Pen Drawing Class: Designing Facial Features with Ballpoint Pen

1. Introduction: Would you like to create magical drawings of eyes, ears, and lips with a pen? Enter the world of pen drawing, where all these possibilities are at your own hands. In this new class, take your pen art to a new level and benefit from hatching and shading techniques in eyes, ears, and lips drawings. Get started now and take your art to a new level. With a pen, your creativity knows no boundaries. And it all starts with a pen. Hello and welcome to a new chapter of sketching with pen. And of course, with me. Okay, in this chapter, we are going to create different parts of face, facial compartments. For example, eyes, ears, nose, and lips. First of all, we are going to talk about the tools that you require for this chapter. You need a normal pencil, a pen, and a paper or a cardboard that you want to do your sketches on it. The next episode, we're going to start the sketch. 2. Primary sketching of the eye: Hello and welcome to the first episode of Sketching with Pen. Okay? In this part and in this episode, first we are going to create the primary sketch for this beautiful E. The first facial part that we want to work on is the E, which is very, very important, and at the same time it's very attractive. Okay, let's see how we can create the primary sketch. As you know, I'm going to use a copy technique, so I am using my B six pencil, or the normal pencil that you have to darken the back of my model completely. Then I turn over my work. I start going over the parts that I need for my own primary sketch. First, I'm going to fix it over here. I'm going to do this very disciplined. I'm going to use one for the top and one for the bottom. My model will not move copying the primary sketch. Now I go over all the main parts in my work to do the copying. Okay, I'm going over all the main lines, so I'll continue. And in this corner of the eye, the inner corner, the outer corner, and the lower part of the eye lid better the lower eyelid. And it's gummy, the part where the eyelashes will grow. I also like to work on the pupil and the iris. I'm going for both of them, then I'm doing the upper eyelid, the gummy part of it. Then the upper line for the upper eyelid. In this way, I also determine the place that I needed to be. Also, from here, I consider the area which is related to the lower eyelid. Okay. I just create some of my eye lashes so I would know the direction of the eye lashes when I want to work on them. See, that's enough. Now, I also create the general things of the, I'm going over the details of the textures inside of the eye. While I want to work on it, I can create these textures perfectly. I also create some of the eyebrows in their own placement. Again, the direction of the eyebrows. While I want to work on it. At last, I'm going to check my work so I can see if it's completely copied or not. I've got my primary sketch copied, and the next step I'm going to start shading it. Okay, follow us in next stepisode. 3. Iris shading: Hello and welcome to the rest of the tutorial with me. Okay, now with our pen, we are going to continue creating this beautiful eye. First of all, I'm going to start with the p pil and the iris. Then after you took the extra ink off the tip of your pen, you can start working on your whole sketch. I'm going to start with shading the pupil which is completely dark. I'll get it as dark as I can see. I am working on the pupil. Then very slowly I apply the shades in different directions. Okay, I'm going to shade it like this. It's absolute darkness. This is first degree darkness. In other ways, as I told you, it's absolute darkness. So I'm just going to shade over it in all different directions to get it totally dark and not leave any pen traces. Okay, I'll get it where I want it, then after that, I can work on the rest of the, I mean the iris right from here. From the center of the eye, which is my pupil. I'm going to bring out small lines with loose ends. My highest hand pressure is in the center, in the beginning of the line. As I come out, I try to decrease my hand pressure as if like I'm letting them go at the end of the line. I'll just do it to try to create the iris around the pupil. I'm going to continue that. I'm actually taking away the border that was between the iris and the pupil. With these lines that I'm creating, I'm actually destroying this border which may stay between them. I'm just doing it very patiently. I'm spending so much time without any rush. The outcome will actually be very soft and smooth because it's the eye. As I told you, again, I am using these small lines to eliminate the border between the iris and the hill. Fading it and blending them into one another. In some parts, I have a higher hand pressure making them darker. In some other parts I would go lighter. That depends on your model and what you are actually seeing. Okay. Then I would also create the shades over here. You should have an average to low hand pressure. Okay. So you can actually create very light shades like this. Then again, in the opposite direction, I'm going to shade. I try to make the shadings of this area more cohesive. Now, I'm also going to consider a general shade for my whole iris. Then I try to spread this general shade lightly in the whole area. I should take the extra ink off the tip of my pen. I don't want any unwanted darker spots over here. It's very delicate. I should do it with a lot of caution not to go too dark here. See slowly. I am shading from the address toward the center. But as I told you before, I'm keeping it light. Okay. Now I'll do the same thing from the bottom as well. I'll continue this shading. I go toward the center of the eye. See, my shadings are very light, but I'm dragging them from the edges inside toward the center. I'll do the same thing on the top as well. Just remember to keep this light area on the eye. This is a reflection of the light inside of the eye. Be careful not to work any shade inside of that area. It's a shine reflected on the iris as much as you can. Try to keep the whiteness of the paper for the light areas like this. I try not to go inside of it. You should be really careful around it, especially because you're working with pen. You see this is the first degree darkness in the center, which means the darkest color that we can actually apply. The opposite of that is the lightest one, which I'm using for the iris. Okay, Then in here, again, like the other side, I'm going to apply the darkness on the edges. And then I go toward the center of my iris with much more lighter shades. This is how much you should go dark in this step, you don't need any more darker shades than this. This darkness is enough. I'll continue like this. I completely go toward the center of the iris. I'll continue the shading for the lower part of my work. From the bottom of the iris, I'll do the same thing. I just try and bring the shades all over here. Okay. Then I would go till the central area. And also from the top I create the same darkness, considering of course, the lights that I've told you before. Okay. Then very slowly I fade the darkness and spread my shades without going into the light areas. Okay. And also from here, from this corner, I'll continue downwards. Okay. Now