Transcripts
1. Introduction: Smile: Episode is the
seventh episode in the series daily
exercises to improve your portraits and
will focus on drawing photorealistic and
hyperalistic smiles. Included are three studies
that together provide an opportunity to render super
soft light to mid tones, tones from the darker
range of pencils, and hyperrealistic
detailing incorporating a full spectrum of value. By the end of this
class, you'll have a much better
understanding of how all pencil ranges interact with each other and
behave on paper, along with an
improvement in patients. 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 whether you're interested in photorealism or hyperrealism, knowing how to utilize
a full range of values is foundational
to achieve them 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: Smile: So welcome back for the
seventh installment of Daily Exercises to
improve your portrait. It's lovely to see you here. There are eight class
episodes within this series. This episode will
focus on smiles. Our first study provides an opportunity to work with
a mid to dark tonal range, including soft textures,
subtle skin detailing, a delicate change in focus,
and lip highlighting. For our second study,
you'll get to render super soft tones
using lots of brush. The light to mid value range, also including a subtle change in focus and lip highlighting. But in addition to
this, teeth that include a beautiful transition
from dark to light. There'll be lots of stippling required for a third
and final study, working with a full
spectrum of value. You'll learn how to build value by way of stippling and get another opportunity to practice drawing smooth, solid teeth. You'll also learn how to
create hyperalistic detail on small scale drawings and tiny highlights using
the battery eraser and improve your patients. If this is the first
installment you've come across, I encourage you to
visit my homepage where you'll find
all class episodes. 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 patience, 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. 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 contipari 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. Smile Study 1.1: Dark Tones - Base Tones & Smooth Transitions: Yeah. For our first
study in this episode, we'll be rendering
a beautiful smile with dark tones and
soft transitions. Firstly, we'll be adding
all the different values to the page and map out our drawing using lighter grades of pencils. Then using that map to gradually add darker grades until the
required values are met. Creating solid tones and
smooth transitions to build the contours of the face will make our
drawing come alive. You can see a subtle
change in softness to the skin on the
right side of the face, looking slightly
blurry compared to the detail and the lips and
the left side of the chin. Something to be mindful
of as we want to try and replicate this delicate contrast
throughout the process. I like to keep my pencil strokes and blending strokes
traveling in a vertical direction as I add value to the
body of the teeth, as this helps keep a smooth, even tone when blending. Okay? Let's get into it. Okay, so just stat this study, I've been marking
out all the dark lines using the HB black. As mentioned previously,
the HB black has a stable lead so it won't smudge when smoothing
out over the lines. Adding just a single layer four H blue to the bottom
right corner here, using strokes going in all
different directions to help create an even tone and
smooth out with a tissue. I now want to soften some of those lines using a five B blue. I'm using the pencil at a low
angle with a rounded lead. Both will help
create a soft line. Using a blending stump
to smooth out will also help keep those
lines looking soft. Be careful not to go over any lines that aren't
as dark as a HB black. Now that I have the important
lines on the paper, I can lay down the
first pass for the darker tones
to the right side of the face using the HB blue. Then smoothing out
with the Ighobush you can't get the smoothness
you want using your brushes, this may be because the
bristles are a bit too long. The bristles in my
eye share brush here are completely worn, making them much
shorter and stiffer. Therefore, I'm able to push your graphite around the
page a little bit better. Tissue or cotton bud will
do the job just as well. Now that we have our base toned down for this
section of the drawing, we can start to
deepen our values and begin to add the
contours of the mouth. And now deepening
the tones to create the contours using the
B and then to be blue. Using a cotton bud to
smooth out smaller areas. Now, for the six B black, only for the darkest areas. Using the darker Tubi blue, we can start to
build the contours of this side of the face. Once those darker values
start going down, it gives us a chance to work on those super smooth
value transitions and start to make the
drawing come to life. Don't forget to lighten your
pressure so you can fade the darker tone into the lighter tone that's
already on the page. I'm also using the Tubi
black here to deepen the contours of the cheek
using very delicate pressure. I always pay very
close attention when outlining and
drawing teeth, making sure the shape of
all the teeth are perfect. It's very important to take
things slow and to use a very light touch when adding the first values. In
case of mistakes. I look for roundness of
any lines of the teeth, whether they're vertical
or just off vertical, same with the horizontal lines. It's also very important to
keep your pencil sharp so you can create sharp teeth
outlines wherever needed. I start building the
nose contours using a B blue first and followed
by the two B black. Gently damming the perfection
eraser is great for making small value adjustments
if you've gone too dark. A pointed kneadable eraser is also good for making
small value adjustments. I just keep adding and blending until I've
created the tone that I want and that it's
a solid, smooth value. Starting to add some lip
details with the HB black. Notice how the lines of the
lip are slightly curved. We want to follow the curvature
of the lips when adding these lines as this will
help give the lips volume. Okay, so to begin
the lower teeth, I use graphite that's already on the brush to create
a light layer. Then use the HB black to draw the lines that
separate the teeth. Then I use the four H blue to render the subtle darker
tones within each tooth, which will give them volume. I use a B blue, to be black, and six B black to begin building the
values in the upper lip, all the while being
mindful to keep the lines going to the
natural curvature of the lip. We've used all the
tools and techniques needed to finish Lesson
one of this study, so I'll let you follow along for the next several minutes or so while I complete the base
tones ready for detailing. Yeah.
