Transcripts
1. Introduction: Neck & Shoulder: So this class is the
sixth episode in a series daily
exercises to improve your portraits and will focus
on the neck and shoulder. Each of the three studies within this episode provide an
opportunity to render tones from the darker
value range and offer studies including
hyperalistic skin detail, freckle detail, shallow
depth of field effect, deep shadow work, renders
in a dynamic light setting, and renders in a
low light setting. Hi, my name is Shane, a professional portrait
artist based in the UK. I run my own commission
based art business where I'll help clients recreate heartwarming moments by drawing photorealistic portraiture
of their loved ones. 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. I've 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.
2. Class Orientation: Neck & Shoulder: So welcome back for
the sixth installment of daily exercises to
improve your portraits. It's lovely to see you here. There are eight class
episodes within this series. This episode will focus
on the neck and shoulder. Here, you'll get an opportunity
to work on creating deep black shadows with
subtle tonal variations, utilizing the quanti
Phoebe charcoal pencil to help render super
soft transitions. Rich dark studio backgrounds, including smooth skin blends in a low light setting
and a shallow depth of field effect in a
dynamic light setting with soft and hard elements sitting side by side
with one another, which will really help
your drawing jump off the have a full range of
values to play around with once again and freckling
skin detailing that will improve your patients little by little as you work
through the projects. If this is the first
installment you've come across, I encourage you to
visit my homepage where you'll find
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
new tools or techniques, increasing time and improving patients or honing
newly learned skills. 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. You can mark out the
border shapes and use a grid method for outlining
or free hand if you prefer. 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, StedlerGraphite carbon
mixed pencil set, one contempary 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. Neck & Shoulder Study 1: Low Light - Mid to Dark Tones with Dark Studio Background: Yeah. For our first project, we'll be rendering a study
with dynamic lighting, which will provide another opportunity
to practice creating those wonderfully deep tones using pencils from the
Black Ranger stealers. We have some beautiful
skin blends to recreate, along with rich dark tones
for the studio backdrop. There'll be loads of brushwork needed for this
study to smooth out tones as brushes are better for blending
the darker pencils. Remember to use your
value scale chart, as this is a fantastic
tool to use when trying to determine whether you've reached the correct tone, especially with the
darker pencils. I guarantee you'll need to go darker than
you first thought. We'll be completing
the study with some relatively
easy skin detail. Okay? Let's crack on. Okay, guys, once again, we start this study by outlining all the important lines
using the HB black, being mindful not to go over any lines that aren't
as dark as the HB. I use the HB black because it's quite dark and has
a stable lead, so it's less chance of smudging when blending
around the lines. Then we are going to do two parses of five B
blue for the background. This will give us a base value on which to build
the darker tones. I always start dark backgrounds with the five B blue as it's a great base layer if you need to make any
transitional blends. An exception to
this would be if it were a pitch black background, then I would only
use a few coats of quanti three B
charcoal pencil and soft brush work to
smooth each layer. Try all your blending
equipment to see which ones give
the best results. I use tissue and the
ehow makeup brush. Then add a layer
of tube black and smooth out with the stiff
Jordan Filbert brush. Don't forget to use
extremely light pressure with a black range
of pencils and use strokes going in all
different directions to help eradicate all pencil
lines before blending. Notice how I'm lightening
the pressure even more to leave a lighter tone
as I get near to the neck. I'll do the same on
the opposite side as I get near to the hair. You can use quite
heavy pressure if needed when blending the
black pencils with a brush. I use a combination of clockwise and
anticlockwise motions when blending with a brush. Same again for the other side, leaving a lighter tone
as we approach the hair. I use the seven B black to cover only the
really dark lines. There's a small area
halfway down the line of the back that isn't quite as dark as the rest of the line, so I do not go over
with the seven B. Paying attention to
subtle differences like this will help the
overall finish of your work. As we begin building
value on the skin, I first add a five B