I'm going to apply more darkness from the corners with a high hand pressure. Then as I move toward the center, I decrease my hand pressure in order to decrease the darkness as you can see right here. And as I'm doing, I, J. Make around my iris very neat. And I start shading in opposite direction as well. My previous shade would actually look faded. Okay, now I'll do the same thing from this side. Should do the same thing for both sides. They should look symmetrical. I'll be shading this area. I placed the darkness in their own placement and I'm just using just a little bit more hand pressure comparing to the previous layer of shade that I had already applied. Okay, so here it goes, and I continue till the top. Then I would also work on the bottom part of the iris as well, but comparing to the sides, this area would have a lighter shade. It's a bit weaker on the sides left and right, we've got much more dark shades, but on the bottom and top, it would be lighter because of the presence of the eyelids. Of course, here it goes. Okay. And I'll do the same thing from the signs. Okay. Now, on the top part of my iris, this darkness is a closer to the first degree of the darkness. Therefore, I apply this darkness with a higher hand pressure. And based on what I see on my model, with a bit of space between the lines, I create this shade. See again. I consider a small gap. Then over here I create a shade which is not too light and not too dark. It's really average. But I'm going to work on this shade, in this shape and in this level of darkness. Okay, so I come all the way to these sites and I spread the darkness over here. Now let's continue in next episode. 4. Completing iris shading and creating eye texture: Hello again and welcome to the rest of the tutorial with me. All right, now let's get started again. And I'm going to start from the top of my iris, for fading my darkness very slowly. I'm doing this shading of wine. See, I am fading them into one another and blending my colors. Actually, I'll make my shading more cohesive. I want to drag a bit of my darkness from here, drag it out as the shape that it is. I'm actually going, based on my reference, these are actually the shadows reflected on the iris, from the eye lashes. It's like we can see the shadow of the eyelashes reflected on the iris. Just be careful in these areas. My darkness is really strong, see like that. I also have some more strong darkness over here in this area of my work. Then again, I'll fade them just as you can see. Then from here I'll do the same thing, all right. At all times. I try to make sure that what I'm doing on this side of the eye, I would do on the other side as well. Because your eye should look symmetrical. Of course, considering the fact that you might have some spots on one side not having them on the other side. But I'm talking about the general way of the work. The general shadings and all of that. All right. I work on the bottom part of my work as well. Now I can consider a darker shade for here. As you can see, I am making my contrast higher and higher. I'm increasing the contrast in my work. Okay. Then from the darkness, I try to bring some lines out toward the center of the iris. And fading them and lightening them. As I do that, see, I'm just bringing some darkness out. But I'm fading them simultaneously. I go toward the center. Okay. Now I would also create a curve over here, because the lines inside of the iris are not actually straight lines, they are a bit wavy. I'll do the same thing from the bottom, trying to create these wavy lines as well as I'm shading. Here we go. Basically I'm coming from the sides and outer parts of the iris toward the center. And the inner parts pay attention to the movement of my hand. You see, I'm just creating some random lines. And I am not creating them straight. A bit wavy. That's how it's done. All right, Now I'm going to create some dark spots inside of my iris. It can actually show the texture inside of the iris. See for example, over here I have a texture like this, a dark one. I'm showing it with my darkness. I have another one as well. From here I'm doing a light shading up to here, which I go dark again. I'm just playing with the colors. These beautiful contrasts are creating my texture for me as well as the volume. All right, these are just some small patterns inside of the iris. Very small patterns and designs. Okay, then also from these parts, I'll do the same thing. I create some patterns and designs inside of my iris. It also makes it more realistic. Then from here again, I come and create these patterns. Okay? I also create some of them as lines. Then I come over here again, I create the rest of the patterns in the iris. And of course, inside of my eye. Okay, Now I want to start working on the darkness which is in the middle of my iris. You see right from here, I should have one part darker comparing to the outer part of the iris. It means that up until I get to the patterns before I get to the patterns, I should create a darker shade. You see one layer of darker shade, you say, with a bit of space in between them. But from the beginning part of the patterns that I have just created in my iris, I would have to shade a layer of darkness too dark, but it's darker comparing to the other part, which is exactly what we want. Then I also shade one more time in the different direction. Therefore, my shading would look much more softer and smoother like this one here. I can also make some parts darker. Okay. Now from these dark parts, I am going to create very neat and organized hatches and shades in the direction of my circle, toward my patterns. And I will fade them as I move toward the patterns. Again, I say in the direction of my circle. It's very important that you keep the direction. I come from the sides and I create darker shades toward my patterns that I have created in my iris. And at the same time I try to fade them. In this case, as you can see, we can have one layer of darkness on the outer part or the outer part of the iris. And then a layer of light, the patterns, and again another dark layer. And at last we get to the pupil. Okay, I would also consider some textures for here, so my eye would actually look more natural. Okay, also for these parts, I will not forget about the opposite directions, because I also want all of my parts to be soft. And in order to do that and not leave any pen traces, I have to shade in different direction wherever I'm shading. I also have a strong darkness here. Again, I've got more concentration of the darkness and more hand pressure in this area in order to make it a very strong darkness. You see there's also a darker shade over here. Here it goes. Okay. Then I'll continue even more. I go over all these parts that I can see even traces of white color lightly go over all of these parts. And I'm going over it once all over it, but with a very light shade because they shouldn't be as white as the light reflection inside of my iris. I go over all the whiteness. I can even emphasize on some of the darkness you see. Okay, here we go. I also think these areas might need some more darkness. So I go over them again to emphasize on the darker shades. And I'll continue that. Okay, then I'm spreading the darkness from the center of the iris and pupil. And then I complete this darkness on the top of the eye, increasing it even a bit more for creating a higher contrast, very intense contrast between this area and the reflection of the light inside of my iris. I should also create some lines over here to show the reflection of the eye lashes. Shadows. These lines represent the shadow of my eyelashes reflected on the iris. I've got to create them as well. See, now it's looking better and better. From here. I give it a bit more shading also from here. Okay, we're almost done. Here, and here we go. All right, it's done now. Let's see the rest of the tutorial together in next episode. 