4. Smile Study 1.2: Dark Tones - Finishing Detail & Teeth: Okay, so now that we have all the different
tones on the paper, we can start to add detail
within those tones. Here, I'm starting in
the highlighted area. You can see that I already have a light layer of graphite added over the highlighted area, which means I can now
use a battery eraser to lift some value to create
highlighted dots and lines. I delicately dab the
eraser switching between power on and off to create
highlights of different tones. In combination with this, I use sharp pencils to add any
darker lines or dots. Have a try with all
your different erasers as you can get them to create different shapes and tones by varying your
pressure and sharpness. As I've mentioned before, the softer lids that
are in the battery powered and Curry
naw pencil erasers will lift more graphite than, say, the perfection
and kable erasers. After you've made
your highlights, you can then dab a small makeup brush to
adjust the highlights wherever needed to dampen the brightness or fade
away into a solid tone. This drawing isn't big
enough to focus on adding shadows to every
single skin pore, but we can make suggestions
of detail by way of using a stippling technique
in between the highlights. I'll let you follow along for a couple of minutes
while I add some detail using these techniques and catch you again to finish
off the upper teeth. So I'm just using the HB black to strengthen the
lines separating the teeth and then
cleaning the body of the teeth using
the battery eraser, ready to add some
subtle value to them. Don't forget to
sharpen your pencil when dealing with teeth
that are in focus. You want to take it slow
with a steady hand, making sure your
lines are sharp. When I add value to
the body of the teeth, I find it really helpful to keep my pencil strokes going
vertically and then blend the strokes together using a clean blending stump or
clean, soft makeup brush. Once again, blending
using vertical strokes. This technique will help keep your teeth from looking
blotchy or muddy. I try to leave space
for the highlights and draw around them
wherever possible. And lastly, at a few highlights using sharp and battery eraser. Hey, guys, I hope you enjoyed that demo and can't
wait to get cracking. Before you begin,
remember that firstly, we want to differentiate
all our values using the lighter
grades of pencils, as this will help give us a map to stick to as we
add darker grades. Then deepen our values gradually until we reach
the required tones. Also, keep the strokes of your pencil and
blending stump going in a vertical direction
as this will help alleviate a blotchy finish
to your teeth when blending. Can't get a smooth finish for your teeth using
a blending stump, try switching to a cotton bud or even a pointed cotton bud, as this is a great
tool for small areas. And lastly, use blending
stump and brushwork to keep the right side of the face looking soft and
slightly blurry. So, have fun, and I'll catch you in the
next lesson. Yeah.