blue base layer to all the deep shadowed areas
and smooth out with a brush. And then start the
lighter values of the shoulder
with the HB blue. I have many more layers to add before I reach
the final tones, but for now, I'm
just laying down and separating all the
different value changes. Lightening the grid lions
with the kneadable eraser. I now laid down the base value for the lighter tones
of the neck and back, that being an F blue. As we begin to add darker tones, we can start to
build the contours of the area we're working on. This is the HB blue. To build the darkest area
of the neck and shoulder, I use one layer of seven
B black and smooth out, then the same again
with the eight B black. I make sure my edges are sharp where it touches
the background. This will really
help your subject to stand out from
the background. I'm using quite a lot of pressure here with
the Ike shape brush. Pushing the graphite
around and working it into the paper will really help create smooth values
and transitions. Try not to go over the outline and onto the background, though, as you don't want to smudge any dark value onto
the background. I'm using the kneadable
eraser here to adjust some value as it's gone slightly
darker than anticipated. The master touch filbert brush here has a medium stiffness, so will leave a
softer finish than the stiffer Georgian
filbert brushes. The value is slightly darker in the background
to the bottom left, so I'm mindful to
lighten my pressure and fade out as I travel up to
study at around halfway. I make the deep black hair
strands using the seven B and eight B blacks and smooth out using the
Igshow makeup brush. Okay, so I have a good portion of the value
added to the back area. So now it's time to add the base layer for the lighter
tones of the shoulder. It's quite a dark area,
so I use the F blue to start and draw around
the highlighted area. I draw lines going in all different directions
to get an even cover before blending and use circular motions wherever
possible when blending. Now that we're moving on
to the midtone pencils, you really get a
chance to produce beautiful transitional
blends between the light and duck
values on the page. At this stage of the drawing, I spend quite a lot
of time combining eraser work and brush work
to perfect all values, getting ready for any detailing. If you look at the
reference photo at the top of the shoulder here, you'll see that the shoulder is a little lighter
than the background. I'm happy with a tone
of the shoulder, so I need to go slightly
darker on the background, just around the
shoulder and arm area. At this stage in any drawing, I'm constantly pushing
quite hard with a brush to make blends
as smooth as I can. I use a lot of brushwork
in this way to finish off all values towards
the end of my drawings. I'll let you follow along for a couple of minutes
while I do this. If you can't get the smoothness
you want using a brush, try swapping to a tissue
for a smoother blend. Bearing mind, though, that
tissue will act more like an eraser for the darkest
values and lift a tone or two. Using the kneadable eraser to make a few subtle highlights. I'm making loose hair strands using a sharpened four B black. I look out for areas where hairs cross each other as there will be more often than not a slightly heavier line
at the point they cross. Also, I look out for
strands that look like they are
floating in mid air. These hairs can sometimes
be thicker in the middle and fade away into
nothing at either end. It's difficult to
replicate this on a drawing of this size
as it's quite small. You can add these details more effectively on bigger pieces. And a few small highlights using the battery eraser without power and lightly
softened using a brush. Lastly, you can
see some detail in the area between the 2
moles on the shoulder. I'm lightly adding small different sized dots
to replicate this. I use varying pressure
using the HB blue combined with lightly dabbing
the battery eraser to make subtle highlights. I'm not turning the
power on when I do this. I still feel that the lower shoulder area here
could go a little darker, so I'm using unbelievably
light pressure with the five B blue to make
small circular motions. I don't want a solid
layer as I don't want to completely cover the details
that I already added, so I'm kind of leaving gaps
between the circular motions. I then use a brush to gently dab the marks
to soften the value. Well, I hope you
enjoyed that demo. Working with a darker range of pencils really gives
us a chance to render deep rich tones of
wonderfully smooth transitions. Doing this requires many
layers and lots of brushwork. Remember to keep the
outline of your subject sharp as this will help separate
her from the background, and don't forget
to use your value chart to help you hit
the correct tone. As I said in the intro, I guarantee you'll need to
go darker than you think. So have fun. I'll catch
you in the next lesson. Yeah.