5. Sclera shading: Hello again everyone and welcome to theanother part of this tutorial with me. Okay, let's do the rest of this area together. In this step, we are going to work on the white parts of the eyeball. In general, for working on light areas, we always start from the sides, which are deep and they actually have darker shades. We start from there and then we try to decrease our hand pressure as we move to the center of the light. Okay? Now, little by little, very patiently, I am going to create this darkness on the sides, as I said. And then I'll fade it. I place it in its own placement and little by little I'll fade it. Just like that. Okay. Now I do it with a very controlled hand pressure. It's very important. And I'm also doing it very slowly and lightly. I apply the darkness and I try to spread it a little upwards. You should definitely take the extra ink off the tip of your pen because this is a very light area and want any surprising and unwanted spots. Okay, on the sides, I start creating very soft and smooth shades, just like this. Okay? Now, very slowly I try to decrease or increase the darkness with controlling my hand pressure. Then I try to drag and guide this darkness toward the light, and I faded simultaneously. Here it goes. Now, as I told you before, if you cannot have as much control as you want for creating lighter shades, I really strongly recommend you to take your pen near to the end of it, in your hands. Generally, you can have lighter shades. This might be a good point for those of you who still have some troubles controlling the pressure of the hands. Okay? Trying to make my shading cohesive as well so that you can see I'm shading in different directions. Okay. Now, whenever you're working on a model's eye, this is a very important hint that you should take into consideration that even some of our students might be mistaken. In this point, the iris should not be, not actually have a border. You see right now, my iris has a border. Never ever, the iris should have a border between itself and the eyeball. Very slowly, I try to create a very light shade, very faded. So I can actually blend the iris into the eyeball and eliminate that border that I have as a separation between the iris and the eyeball. Therefore, it would look more natural and at the same time. It can actually create my volume so I can show my eyeball is prominent, especially in the iris area. For this upper part, I need more darkness. Of course you can get it, even if you look at your model that would be like this. Okay, so I'll continue right from the top. I try to increase the darkness and have more of it coming down. I still try to shade in different directions so I can fade it and make it smooth and soft. All of your shades in the eye area should be the same. You shouldn't have any rough shadings in this area. That's very important. You can see how beautiful it's getting. Don't worry about it. Just enjoy while you're working. That's the most important thing. As you can see, I'm going in the opposite direction of my previous layer of shades due to the reasons that I've just told you. Okay. Also from the bottom, I'm trying to do the same thing. And also from the corners. And the edges. Okay. Then for this area, I try to go in opposite direction as well. My hand pressure is really low, so I can have that faded shape for my work. The center of our light, the concentration of the light should be in this area. Be careful not to drag your darkness too much into that area. Try to keep it around it, not inside of it. Then again, I insist on the fact that you should be careful about the extra ink on the tip of your pen. Once in a while, you should just check that and get it off different pens. It's a different rate how often you should check it. Also fade this part of the iris as well into the whiteness, or better say, lightness of the eyeball. Now, also over here, okay. Now from this inner corner of the eye, I'll do the same thing. I try to apply the same kind of shaving, you see? I try to do it very lightly. This is the most concentrated darkness over here. That's the focus of my darkness on this corner. In this way, also in opposite direction. It should be like this. Okay, so basically I'm repeating what I did for the other side, but I just have to go through it as carefully as I did for the previous part. Therefore, again, I emphasize that you should have complete control on your hand pressure. Therefore, you can actually apply softer and better shades. I would also shade in this direction also. For here, I'll try to fade the sides and the edges of my iris toward the whiteness of my eyeball. I would also eliminate the border of the iris and eyeball on this side as well. I just continue that very slowly. I can fade this border and separation. Okay. I try to focus the tip of my pen on this area and go over here with a controlled hand pressure or a light one, so I can actually get it to match the color in its surroundings. If I want to have a cohesive shade of, not for the time that I want to have a light in the middle of the darkness. Okay. So I'm fading it upwards. And then I go and create a general shade for this area. Also in opposite direction, I'm going all over it. Once in, generally it would look like this. Okay, now let's see the rest of this beautiful sketch and tutorial in next episode. 6. Shading the upper part of the eye: Hello again, and welcome to the rest of the tutorial. Okay, let's continue so we can complete our right. From here, from the inner corner of Y, I, I start making them more cohesive. See also from here, I try to go on the opposite direction of my previous layer. Okay, And then from here I'll do the same. Now I would want to work on this inner corner of the eye itself, not the eyeball anymore, because we have a depth here. I use a strong darkness. Then slowly, I fade this darkness into the rest of that area. There is a strong light here. As a shine, I'll separate it and I keep it. Then again, I shade the rest of the area. The slowly I'll continue with my shading, we had a strong depth there, so I went really dark. But as you can see as I moved out, I made it lighter in this way, just like that. I'll use the same darkness in this area over here. In some parts I go lighter and in some others I go darker. All right, so here we go and it goes like this very easily. We actually completed this inner part of the eye, the inner corner over here. I should also increase my darkness a little. I can show that it came from the darkest area to the lightest area. And it wouldn't have too much contrast between the shades that I have here because I don't want