5. Smile Study 2.1: Light Tones - Soft Undertones & Blurry Effect: Yes. So for this study, we'll be rendering light
to mid tone values. We get to practice rendering beautiful soft
tones, once again, similar to what we
did previously when drawing the soft skin
of a baby's nose, along with creating a subtle
depth of field effect. Pay close attention to
the small change in tonal softness from the left side of the
mouth to the right, as this subtle contrast will add depth to your drawing and
really help make it pop. Remember, try to keep your pencil and blending strokes traveling in a
vertical direction, as this can help keep a smooth, even tone when blending, so enjoy the demo, and
I'll catch you at the end. Okay, so I'm going
to start this study on the right side,
the blurry side. The edge of the
face where it meets the background is
slightly out of focus, so we want to bear that
in mind as we add value. I'll be using light grades of
pencils from the blue set, starting with the four
H blue for the base, then deepening the
tones using the F, HB and B blue. Use a combination of
cotton ball, brushes, cotton bud, and tissue to
create a super smooth finish. Don't worry if you haven't
got a cotton ball, a tissue will suffice
and don't forget to use circular motions wherever
possible when blending. Try all of your blending
equipment to see which gives the
smoothest results. Lots of brush work is needed
to render a smoother finish. Don't forget to
use pencil strokes going in all different
directions to create an even cover before blending and
blend every layer. I mold the Nabil eraser
into a fine point and lift any tiny imperfections or dark graphite spots to help
keep a smooth, even tone. Alongside the Nabil razor, I use pencils to fine tune the smoothness of any
transitions that need it. Using a blending
stump to help keep a soft out of focus
edge to this line. I use a sharpened
HB black pencil to outline the dark lines
surrounding the teeth, using extremely light
pressure in case of mistakes and perfecting any lines as
I go if they need adjusting. So before I add value to
any part of a drawing, I mark out all the
important lines with the HB black so I don't
lose them when blending. Always mindful,
however, not to go over any lines that aren't
as dark as a HB black. I'm varying my pencil pressure here with the F blue as and when needed to represent the changes in value as they occur
within the drawing. I try to keep all
changes in value in place from the start until
I reach the final tones. This helps me keep detail and proportions in place
throughout the entire drawing. And don't forget
strokes going in all different directions to help create an even tone
before blending. Remember, if you can't achieve the smoothness you're
looking for with a brush, swap to a tissue or cotton ball as they will give
you a smoother finish. I find some brushes are better at creating smooth finishes once multiple layers have been applied towards the
end of your work. I'm using the graphite powder that's already on
the brush here to create a super smooth transition with a very light
value to the chin. I'm not particularly
happy with this area here as it has quite a
bit of graphite buildup, so I'll use a needle
bit of razor in a bit to lift and make
it look smoother. I begin the lips by firstly
adding any detailed lines, then begin to build value. I leave space for the highlights so we can work on them later. The right side of the lips
are slightly out of focus, so we need to be mindful
of this as we progress. The contrast between the soft, out of focus tones sitting
next to teeth that are in focus will really help your drawing
jump off the page. So we need to recreate this
contrast as best we can. I'm happy with the
shape of the teeth, so I can now start to
add the darker tones. I'll let you follow along for the next few minutes while I add value and catch up with you again as we begin the teeth. For the lighter tones,
we'll mostly be using H, H, H B and B from the blue range, and HB and B blacks
for the darker tones. Yeah.
6. Smile Study 2.2: Light Tones - Soft Finishing Detail, Teeth & Lips: Y. Sometimes be a struggle to figure out which
tones are required when attempting lighter
tones of the teeth. I find it helps if I can find a highlight on the teeth and use that highlight to
see how much darker the tones are for the
body of the teeth. Leaving space for the highlights
and drawing around them. Gently dabbing a
pointed battery eraser is great for adjusting
value in tight spaces. Sharpening the edge
of the teeth here. When adding value to the teeth, I try to keep all
my pencil strokes going in a vertical
direction for each tooth and smooth out with a clean blending stump
using very light pressure. You can clean your
blending stump by running it along the
sandpaper block. I had difficulty keeping
these teeth looking smooth because I didn't
stick to vertical strokes, and the small makeup brush I was using had dark
graphite in it. Therefore, I needed to use more eraser work than normal
to get the teeth just right. B using delicate upward strokes with the perfection eraser
to adjust the tone. I begin to add
value to the lips, keeping my pencil
strokes going in the same directional patterns
as the shape of the lips, drawing around the
highlighted areas. There will be lots of
quick equipment changes coming up as I build
value and add detail. So I'll let you follow along for the next six or 7 minutes without too much
interruption from me. We'll be using all
