
in different directions to help create an even cover and
smooth out with a tissue. And same again for a
second coat of F blue. I use the five B blue pencil to start building the shadowed
areas of the neck, being mindful to lighten the pressure at the
edge of the shadow so I can fade the darker five B tone into the lighter F
blue tone below. Now using the six
B black to create a sharp outline to the jaw and deepen the
value in the hair. Don't forget to use
unbelievably light pressure and get a smooth, even coverage with no visible pencil strokes
before you blend. M. And the same again, but using the eight B black. Look out for any subtle changes in value and lighten
the pressure where necessary to create smooth blends around
the lighter areas. I use a small makeup
brush to help soften the edges of
the eight B value. A blending stump is also a great tool for keeping
edges looking out of focus. Use small circular motions
with light pressure. There are a couple
of different values in the lighter out
of focus areas, so I'm using the kneadable
eraser to gently lift some graphite by
either dabbing or pulling the eraser along the
length of the highlight. If you can't get the
result you want, try using the
perfection eraser with a flat surface and
very light pressure. Now beginning to deepen the
values on the left side, starting with the Fb black using small circular
motions wherever possible. I'm using the perfection
erasor once again to lighten the edges of the dark value here to soften the
transition a little. Using circular motions with
unbelievably light pressure. Adjusting the lighter tones with the kneadable eraser and
using the perfection eraser, pencil pressure, and
brushwork to keep all edges soft and
looking out of focus. As we deepen a tone with
the Tubi black, remember, we want to try and eradicate any visible lines
before blending as these pencils do not blend as well as the blue
graphite only pencils. Strokes going in all different
directions along with circular motions should
help create an even cover. Adding two layers of Tubi black, smoothing out each layer
with the ago brush. Gently dabbing the
perfection razor to lift a couple of dark graphite
spots to keep the tone smooth. I'm just re establishing a sharp jaw line using
the monozero eraser. I then use a Curry naught eraser as the lead is a bit softer, so we'll pick up more graphite
and make the area cleaner. And now on to the face. I begin building the
contours of the face, starting with the F blue. I vary my pencil pressure to add the different tonal
variations within this layer and smooth out using the Georgian stiff,
short filbert brush. But you can use a
tissue if you prefer. I use the brush with
different directional strokes to help push a graphite
around for a better blend. Now to deepen the
darker tones using a B blue and blend once again
with the same stiff filbet. Applying the first layer to the opposite side
using an F blue, and a second coat of B blue. I use enough blue to create the first lines at the
edge of the ellips. These lines are quite soft, so I'm using my pencil at a very low angle and making
sure it's not sharp. I'll use the five B blue to begin filling
in the upper lip. There isn't too much
detail in the upper lip, but it's still
beneficial to keep the pencil strokes going in the direction of
the lip patterns. A second coat of five B
blue for the upper lip. And a third coat. Okay, so we have our
base tones on the page. Let's move on to the next
lesson where we'll be deepening our values and
adding the finishing touches, making sure all tones are solid and transitions
are super smooth. Yeah.