to show these are two separate things. They are of one bigger thing. I have to blend them in with my shadings. Okay. I would also shade this area as well and I'll continue to the bottom of my work. Okay. Now I want to work on this upper parts of eyelid. I mean, I'm going to work on the gum for my upper eyelid, so this would be actually the darkest area. Again, from here, I should lightly shade up to here, so I've got a light shade here. It's the gum of my eyelid. I am creating all of my shades with the same controlled hand pressure. Because I want the color to be almost a steady, I want to change it too much. Not in this step, at least. I actually fade these parts in the upper part here. Then I get it out of its Linar and border line shape. I fade it so they can blend together and they would look more realistic in the real world. You don't see any separate or specific lines in the face or any parts of the body. Everything is smoothly blended together. That's what I'm going for here, to create this illusion that they are actually real. Okay. I'm still continuing over here with controlling my hand pressure. Of course, I am creating my shades. Okay. Again, I try to make the shadings that I've already created more cohesive. In this way, even from here, I'm going to drag this darkness upward and fade it simultaneously. Always keep in mind that as you're working, you should keep one eye on your reference and model. So you would know where you have the most concentration of the darkness and where it's lighter in the opposite direction. Again, I start shading like this. Okay. Then I would complete this area, making it totally cohesive and in one color. As you can see, I'm also shading in different directions. That would help me as well, to blend in my colors and fade them. Then over here, I increase my darkness a little bit because this area is actually the place that the eyelashes are grown. Because the concentration of eyelashes are more over there. That area would be darker. I go over it and I increase the darkness of fading it afterwards. And then from this bottom part of this area, I'll do the same thing. Okay? Then I should drag this darkness upwards toward my lighter colors. See very slowly as I go up, I'll make it lighter. Okay. Just as you can see, I'm creating different color palettes. And blending them into one another until I get the shade and color that I want. I give it that faded look, which makes it more realistic. As I told you then over here I'm going to create my line for my upper eyelid. This is the focus of my darkness because here we have a big depth. It's very deep, it's going to be dark. First, I apply my darkness in the deepest area, then I try to do the rest of the shading. Over here I have my eyelids line, which is the depth. As I told you, I apply the darkness there. Then little by little, I faded as I move downwards to The rest of the upper eyelid to the center of the upper eyelid bears, just as I go down, I faded. And as you can see, I'm coming down very slowly and with a small shades and small lines. I'm shading with a small lines, so my shade will actually be faded and soft. Of course, as I've so many times mentioned to you about control of your hand pressure. Again, I should say it's one of the key points in pen technique. If you can control and master the skill of controlling your hand pressure, you can definitely go really faster in pen technique and you can actually improve faster. Therefore, I really advise you to practice controlling your hand pressure and do its exercises. You'll get used to it and you get the scale. You can even warm up your hand before you start your work. And you can actually move your hand softer and you can sketch better. And softer, you can also do the warm up. Before that, your hand will just get used to it. This is the concentration of my darkness spreading over here, right next to the darkest part of my upper eyelid. This is of course would be the concentration of the shadings spread here. Just as you can see, I just apply the shading very softly and as you can see, I am using very fine and thin hatches and very close to each other. Let's just do a review. If you control your hand pressure better and more, and you create your hatches and shadings thinner, finer, and closer to each other, you can see your shading becoming more soft. Your outcome will be much more softer and smoother. Let's continue in next episode. 7. Completing the shading of the upper part of the eye and starting the lower part: Hello everyone and welcome to the rest of the tutorial with me. Okay, now for continuing, I'm going to start from these areas and I'll start my fading. And I would also do my shadings in the opposite direction because I need soft shades here. And again, I'm going to go in the opposite direction of my previous layer of shades. I might do it several times to get the softness that I want to eliminate the trace of my pen there. Okay, in here I start from the inner corner of the eye and I'll continue my shading in this way. Okay, so here it goes. I'll just continue my shadings until I'm done with all of the upper eyelid. I should increase the darkness over here and drag it upwards. But as I'm moving up, I'm going to fade this darkness so it would be on the lower areas. This is the center of my darkness, the concentration of the darkness. And also over here, these parts don't get much of light. I can also drag more darkness from the center of the darkness on the upper line of the upper eyelid. And I'll bring it toward the center of my eyelid. Just like that, I completely faded. And get the shades to blend in together. I don't want any separations or any borders between my shadings. Here, you see, Okay. Now I would also shade this area as well. And here I go. So little by little, I actually finish the shadings. Now, some of the shades can also be seen as hatches. I try to do them with the small hatches and shades. I try to make them more faded as you can see. Also from here, I'll do the same thing. Okay. So then again, I try to make this area more cohesive. And I'll increase the darkness of this area, just like you can see here. Okay. So in the upper area, I'll do it like this. Then I can see the shade that has been separated over here. I've got to fade it because as I said before, we do not need any separation. Okay. Now, I also want to work on the lower eyelid. We should work on that too. Right, right from this right corner of the eye, the inner corner of the eye, I start my shading and as you can see, I'm doing this shading very faded. My work will actually look very natural. Obviously, you shouldn't rush through your work. As much time as you spend for your work, you'll have a better outcome. This is very natural. As you can see, my hatches are so close to each other. I am doing this shading from several different directions. When you do this in several directions, you're actually creating a softer background color. Then I consider a small space for the gum of the lower eyelid. Then I start again, my shading from the lower part beneath the eye lashes actually. Okay. So again, I am shading in the opposite direction as well. Okay. Now, in this area that I have a border from the lower eyelid and the eyelids, I apply a darkness and I'm going to fade it inside