the same equipment and techniques that we used. Up until this point,
it's just a case of deepening the tones and
honing in on detail. You'll notice that I'll just keep going backwards
and forwards using the same pieces of
equipment until the whole piece looks
saturated in value and smooth. Even though I struggled
with their teeth, initially with this study, I was able to bring them all back and make each tooth look smooth and keep all values in harmony with one another
throughout the piece. There's a slight shadow to
the left side of the mouth running down from the nostril and through the left
side of the lips. So I'm using the B blue to deepen the tone
slightly for this area. Using a cotton bud to smooth out the B grade pencil
that I just laid down. I'm using the
perfection eraser in downward strokes to smooth out and lighten the
value a little bit. Notice, as I apply
a HB blue here, how I keep the lines to the left side of the
upper and lower lips sharp where they
meet the teeth and keep the right side of
the lips slightly blurry. Also that I kept a
thin lighter value immediately above
that upper lip line. Paying close attention to
all these tiny changes in detail will really help
improve your realism work. You can see the right side of the upper lip is slightly
lighter than the left side, so I need to make
that adjustment here. Don't forget to sharpen
your battery eraser along the sandpaper
block for highlighting. As you can see, trying to
recreate the surface hair on the skin isn't really working in this study as it's
a bit too small. Although they take
more time to complete, larger drawings are much better
and easier for detailing. The bristles on my
Ike show makeup brush are completely
worn to the nub, so it can be a really
good tool to finish off value blends at the end to
create a super smooth finish. Apologies for the next minute or so being slightly
out of focus, but we are very nearly
finished. Enjoy the end. So before you begin, just
like in the last study, be mindful of the subtle
change in focus to the lips and teeth on the
right side of the face. More blending stump and
brush work will help keep this area looking blurry
and slightly out of focus. If you're having trouble
getting your tones, looking as smooth as
a reference photo, try adding more layers with delicate pressure and keep blending until you're
happy with the softness. I look forward to seeing you
in the upcoming letters. Yeah.
7. Smile Study 3.1: Introduction to Hyper Realism - Undertones: Yeah. Hey, guys,
and welcome back. This is our final study
for this episode, and it's one that's
going to take quite a lot of time and
test your patients. I find when I'm working on a
project to improve patients, it really helps to break that project into
small daily chunks and focus on completing those areas fully
before moving on. The first lesson
we'll focus on laying down the undertones,
ready for detailing. When I'm trying to gauge
what my base tones will be, I look behind all
the dark detail to see what the overall
lights tone is. So in this study, it'll be the tone of all
the lighter dots. The undertones in
this study don't necessarily have to
be perfectly smooth, as there'll be lots of
details to go on top, okay? Let's get into it. Once you become comfortable with utilizing a full range of values within your art and feel ready to tackle hyperalism, the next main obstacle you'll need to nurture is patience. In my own journey,
I found it really helpful to concentrate on
small areas at a time, like one or two inch
squares until completed. Once you finish a
couple of drawings with that level of detail
and concentration, you'll find that it then becomes your new
level of drawing. Okay, so to start this piece, I'm using the HB black to mark all the important lines and skin detail so I don't
lose them during blending. The freckles and lines
on the skin can act as a great tool for lining
things up during the process, like changes in tone, et cetera. As mentioned many times
already during this series, the HB black has a
stable lead so it won't smudge when blending skin tones around the marks you made. As always, be careful
not to go over any lines or marks that aren't
as dark as a HB black. I also pay very close attention to the teeth at this stage and double check that the shapes of each tooth is correct. Oh This drawing study isn't big enough to focus
on every single bit of detail like adding shadows
to individual skin pores, for example, but we can give the impression that they are
there by way of stippling. Before we get to
the detail, though, we need to lay down
the base layers that represent all the
different changes in tone. This will also provide a guide to stick to as we add value, so we should look out for any
imperfections along the way that need adjusting with
regard to value changes. I use a five B blue as an undercoat layer for
all my darkest areas. This not only helps
keep the tonality consistent between charcoal
and graphite pencils, but also enhances the blends
and value transitions. We have many layers to go on top of a five B blue layer here, so this layer doesn't need
to be perfectly smooth. I use Ito makeup
brush to smooth out. A small angled makeup brush is ideal to blend small spaces, or you can use a blending
stump cotton bud. You can even buy
pointed cotton buds, which are also great to use. Using a pointed lead on the battery eraser to take away any graphite smudges
on the teeth. I'm again using the
five B black as an undercoat for the darkest