4. Neck & Shoulder Study 2.1: Building Tones & Deep Shadow Work: Yeah. So for our second study, we have quite a large
area in shadow. We can see some subtle
changes in value within that area that show the
contours of the upper chest, which we need to be mindful of as we build our dark tones. We also get the chance to use a quanti Phoebe
charcoal pencil once again to complete
the shadow area and render wonderfully
smooth transitions. Once we have the correct tones
and transitions applied, we have some delicate skin
detailing to contend with. Okay, so first things first, let's outline all the important
lines using the HB black, making sure we don't go over any lines that aren't
as dark as HB. Then I'll remove some
of the grid lines with the kb eraser so I can make
a start on the background. I then make two passes
with the two H blue, blending each pass
with a tissue, making sure my pencil
strokes are going in all different directions
to help get an even cover. You should be able to
notice that the tone becomes a lot more solid
with the second pass. Blend with the tissue, circular motions wherever possible. I've checked with
my value scout, and I feel I need
to go a bit darker, so I add three passes
with the HB blue, blending each pass
with the tissue. I smooth the last
layer with a brush. I find the brushes are more effective after several
layers have been applied. I'm happy with the
background tone for now, so I move on to the chest area. Using the five B blue, I apply an undercoat to all the dark shadow
areas on the left side. This layer doesn't need
to be perfectly smooth, as I have many more
layers to go on top, which will enable me to
get a smooth finish. Take extra care
that you don't go outside the outline
using the brush, as we want to keep the edge
of the shoulder line sharp. I make a sharp outline
using the six B black Now I want to lay down the first pass for
the lighter tones. I'll start with the H blue. As in previous studies, I build the contours starting with the
darker areas first, as this will provide a guide for me as I deepen all the tones. Back to the shadowed area, adding a layer of to be black and smoothing out with
the eig show brush. Remember to keep your pressure
unbelievably light with the blacks and try
to keep layers as even as possible
before blending. Use pencil strokes going in all different directions to eradicate any pencil
lines before blending. And now for the darker tones within the shadowed area itself, using the six B black. I then go over the
same areas just covered with a six B
with the eight B black. Don't forget to lighten the
pressure at the edge of each area to lighten the
tone as best you can, so it blends into
the tone underneath. This will become
more important as we near the final values. I'm using the to be
black to work on the transitions at the
edge of the darker areas. I change brushes to a stiffer brush as this will
provide a better blend. I'm constantly
going backwards and forwards between my
pencils and blending tools until I'm happy
with the smoothness of both the tones
and transitions. I'll be adding some quanti three B charcoal
pencil near the end, and the powder leftover
from this pencil will help create a
beautiful smooth finish. Oh. The small Georgian
Filbert brush that I'm using here is
completely worn, so the short bristles
are perfect for pushing the graphite
around for a great blend. If you're not happy
with the smoothness of blending the lighter
tones with brushes, a tissue will give
you a smoother blend. Brushes work great
with the darker tones. I'm using the H
blue here to make the transition from dark to
light tone a bit smoother, lightening my pencil pressure as I move away from
the darker tone. The value along the draw line here has gone a bit too dark, as there was some dark graphite left on the brush from blending, so I'm using the kable eraser to make a small
tonal adjustment. A cotton bud is
another great tool for blending smaller spaces. I use the same techniques as I build the lighter tones
to the opposite shoulder, so I'll let you follow along for a few minutes without too
many interruptions from me until we add the Quanti three
B charcoal pencil and begin detailing the skin. I use pencils ranging between F blue and four
B black as I build, using the erasers to make any
tonal adjustments as I go. Working all the
values into the paper using the Ig show makeup brush, making sure they're as
smooth as I can get them. Okay, so in a moment, you'll notice a jump
in eclipse that goes from smooth value
to detailed value. I had spent a while adding skin detail using
the four B blue, but realized my values needed to be slightly darker
before I detailed, so I need to draw
over the detail with a darker value and then
reapply later in the lesson. Softening the
transition a little on the neck line using the Fblue I love how this worn out Georgian Philbert brush makes the values and
transitions blend. You could try
trimming the bristles down a bit on a cheap brush, and you'll see the
difference yourself. I wouldn't use it
on large areas, however, as it'll leave
streaks all over the place. When using the conti
three B charcoal pencil, I'm very careful not to
overdo the coverage. This pencil leaves
quite a bit of powder, which I use to make smooth
transitions using a brush. I make sure that I cover
just the areas that have the darkest tone and leave space for
blending with a brush. Also, I do not get too close
to the edge of my portrait. For example, I will
leave a couple of millimeters from the edge
of the shoulder line that meets the background as I
don't want any charcoal accidentally bleeding
onto the background when smoothing with a brush. Yeah.