slowly. I shouldn't make any separations. Be careful again. I'll do the same thing on its side as well. You should just control your hand pressure so you can get the shade the way that you want it. Okay. Just like that. And very slowly, you should work on this area which is actually a border between the gum and actually the eyelids gum and the eyelid itself, the lower eyelid. So I'll do, it's fading just like that. Very attractive and beautiful. Then again, I will spend more time for it to perfect it and do my shadings, of course. So just like that, I am shading all over this place, all over this area, In this area, again, I will do some more fading between the gum and the eyelid with moving my pen circular. It can also be effective in the shape that we're going to create. Okay, now again for this area, I should consider almost a light area. And then again from the lower part, I would actually add a very strong darkness and started from there. See just like that. Again, a light area. And then a darker one. Do not forget about the ending part of the eye. I just consider a very general shade for here. And then I'll do the shadings in different directions. I consider a strong darkness for here, almost a strong one. Just as you can see goes over here and there. Okay, so here it goes. As you can see very belly and just like that it's done actually I have spread a darkness in this area degree by degree and step by step, you should definitely control your hand pressure better and more. You should be really careful. You get the extra ping off the tip of your pen. You'll not have a messy work then. Okay. Then I'll increase the darkness of this area very slowly. You shouldn't be really rushing in any parts that they have contrast and darkness and light. Because if you just rush through it, the shading that you worked on, the dark area, is not created very soft or smooth. For getting it soft and making it more natural. You need to apply your shading layer by layer. You shouldn't just do it in one step. Here it goes. In each layer, I try to increase my hand pressure comparing to the previous layer, of course, with almost a very high hand pressure and shadings which are close to each other and they are constant, I'm actually dragging this shade into another direction. Okay, let's continue in next episode then. 8. Completing the shading of the lower part of the eye: Hello again and welcome to the completion part of this tutorial. Okay, In previous, as you watched it, we were increasing the darkness for this area. I'm going to continue the thing that I was doing there. The darkness should be almost close to this other area, right from here. With the circular movement of my pen, I start creating darker shades in this way. Then very slowly with circulary movements, I'll increase the darkness of this area. Here, we've got the corner of the eye, so it should be darker. Okay. Now, just like this as you witnessed, I have increased it. I also shade in the direction of my eye lid as well. It wouldn't actually look separated from other parts of the eye. See just like that easily. Okay. And I'll continue all the way up, but as I move up, I am actually fading. This shading, it should be faded now in the lower area. I've got darker shades in this way, as you can see. Got darker shades here. And I'll continue and it gets like this, and here it goes. Okay. Now, again, I'd like to, on my lower eyelid again, I got the darkness to here. And I'll continue my work now. I'm going to increase the darkness over here a bit more. And it s then slowly as I get to the corner of the eye, I actually fade this darkness in the previous darkness that I've already worked here. See what happened here. All right, here it goes. Okay. Then I want to work on the other part. In this part, in the lower parts of my eye, I can create the shades softer because I've got some pretty rough shades over here. I'm I use my pen in circular movements so I can make it more cohesive and softer. The first layer of shade that you apply is usually rough, but you can soften. I will continue my shading over here, just as you can see. In this way I am creating continuous hatches. And Similar to each other. Again, on the opposite direction of my previous layer. I will work on this area layer by layer. I increase the darkness. As you can see, I did not work on my shadings separated and part by part, they started over here and then little by little they got faded. If you worked on them separately, for example, if I continued up to here and then cut it here and then work on the next part, it would be really hard for me to match the colors of different sides of my eye together. It would be really hard to do that. I always say that none of your work parts, you shouldn't actually create separated shades or separated areas. You should just continue shading in all the parts. You cannot work on different parts of one face part or one thing separately, unless they look like the darker area or the darkest area of the upper eyelid, which is actually a line above it. Other than that, it's better that you would work on it very fadedly. Then layer by layer, I increase the darkness for here. All right, here you can clearly see it. I'll continue and I increase the darkness for here. Okay, now I'll take this work until the ending part of my eye, but the focus of the darkness is actually from the outer corner to the middle. In this area, I have darker shades. Little by little, I'm actually fading this darkness into the lighter area. Okay, here it is. I'll continue like that. Just as you can see, very slowly, I come to the other side and the other part of here and I'll do my S. Okay. Now, exactly what I did on the right side of my work. I'll do it over here as well. You see I have wrinkles for this lower part of the lower eye lid. I'll work on them as well in this way. Now, if you just create lines and you do not actually fade your lines in any direction, your work would look like two dimensional. But if you actually fade your lines in different directions, your work will not two dimensional anymore. In this way, you can clearly see that. And here it goes. Okay. Now, as you can see, I'm creating kind of semicircles over here to create the skin texture, the wrinkle or the. Spots that you can see near the corner of the eye can be created like this. Then again, from here, I create some light shades. Very generally, without any specific point. You should just control your hand pressure perfectly because I need very light shades. Then I'll do it in the opposite direction of my previous layer. I'll start shading again in the opposite direction. This would be another layer, of course, again in the opposite direction. Okay, here it goes. And then I apply my shadings on the corner of the eye, and I faded the light that I have over here, the light and the whiteness of the paper itself. I'll continue, I'll go over it in the opposite direction. Once going like this, therefore I can do my shadings and fadings in the next layers. See, okay. Now I'm also going to drag this darkness upwards this way very slowly. Without any, I'll just wards. The thing that I'm doing is exactly like the corner of the eye. If you see some part dark right from the beginning, we do not work on it. We do it slowly layer by layer. From the lighter shades toward the darker shades. We should create our darkness layer by layer. Not all of a sudden. Okay. Then again, I start creating these light shades with a controlled tan pressure for this area. Okay? See how it's done now, if I increase my hand pressure a little and I also go in all different directions, I would have a better outcome now for watching the rest of the trial be with me in next episode. 