areas within the tongue. I always map out an area
with the darkest tones first and then add the mid
tones and light tones. I find this helps keep track
of where everything goes. I'm using a kind of
scumble effect here, small circles with rapid
changes of pressure to create an uneven tone and give
the appearance of texture. I don't want to create a sharp line for
the upper lip here, so I'm using rapid
changes of pressure once again to keep a rough,
uneven looking line. The same scumble technique again with rapid changes of
pressure, but this time, I want to add
volume to the lips, so my lines are traveling in the direction of the natural
curvature of the lips. Don't forget to add these subtle smile lines
around the chin. The upper lip is stretched
due to the smile, which has created a
few horizontal lines. So I begin the first base
slay using the five B blue, keeping all pencil strokes
traveling horizontally. As I add the lines
in the upper lip, I'm mindful that there's a very thin light line immediately above the
lower outline of the lip. You can add this later using
a sharpened monoz eraser, but you'll get a sharper line if you take it into account now. Okay, so now let's
add the base tones to the skin around the mouth. When deciding which
value to use, I try to look at the lighter
tone or lighter dots, in this case, behind
all the detail. I'll be using a H blue for
the lighter areas like above and to the sides of the mouth and B blue for the darker areas. Once we have all the changes
in value on the page, we can then start to
add detail by way of combining stippling
with eraser work. One layer of seven B black here will still look
a little sketchy. I'll be covering this with
a anti three B later, which will give us a
beautiful, smooth texture. If I wasn't using the conti, I would add two to
three layers of eight B black until the
white dots had disappeared, still perfecting the shape
of the teeth as they go. Adding detail as I
use darker pencils. Now adding the base value for the lighter skin tones
using the Hblue varying my pressure as and
when needed to create subtle variations in tone
or any value transitions. I leave space for the highlight so I can attend to
them a bit later. Something to be aware
of is that when you use a stiff brush like
this worn agha brush, it will blend the
graphite together nicely, but will also darken
the tone slightly. Whereby using a tissue to
blend will not do this. I'm not overly concerned about the smoothness of
these base tones, as there's lots of
detail to go on top, but using a tissue will give you a better
blend if needed. Using small circular
motions with varying pressure will help create detail when
using a blending stump. When stippling, I combine
dabbing the pencil to create pinpoint dots with making tiny circular motions for
slightly larger dots, varying my pressure to change
tone as and when needed. If you look closely at
the reference photo, you'll notice a very
subtle change in tone running down the
middle of this shadow area, which we'll want to add. As I'm blending, I use a brush
to blend the graphite over the line of the shadow to create a soft transition onto
the lighter skin. Like my pencil strokes, I also keep the
blending stump strokes going in the same direction
as the patterns in the lip. Re establishing the
highlighted area with the battery
eraser by dabbing. I just want to add
some mid tone to the small area of paint up
in the top left corner, which will give us something to work with in the next lesson. Then one more layer of B blue for the darker
areas on the skin, and we'll be ready
to start detailing, also in the next lesson. Yeah.
8. Smile Study 3.2: Introduction to Hyper Realism - Building Value With Stippling: Yeah. So now we have all of our base
tones on the page. Let's start to build value
using the stippling technique. This drawing isn't
big enough to focus on every individual skin paw, so stippling is a great
technique to add lots of texture and give the
appearance of tiny skin paws. We'll be focusing mostly on the upper lip and
above in this lesson. Then work our way down the sides of the face
in the next lesson and finish off by completing
the teeth and tongue in the last
lesson. I hope you enjoy. Okay, so now all of our
undertones are in place. We can add the finishing
top layers and detail. The first step that I
like to take before I add my finishing values is to apply some of my darkest
value to the page, that being the quanti
three B charcoal pencil. As mentioned previously,
I like to get my darkest value down
sooner rather than later, as it speeds up the process of figuring out all
intermediate values. If, however, there wasn't any pitch black value
in the reference, I may be inclined to
start light and slowly add deeper tones until the
required tones are reached. See me using the
brush here to push and powder a few millimeters
over the edge of the shadow line to create a small transition onto the
lighter tones of the skin. As I had the quanti
three B here, I'm mindful not
to go right up to the outline of the teeth
as I don't want to smudge any charcoal powder onto the teeth when smoothing
out with a makeup brush. I leave a tiny gap
and carefully use the brush to push powder right up to the
outline of the teeth. You can use pencils
from the black range to finish off any corners where
the brush can't reach. As I smooth out here, I'm also using some
powder that the brush picked up to add some value
to parts of the tongue. To begin this corner
of the mouth, I use a stippling