9. Mouth Study 3.2: Light to Dark Blends - Shallow Depth of Field Effect - Finishing Layers: Okay, so now I have most
of the base layers down. I want to concentrate on deepening the darker
tone some more, starting with a four B black. I combine this with
lots of brush work in between layers and lift
in any dark spots that accumulate along the way with the kb eraser to help keep all layers and transitions
looking smooth. Don't be afraid to try
all of your brushes when smoothing to see the difference
in how they perform. Keep working away with your brushes until
you're happy with the smoothness of all
tones and transitions. As mentioned previously, I use circular motions wherever possible when using the brushes. Once you get to this stage, it's okay to use a bit
more pressure to push the graphite from
the black range of pencils around the page. With this second coat of F blue, notice how I'm keeping
the subtle changes in value in place for this area. Don't forget to use
unbelievably light pressure, which will help in
creating an even cover. So this area is a little patchy, so I'm gently using
an F blue pencil to make it look more solid. I find using a slightly
lighter pencil than what's on the page already can help smooth out
a tone perfectly without accidentally
going darker. I've noticed a dark patch appear just below the
lip on the left side. I think it's a
blemish in the paper, so I need to be aware
of this as I proceed. It's not ideal, but it does
happen from time to time. I just need to pay some extra
attention to it and use the erasers to lift
any dark value that builds up in that teria. And now the fbi
Black will help me add the subtle changes in
value to the upper lip. Now, gently using the
perfection eraser to bring up some
highlights around a lip. To create the strands of
hair that are in focus, I use the five B blue, the seven B black, and the monozero eraser to
pull out some highlights. Watch how the hair that's in focus automatically pushes the out of focus hair to the back of the drawing, thus
creating depth. Pay close attention to how
the hairs strands lay and overlap other hair
strands and try to recreate this pattern
as best you can. And finally, the eight B
black for a few doc strands. Be careful not to
cover too many strands with the eight B or
you'll lose the effect. And a light touch up using the Tehu eraser for a
few small highlights. As I add the darkest
value, the quanti three B, I pay really close attention to any subtle changes in value
within the darkest areas, especially the hair to
the left of the face, then blend everything with
a small makeup brush. Using the HB black hair
to strengthen the edge of the cast shadow on the
skin created by the hair. Also using HB black to perfect the transition
on the upper lip here. As mentioned in
previous classes, taking the extra time to perfect every single
value transition, skin texture and hair detail is what's going to make the difference in
the finished piece. Notice how I'm fading
to be black to leave a slightly lighter tone to the right side of
the jaw line here. This is the mid stiff
master touch Filbert brush, which is a great brush
for finishing off the last layers for
smoother results. So before you begin,
remember to firstly use varying pencil pressure to create blurry out of focus hair. Then brush work to smooth
out your pencil work. The perfection eraser
can be used to soften any transitions that turn out with lines that
are a bit too heavy. Pay close attention to the
subtle value variations within the hair and be careful not to overdo it with a
quanti three B pencil, adding it only to
the darkest areas. So enjoy finishing the final
study for this episode. I'll be waiting for you in
the next episode. Yeah.
10. Conclusion: Hey, guys, congratulations. I just wanted to give you
a huge pat on the back for making it to the end of the
fifth episode. Well done. Within this episode,
we got to practice hyper realistic skin
texture once again, along with highlight detailing. We created different
focal effects, along with super
soft skin texture and smooth transitions, all including a full
spectrum of values. There was lots of brushwork
to contend with along the way and an opportunity to render a study in low
light setting where you were able to get to grips with a darker tonal range once more. We also got to
work with the mono zero and battery erasers again. You should by now be getting a really good feel for how all of your tools
interact with each other. Please feel free to
try any study as many times as you like until
you're happy with results. So before I wrap everything up, I want to remind you
that you can upload all completed studies to
your class project page. Each student gets one project
page per class episode, but on that page,
they're able to upload all the projects from the
episode along with text. There's even space for thumbnail
photo at the very top of the page where you can add a drawing from the class
that you're most proud of. The thumbnail picture
is what will appear on the main class page for
everyone else to see. Students can press on
a thumbnail picture, which will open your
project's page for them to see all the wonderful drawings that you made
throughout the class. If you'd like to leave a review, you can hit the Reviews tab
and then press Lev a Review. All reviews are warmly welcomed, and I always love to hear
your thoughts on the class. If you have any questions
regarding the class, you can hit the Discussions
tab where you'll find a discussion that I started
regarding contact me. You can hit ReplerO
one of these tabs and post your question and
I'll reply as soon as I can. Also started another
conversation thread on my main profile page. Find a page, scroll
down to the bottom, press the questions
and discussions, thumbnail and leave
your message. With that being said, I
cannot wait to see you. In the next episode, we have some fantastic
studies coming up. So take careful now, and I'll see you a bit later.
Shayne Wise, Professional Portrait Artist