9. Shading around the eyes: Hello again, and welcome to the next part of this tutorial with me. Okay, in the previous part we were actually shading the lower eyelid. We're going to continue with that. Now I'm just going to shade this area in opposite direction, just like the previous layers in other parts that we've worked together. I also add some more darkness to this area. Here it goes. And just as beautiful as this. Okay. Now with a controlled hand pressure, I try to shade from these parts toward outside. I'm actually going to the negative space of my sketch and I'll just throw them off. See, just letting the lines go at the end of them. And here we go very easily. Then I come to the lower area and I'll continue the same thing again, just as it is in the darker parts. Of course, I increase my hand pressure in the lighter areas. I decrease it as usual. It's necessary for you to control your hand pressure. Now from here, I'm going to create a stronger darkness like this one, which is actually the beginning of the curve and the depth that existing on the lower eyelid, it's showing where it went in. Okay. You see our beautiful eye is coming all together. All right. Then I'll come up to this bottom area. Here I go. I'll continue just as this now I should increase the darkness over here, making this area darker. Also, from this upper area, I'll do the same. And I'll bring the shades down and fade them through the rest of the colors. Then I'll shade in the opposite direction, so I can have softer shades. I erase the trace of my pen. So don't forget that in any part that you're working on, you should create your shades, and especially your darkness layer by layer. Okay. Now, as I told you, I should also drag some more shades from my eye to the negative space around my work. Okay. Now I drag the shades of this area higher like this one. And I'll move forward. I'll do the same thing for the lower part of the lower eyelid. Okay. I know it doesn't take too long if you want to do it very quickly, but as I told you, it's better to take your time with it as much as you spend time on it. Definitely, you'll have better outcome just like me adding this darkness layer by layer, especially on this area on the lower eyelid. Don't forget about the wrinkles and how you can create them with shading and the contrast. So with creating shades like this, I'll create the wrinkles below the eye like layer and layer. Here it is. Okay. Now, from this area behind the upper eyelid, I should take out some darkness. You see from this deep area, I should bring the darkness a little toward, outside of my work, I should spread the darkness that I have here in this depth on the upper eyelid, on the top of the upper eyelid, which is concentration of darkness. Bring the darkness and spread it upwards a little, just as you can see. Be careful, control your hand pressure when you're hatching and shading this area, you should actually let go the end of your line. It just looks like this. It would be freed at the end. And in the beginning, this is how we spread this darkness above the upper eyelid. See? So I spread the darkness and I'll fade it toward the negative space of my work. This darkness wouldn't just be there, it would be faded. And it would look more natural of just like the shades on your skin. Okay. Now I'm going to work on these upper parts of lid. Again, I'm doing these parts darker and I'm moving toward the lighter areas. See I have a high hand pressure. As I move higher and more toward outside, I decrease my hand pressure. I have it high first and then I'll decrease it as I move forward. You can create all of these shadings very easily. Just, it has one condition, control your hand pressure. That's the key rule in pent technique, as I've said so many times before. Okay, then I'll go in the opposite direction, just as easy as that. I've made it. I want to do the same thing for this side as well. I'll just continue that from the upper eyelid. I'll go and create this area again. I'm going to shade in the opposite direction of my previous layer of hatches and shades. It's going to get easier for you as you do it. Several times I'll do it, I'll continue it all the way up to here. We're almost finishing the eye area, okay? Now, from the side of the eye lid, I'll do the same thing. I'll start shading. And then a little bit higher, I'll go in the opposite direction. And I'm doing this with my hatching, and I'll fade it. Okay, Here it goes. As you can clearly see that when I placed my darkness over here, I'll do some fading for this area as well. I'm just going to fade it. Fading this area, it's really easy job to do. Okay? Now, in the background of my work, or basically the negative space of my work, I'm going to fade all of these shadings. It actually looks like the eye is coming out of the paper. If you do the fading correctly, it will give you this feeling that the eye is coming out of the paper. Then you can say you've created a professional sketch. Okay. Some hatches after one another. Then I'm going to actually apply some whites spots, which doesn't match the color of the rest of my work. I'm just going to work on them like this. I fix it. Now I consider some wrinkles for this part of the eye as you can see, and I'll create some shading. Let's complete our beautiful eye in the next episode. 10. Drawing eyelid and final shading: Hello again, and welcome to the rest of this piosophul sketch. Okay, let's do it together. As you can see, I was working on this darkness in this step, the wrinkles around the eye. And I'm working on it with moving my pen back and forth and create hatches and shades for my upper eyelid. All right. Then with a bit of distance, with a bit of space, again, I start from the upper area and I'll add another wrinkle. I'll move on. Do the same thing over here. Another wrinkle below some of these lines that I have in my work. I'm going to shave. Therefore, I can create a contrast and I can show the skin texture in my work with creating some depth by adding this darkness next to the light areas. Okay, you see, okay. Now we should apply the finishing darkness in our work. The ones that are actually making my work complete. Even right now, if you look at it, it's like it's looking back at you and it's like it's coming out of the paper. We've achieved what we wanted it really nicely done. I'm sure yours is as good as this one. As you can see, I'm going in the opposite direction continuously and constantly to fade this whole area. And simultaneously, I pay attention to the fact that the darkness over here in this area should be increased. I'm fading it into here, but still should be increased and faded. I should also work on the shavings on here, the bottom part of the lower eyelid. And I'll fade them more. So from here I create some shades to create the texture of my eyes. Skin. Okay. Now, in this