technique using the HB black to start building value just
outside the lip line. Then circular motions using the seven B black to start filling the left side
of the upper lip. I'm mindful at this stage that the darkest part of the
lip to the left side is a subtle tone lighter than the pitch black conti
tone inside the mouth. As I stipple, I'm
looking for any patterns in the skin and trying to
stipple along those lines, adjusting my pressure to make slight changes in tone
as and when needed. Building value this
way is time consuming, but the end results
look fantastic. So if you're not used to take in this much
time in a drawing, try focusing on a small segment each day and complete
it as best you can. You'll be amazed at what the extra time and
effort will produce. You can see that I'm
still using the HB black, but I have lightened
the pressure to produce slightly lighter dots. As I build the body
of the lip here, I don't want to
create a solid tone, so I'm using small
circular motions with rapid changes in pressure
to create an uneven tone. Again, using a stippling
technique is to create texture and faint
lines to the upper lip. Soften a tone with the blending stump
using circular motions. Always use extremely
light pressure when using the blending stump. Using the same technique, but now deepening the tone
with the to be black pencil. You can use the perfection
eraser just like a pencil, but instead of adding value, we can vary our pressure to erase different
degrees of value. Have a play around
with your pencil eraser and see if you can use the most delicate of pressure to lift the lightest of tones. Gently dabbing a sharpened
battery eraser to pick up a few highlights and
enhance thin lines. Same again with
the Tubi black to add darker detailing
wherever needed. If you study this area
closely in a reference photo, you can see that there
are subtle changes in tone dotted
around here and now. We can dab a small
makeup brush or blending stump to create
a similar effect. Okay, so let's use
the same tools and techniques to finish
the area above the lips. I build value by stippling
with the HB and two B blacks, and then the four B black to add the deep black smile lines. Use varying degrees of pressure to fade your tone
wherever needed, for example, to create
soft transitions. I just keep going
backwards and forwards, using the same tools and techniques until I'm
happy with results. Don't forget the soft lead in the battery eraser will
produce brighter marks, whereby the harder lead in the perfection eraser allows you to remove more delicate tones. I changed to a graphite
only pencil here, the H blue to stipple
lighter toned detail. Yeah.
9. Smile Study 3.3: Introduction to Hyper Realism - Finishing Detail, Face & Lips: Yeah. Okay, so we'll be using the same
techniques as in the last lesson to
complete the pace, but with the addition of needing a battery eraser to create delicate reflective
highlighting. We'll also be
building the sides of the face by firstly
creating small, soft tonal detail using
the blending stump, then adding sharper and
darker detail on top. Okay, so the area above
the lip is now complete. Let's move on to the
sides of the mouth. I'm using the same
stipple technique with the same grades of
pencils to build value, starting with the HB
black and then deepening the tone at the darker areas
using the to be black. You'll also see me use the seven B black briefly for the darkest area just
besides the tongue. Don't forget to use
your brush to make small soft tones and
erasers to perfect. There'll be many changes of
materials as we proceed. I'll let you follow along for a while without too much
interruption from me. However, I'll keep you informed of anything
important that arises. I've just smoothed the tones in the lower lip with
the blending stump, and now I'm using the graphite that's on the blending stump to create some soft marks to the lighter areas on the lip. This area has quite a few
soft toned marks, so I add the first layer of detail using the
blending stump. We will dial in and add sharper and darker
pieces of detail later. You can dab the
blending stump in the dark ti value already on the page to pick up some
more value if needed. There's a sharp
line here between the shadowed area and
the light skin tone. I want to soften the
transition a bit. I do this by stippling the HB black pencil on
the light skin tone, and then stipple
the battery eraser on the dark shadowed side. This will widen the
transition so it looks like the skin tone is fading
into the shadowed area. The transition we made during
Lesson one when applying the undertones will help achieve a natural looking fade
once we had the detail. Dabbing a cotton bud is another great way
to soften tones. H We applied a mid tone for this small area of paint in lesson one of this
study to give us an approximate visual
reference of where the darker and lighter
tones will go later on. So now we can hone
in on a detail with pencil and eraser
work to finish the area. We can apply different
highlight tones using just the battery
eraser by using power on or off along with
varying pressure. Just like what we did for
the sides of the face, I apply soft tonal
marks first to the highlighted area
using a blending stump, then add detail on top. M I sharpened the battery eraser
on the sanding block, and I'm now creating
tiny dots by delicately dabbing the
eraser as and when needed. Try to look out for any
patterns in the lip so you can create highlights
that follow the pattern. Yeah.