5. Neck & Shoulder Study 2.2: Hyper Realistic Skin Detail: Yeah. To begin detailing skin pores, I firstly, use an erasor
to make some marks. Any of the erasers
would be good for this, but I'm using the
battery eraser as it allows me to
create tiny marks. You can create different tones, softnesses and shapes by
using different erasers also. I will then turn some
of these marks into either lumps or indentations in the skin by adding shadows. Remember, lumps will cast
shadows that will be on the opposite side of your eraser mark to the light source, and indentations will create shadows that will be on the
inside of the eraser mark, but on the same side
as a light source. I start with a
light grade pencil and vary my pressure to create different shadow tones to indicate lumps of different
shapes and sizes. I also do not add shadows to
every single eraser mark. I'm not using the
power when making the skin paws using
the batteryt eraser. You can dab a brush
or a bill eraser to dampen or lift any shadows that you
think are too dark. Using the perfection eraser to create very subtle
marks in the skin. And lastly, using a
soft brush to blend, the ends of the high
loted strands of hair, so they look like
they're fading away. So just like in the last study, try to keep your outline sharp as this will help
project the subject from the background and be careful
not to accidentally push any graphite or charcoal powder onto the background
with your brush. Try to maintain extremely
light pressure throughout adding skin detail as the
skin texture is very subtle. The texture that I add in a demo looks so much brighter
than it really is, as my overhead light is highlighting every
mark that I make. Yeah.
6. Neck & Shoulder Study 3.1: Dynamic Lighting - Shallow Depth of Field Effect and Freckle Detail: Yeah. We have a wonderful
study for this lesson, which includes a
shallow depth of field effect with
dynamic lighting, sharp detailing, and a
full range of values. Like in previous studies
within this series, the contrast between soft
out of focus elements and hard detailed elements will really make
your drawing pop. We'll be using brushes and blending stumps to help maintain soft edges and sharp
pencils to render detail. When creating freckles, we need to apply them with
different sizes, different tones, and
hard and soft edges. So enjoy the demo. I'll
see you at the end. Okay, so to start this study, I'm going to first add the background using
the five B blue. This will help
separate the strands of hair from the background. I'll be adding around
three to four layers of five B blue to
make a solid tone. Oh, if you wanted to lighten the pencil marks used to
make the grid and outline, you can roll the Nabla
eraser between the palms of your hands to make the tube and roll it over your outline. You can smooth out using
any brush or tissue. Try them all to see what
gives you the best result. I switch to the eye show makeup brush in a bit
as the bristles on this brush are thin but really short due to it
being completely worn. This allows me to push
the graphite into the paper to make
a smoother finish. And using a tissue will give you a smoother finish
than the brushes. The same again for layer number
two with the five B blue, making adjustments using
a pencil eraser as I go. And And now for the third layer with
the five B blue. Now that the background is down, I can start focusing
on the hair. All the strands are
slightly out of focus, so I use the erasers, blending stump and
brushes to help keep all edges of the hair
looking soft and unfocused. The softer lead in the
Conor pencil eraser will pick up more graphite, whereby the harder lead in the perfection eraser
will allow you to lift less graphite so you can create subtle
tonal variations. Just removing some
grid lines before I start the shoulder
with some light tones, I'm going to start
with a two H blue. I use F blue for the outer edge of the shoulder to start
creating a contour. I lighten my pressure
so I can fade the F tone into the
H tone underneath, bearing in mind that we need a soft outer edge as the
shoulder is out of focus. Now the two B black to begin the dark shadow area to
the top of the shoulder. Don't forget to lighten the
pressure to fade out at the edge of the shadow area
to simulate a blurry effect. And a second layer
being the four B black. I lay down my darker value
in the chest area using the five B blue before I add the first
layer for this area, that being the HB blue. I always lay down the
shadow areas first so I don't lose the
guidelines during blending. I'm adding some dark lines using the HB black here so I don't lose them
when smoothing out. Remember, the HB black has a stable lead so it won't
smudge when blending. Smooth with a tissue using small circular motions
wherever possible. As I begin to add the
darker values in this area, I can tell that the
shoulder needs to go a little darker so I add a
layer of F blue in a bit. Using unbelievably