step, I want to work on the eyelashes now. But before I tell you how you would work on that, make sure that you fade all of these shadings toward the negative space of your work or the whiteness of your work. Therefore, my eyelashes would show themselves better, just as easy as that. Now I'm going to use my upper eyelid for creating the eyelashes. And I'm going to start with the corner of the eye. Be careful my eyelash doesn't come out of here. The eyelash comes out of the eyelids gum. Meaning here I drag and I let it go. The next one will actually come underneath the previous one. Just like that, I create several eyelashes in the same area. As you can see, I'm letting go at the end of the lines. Also randomly, they are not really in a specific order. I'm just placing the eye lashes in their on placement as the shape. And as much as I can see in my model, see here it goes again From here. My lines should be sharp on both ends. It means that both the beginning and the end of my line a sharp. I let go of my line at both ends while I'm creating it. You see the beginning and the end. Both are sharp. That's it. All right, I'll create this one too. And as I move toward the inner corner of my eye, my eyelashes get thinner and smaller. I should also consider a shade for over here, for this gum of my upper eyelid. Basically, the placement where our eyelashes actually have grown. It actually gives my eyelashes a volume two from here. As you can see, my eyelashes are basically laid down. Here it goes. Here I go. Now for some parts of the eyelashes that I've worked on, I try to make them see. I would even fan. I would create more of them. In between them, I feel between them the areas that have left, especially in this area. Okay, now we've got to increase the darkness of here a bit more. My eye would get more volume. We can also work on this outer corner of the eye as well as that part, just the way you can see. Then I would actually place the darkness in the corner of the eye so I can show there is more concentration of the eyelashes in that area. Now I want to work on the lower eyelid and work on the lower eyelashes. I'm just going to repeat the same process that I have done for my upper eyelid. Again, I start from the outer corner of the eye with creating lines which are sharp on both ends. I create my eyelashes. The process is totally the same. There's just a small difference that the lower eyelashes are obviously a bit shorter and smaller comparing to the upper ones. Okay, you can also, and I think you should also create eyelashes on another paper before you do it on your actual work. It's better if you can add it like this, You've practiced it before. And then you can work on your actual sketch. You can clearly see what's happening here. In the same process is in action. Here it goes just as pretty as this. You see when we work on the eyelashes, it's like the eye is showing itself right now. How much better it would be if you have enough practice for creating the eyelashes. If you have enough practice, you can create these eyelashes much more beautifully. Okay. The same way that I had some shade for the upper eyelids gum. I'll do the same thing for the lower eyelid, in the part that the eyelashes are growing. I just got to give this place a shade. Therefore, I can give it more natural look. It would look more realistic. Then again, right from here, I take some darkness into my work. Or better say I'll bring it, okay. Okay. So you can clearly see it's fading into the paper. I just have to add some more darkness from here and I can move on forward. And of course, some more wrinkles for the lower parts of the eye. Up to here, the sketch of my eye with the pen is finished. I hope you've enjoyed this beautiful sketch. And let's do the rest of them in the next part. 11. Drawing the ear with the hatching method: Hello again to all of my dear friends, and welcome to a new part of this new sketch with me. Okay, in this part, I want to tell you how you can create shadings with big hatches exactly in the contrast of our previous sketches. This time in this sketch, we want to work with big hatches and big shadings. But I should tell you this before, that the sketchings that are created by big hatches do not look real at all. They don't look real. They don't look too natural. It's J for sketching and for doing it fast. For creating a sketch really fast. And actually the sketching style of creating your drawing. First, I will determine the darkest areas of my work. This is an ear that I'm going to create now based on the darkness that I can see. I'll start shading in this way. Now as you can see, I'll do the same thing from this side, from this area as well. If you pay attention. In the concentration of white darkness, I create this hatchings and shadings darker. As I move toward the center, the shadings would be lighter. But in all of these parts, my hatches are big. As you can clearly see, I'm not going soft anymore. It's a bit rough, but still I'm going to shade in different direction as well. I can cover all this area, then I can move to the next parts. Just like that, I shade very easily and I just be careful that which part has darker shades, in which parts I should have lighter shades. This is the only thing that is important here. For example, in here, my hatches and my shading should be darker again. As I move toward the center, it would get lighter. So I'll continue. Okay, Then I'll do a general shading for here, like giving it a background color. Once I'm going to go in the opposite direction, then again I'll come to create darker shades in order to create more volume for my work. For example, in this area, I she and I come to the lighter areas from the top. Again, I shaded, I come to the lighter areas. Basically, I am shading from the darker areas towards the lighter areas, all directions and from all sides. Also from here, as you can see, they are very sharp and big hatches and shadings that I'm placing over here. Just by creating continuous and constant shadings and hatches right after one another, I'm getting this shape. I'm getting the volume of my work based on the shape that I have in my model. Just by following the directions and creating these shades next to each other, I can get it. I can get the volume correctly. Okay. I'll continue my hatching and shading. I get the parts which are absolute darkness to their absolute darkness, I try to keep the central area as light as I have in my reference. It means that even on the light areas, you shouldn't just do one layer of hatching and shaving and that's it. You should get its color to what you see in your reference, in your model. You might use different layers of hatching again. Okay. It's also the same in here. See, all right, I'm just creating very beautiful hatches to guess, An overall shade here. I work on these hatches upwards and I let them go at the end so I can show it's faded as well. Now for these lower areas, I also try to create the hatches. Here they go. Actually, it's not really a hard thing to do. You just have to pay attention to your reference at all times because first, the amount of darkness is important and second, the direction of your shading are very important. Due to creating the volume of whatever your sketching, I just drag this