10. Smile Study 3.4: Introduction to Hyper Realism - Finishing Detail, Teeth & Tongue: Yeah. So for the last
lesson in this study, we'll be finishing off
the mouth and tongue, and I'll show you how to create smooth tones for the body of the teeth and then add all the subtle changes
in tone on top. We also want to keep all
edges of the teeth sharp. Just like when we worked
on the transition at the edge of the shadow at the
bottom left of the study, we can use erasers to stipple some detail
in the shadow on the tongue so the detail fades into the pitch black
tone inside the mouth. We can then add dots in between the highlights to finish off
this part of the tongue. Whenever I apply
value to the teeth, I always use vertical strokes, the same when smoothing out. You'll see me start using a
blending stump to smooth, but I wasn't happy
with the end results, so I switched to a cotton
bud for a smoother finish. You can purchase
pointed cotton buds for tight spaces if you prefer. I find that if I
use strokes going in different directions
when I do the teeth, the tone can get
blotchy when smoothing. If you are unsure as to the correct tone to
use for the teeth, try looking for any highlights
in the teeth to help you gauge how much darker the tone for the body of the
teeth should be. Be very careful not to smudge any dark quanti three B
charcoal value onto the teeth. Now that we've added and
blended the body of the teeth, we can use a H blue to build the darker tones and
give volume to them. Look out for any lighter tones around the edges of the teeth. You can see there's
about half a millimeter of light tone at the
edges of our teeth here. It's best to take them into
account now as the lines are too narrow to pick out
using the monozero eraser. Now, using the H blue
to add some darker, sharper detail on top of the soft blue detail we made earlier with
the blending stump. For the brightest highlights, I use a white jelly old pen
made by secure in Japan. These pens leave a
0.5 millimeter line. I only ever use this
pen sparingly to make dots for bright
reflected highlights, for example, around
the eye or mouth. Only adding two to three
dots can have a huge effect. I never use it to make lines, though, as I feel
it looks unnatural. You can dab a small
makeup brush or blending stump onto
any highlights made by the pen to diffuse the brightness a little or
to fade the highlights out. For example, if they were to disappear into an
area of shadow, Okay, so now it's your turn. Remember, lay down
the base tones first and separate all
the different values. Then deepen your tones
by way of stippling. Dabbing a small makeup brush and or blending stump
over the stippling, will create subtle
changes in tone here and there and stop the
area looking flat. You can create small
soft marks on top of your base layer using a blending stump first at
each side of the face, for example, then add layers
of sharper detail on top. If you stipple too much and
end up with a solid tone, you can dab a pointed
battery eraser to lift dots here and
there to a texture. Vary your pencil pressure
throughout to make as many tonal variations
as possible and keep your pencil and
cotton bud strokes going in a vertical direction when adding value
to the teeth to help create a nice
even tom and blending. This drawing took me
5 hours to complete, so strap in and mentally
prepare yourself to slow down and complete small chunks daily if you think it will help. So good luck and
I'll see you soon. Yeah.
11. Conclusion: Hey, guys, you made
it. Well done. I just wanted to give
you a huge pat on the back for making it to the
end of the seventh episode. Congratulations. There are
so many things to take from this episode from creating super smooth tones to rendering
subtle changes in focus, from adding hyperalistic
detail to drawing smooth, solid teeth and
delicate highlighting. If I had to choose one thing that I'd like you to take away, it'd be the layering process for hyperalism for small drawing
studies. For example, one, add base tones, two, build value by
way of stippling. Three, use a brush or
blending stump to add soft tonal marks over the stippling so the
area doesn't look flat. Four detail five highlights. I love rendering
smooth solid teeth 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 a 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 Leave 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 M. You can hit Reply or 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. F a page, scroll
down to the bottom, press your 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