light pressure, I begin to deepen the shadow to the chest area using
the two B black. Notice that there is a very subtle value change in the middle of
the shadow line. Using slightly more pressure, I add a second layer of HB blue to start building the
contours of the chest. Once again, there are very subtle changes in
value in this area. Okay, so I'm just going to apply another layer of five
B blue along with lots of makeup
brush work before I move on the right
side of the drawing. I'm gently applying
the two be black to soften the transition
on the shadow here. The area behind the back
here is quite dark, so I'll begin this area with
a five B blue undercoat. Then use the black
Ranger pencils to deepen the tones until the
required tone is met. Gently dabbing the erasers will fine tune any values if needed. For the dark shadow on the back, I begin once again by laying down an undercoat
layer of five B blue. Smooth out, then I apply
a layer of two B black. Don't forget to lighten
the pencil pressure at the edge of the
shadow to create a soft transition and try different brushes to see which creates the
smoothest finished, either stiff, medium or soft. Using a blending stump to
help maintain soft edges. I start to build
the lighter tone contours with the F blue, varying pencil
pressure as and when needed to maintain subtle
differences in tone. This area of the
shoulder is quite light, so I definitely
want to make sure all grid lines are erased. We need light grades of pencils
to begin this shoulder. I start with H blue and F blue. You'll notice that
I draw a round the highlighted part
as I want to use a tissue to blend the
edge of the highlight to make a really smooth
transition later on. Dabbing the ka bellaaser
to lift any dark spots that appear to help keep the
tone as smooth as possible. And going slightly darker
with the to be blue. I keep working away
with my brushes and tissue until I'm happy
with the smoothness. The shoulder looks a little
blotchy at the moment, but I'm not overly
concerned about this, as there are a lot of
freckles to be added and the blotches will help the
era to look more detailed. Okay, so as I move
on to the hair, I'll use the perfection
eraser to pull out some hair strands from
the background tone. Then use the four B blue pencil to make some soft hair lines. The four B is not sharp, and I go over the line
several times with light pressure to make a
slightly thicker line. I will use the blending
stump to blender lines as this will help keep them looking slightly out of focus. I keep working away with my
pencils, erasers, brushes, and stumps until I'm happy with the tones and softness
of each strand. Now, before I start
working on the back again, I want to finish the
top right corner here so I have my darkest
value on the page, the Conti three B
charcoal pencil. I want to do this before I finish off the
back tones because the dark tone from
the conti will help me judge the correct
final values for the back. Using really light pressure, I deepen the tone
for the back using small circular motions
with the six B black. Following this, the eight
B black is used for the lower part of the back
at the edge of the drawing. Try different brushes to smooth out and see
which ones you prefer. I use the Georgian
Filbert and the eig show. Although I use different
brushes throughout the process, a soft makeup brush can be good to use for
the last layer. You may have noticed that
the stiffer the brush, the more it will
dull a dark tone. The soft bristles
in a makeup brush will help keep a true
tone with a dark value. Okay, so the shoulder area
is completely in focus, so I want to make sure that
the lines at the edge of the shoulder and the garment
strap are kept sharp. I use the forbeblack to begin building the darker
values in this area. Notice how I'm creating small different size marks
to help create skin texture. Softening any
transitions needed. The shadow on the back here has some very subtle value changes that we need
to be aware of. I will start to show them
now using the six B black. You can see that the shadow at the top of the shoulder here is lighter than the
darkest strands of hair. This is something we need to
bear in mind as we progress. I'm constantly comparing values throughout the whole process. Oh Running a thin line along one side of a
light strand of hair will help that strand
stand out a bit more. Don't go too dark, though. This is another coat
of five B blue here. Must be the fifth or
sixth layer bar out. I'm aware that the upper part of this background block is slightly darker right
next to the neck line, so I'll be adding some
darker value a bit later on. I'm now using the mono
zero eraser to re establish sharp white lines
of the garment strap, making this transition
slightly more softer using circular motions
with the blending stump. I'm just making a few
last minute adjustments to the transition before we
begin the detailed freckles. Yeah.
7. Neck & Shoulder Study 3.2: Dynamic Lighting - Shallow Depth of Field Effect and Freckle Detail: Yes. Okay, so to create some realistic
looking freckles, I need to use a few
different grades of pencils. I varium of pressure
with each pencil to create freckles that are light and dark and soft and sharp. We can also use a small
blending stump to give some freckles a softer
edge than others. We use the darker black range of pencils mostly for
the shadowed areas. Making sure the edge
of the shoulder here has a nice crisp, sharp line. Using a blending stump to soften the edges
of some freckles. So the main things to
remember when drawing freckles are to make many
variations of freckles. We do this by drawing
them in different sizes, different tones, and with
hard and soft edges. You can even use the
bending stump to pick some graphite powder up and
make some soft freckles. Some of the freckles, I
feel are a bit too dark, so I'm gently dabbing
the Nab eraser to lift a top layer of graphite to
make them a shade lighter. Once I finish the freckles, I then use my erasers to
make some subtle highlights. The highlights look much
brighter in this video as my overhead light is
really picking them up. Make sure you don't
go too bright. I'm not turning
the battery eraser on for these just
gently dabbing. I use a brush to soften
the eraser marks. A final layer of quanty three B charcoal pencil and lightly smooth out with a makeup brush to keep the tone as
dark as possible, and then I can move on to
the finishing touches. Okay, so I'll let you
follow along until the end while I add
the finishing touches. So enjoy and I'll
see you in a moment. And lightly working
on a transition. This Georgian brush here
is completely worn, but it's great for
creating soft lines. I'm just running it
along the graphite that's already on the page
to help blend together. So the goal for this lesson is firstly to use your
value scale to help render the
correct tones and keep all values in
harmony with one another. And secondly, to create the shallow depth
of field effect. For example, keeping
certain elements appearing either in
or out of focus. Remember to use pencil strokes going in different
directions to help create an even cover before blending and start with
lighter grades of pencils, darkening the tones until
the required values are met. So have fun. I'll see you
in the upcoming episode. Yeah.
8. Conclusion: Hey, guys, you made
it. A well done. I just wanted to give
you a huge pat on the back for making it to the
end of the sixth episode. Congratulations. There
were many things to take from this episode. We got an opportunity
to draw a study in low light conditions and
render beautiful soft, deep rich tones along with
the dark studio background. Alongside this, we completed
a study which included different focal finishes by way of a shallow depth
of field effect. We use a full range of
values in all the studies from rendering projects with dynamic lighting to
deep shadow work. Was hyperrealistic
skin detailing to contend with along the way, together with hyperrealistic
fecal detail. And each study built on a last in terms of
time and patience. So I really hope that
you're starting to notice a difference in
your ability to slow your work down and
are getting used to the process for creating
hyperrealistic art. I love adding the final
details and watching the drawings come to life,
and I hope you did, too. 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
the 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 Reply or one of these tabs and
post your question, and I'll reply as soon as I can. I've also started another
conversation thread on my main profile page. Just find my 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. Mm.
Shayne Wise, Professional Portrait Artist