darkness toward inside of the ear. Also over here and also here K. Then I'll also create the darkness in these parts of the ear. You see my dear friends, how easy this way and this method is if you want to get very strong in pen technique, in sketching with pen technique is practice this method, the actual sketching method with pen, your hatchings would be stronger, your shadings would be better. You can better choose that in what places you should create darker shades. Lighter shades, where you place the hatches next to each other or far away from each other. Darken them, lighten them, and so on, and also the direction of your hatches. All of these can make you better at pen technique. And one of the ways to practice that is actually this sketching method that you shouldn't just go pass by it very easily. Here we go also. From here I'll create some more hatches, apply them in this way. See over here I have a prominent part on the ear. It's actually the middle part. I try to keep its shape. I would have lighter shades over here to show that this area is prominent, but I'm going to darken its surroundings and shaped. I would also I'm sorry, I didn't understand one of the earrings, so I shaded over it, but I'll try to fix it lighter now, again, from the sides. From the edges. I'll try to create the shadings with my hatches. It's not really hard. Again, I say there are just some details you have to pay attention to. The rest is just very easy and fast. As I told you, this is fast way to create a sketch with pen. And I would also fade the darkness over here on the ear lobe. And here it goes. All right, then here it goes. Now I come over here. The lower part of the ear loop per say the bottom part of the ear loop. Again, I start shading upwards in different directions so I can get the directions correctly. I'll finish this part of the ear very easily. Just as you witnessed. I'll come for this upper part of the ear because we shouldn't forget about this area as well. From here, from behind the ear toward outside, I'll start my just like that. From the darkest parts toward the lighter areas. So I can clearly separate the ear from my background. Okay, here we go. Just like that. From below the ear, I create the same darkness. Again, I say to separate my ear from its background to show that there is a difference. Like this one, I would also shade in the opposite direction. I create my hatchings there, just as you can see, and I'll continue my work. So basically, I have separated my ear from the negative space of my work, from the background, just by simple big hatches. Sir, this is a sketching with pent technic that as I move towards this side, as you can see I am lightening the sketches just a little, not too much. Okay, now let's work on the ear itself. The main part of our work. Of course, I am shading on the darker areas. Again, I'll also work on the shadings inside of the ear. Let's continue in next episode. 12. Completing the ear drawing: Well, hello again, and welcome to the rest of this beautiful sketch. Okay, now we are going to do the rest of the shading together by hatching. Of course, just like that, I'm working on my hatches, creating them big and very visible. As you can see, I'm going in all directions. And from the side and the edges, I go darker. And I bring it a little toward the center of my ear, just like that. And I'll do the same thing for over here, for the top part of the ear. Okay. So basically I'm going to create a general shade for the ear in this way, and here it goes. Just be careful that the center of this area should stay light. I'm going to guide my hatches from the edges toward the center and the middle of my work. And also I'll do the same thing in this area and the top part. And also from the outer part of the ear, we've got a dark edge there too. All right? Again, I try to bring some soft shades over here in order to show my hatches are more organized and they are not just too random. Just to make them neater, see how beautiful you can get the volume of your work. Even with hatching, it's just important that you know how you should use these hatches, in what parts. I'm also going to consider a very general shade for this area, even like this. From here, here it goes. Okay. So I come over here and based on the darkness that I have in my reference, I will work on it in this way. I can also get the shape that I want and get the volume that I want for my work. Just like that, It's going to be done. I'll come all the way down here. Then again, I leave a light area here. I'll do the hatching and the shading. That's all you see. Now, in hatching, you don't have any strict framework or you don't have hard rules. It's just by creating some lines as much as you know where you should increase your darkness and where you should decrease the darkness, you can actually do the pen sketching. Some of our famous artists work like this in general. Not only this but also they actually work on the face, a complete face. With this method, it's a very enjoyable. A way for all kinds of people, even for a person who doesn't have any background in working with pen. It can also be fascinating for that person. Okay, here it is, and here it goes. Now let's work on creating the shine on the earrings themselves. As you can see, I actually want to shade one side of the earring toward outside and inside of it. I'm going to create some of these lines here. I also consider a very mellow shade for it. Also for this earring, I'll do the same thing. I create a smooth and light shade in this shape. Basically, that's it. Then for this other earring, I'll do the same. Okay, then I would do some more detailing for my job. After that, I can finish this sketch beautifully. I'll increase the darkness of here a little. I want to show the depth of the ear and I want to fade it inside of that. Also, the darkness for here, which is basically the ears hole. I'll increase the darkness for there too, just like that. Okay. I'm going to bring some of this darkness in this area. On this side. I would also work on the shadings in this area and combine it and fade it and all of that. Then I would also like to work on the darkness for this area. I'll get it out of its totally white shape. I would also create the darkness for this area and I'll bring it up to here until it goes in this way. We're almost done here. I would also like to go over the hatches and the shades that I've created for my background just to give them some touch up details, making them look better, create some lines like this in my work that it would actually show the line creation and the hatches in my work better and more. I should emphasize on the darkness of this area because it's very deep. And I try to fade it and blend it into other colors as well as you can see. Okay, here we go. Very easily, go around these circles. Okay, that's it. You can also create another one over here, darker because I've already shaded over it. I created a dark earring instead of the one that I shaded over. You can eliminate it completely. Or you can do it based on model, or you can do it as I did. Then you should fade the darkness over here toward outside. Okay. Then I should create some curved lines over here so I can also determine the direction of my work. It's very important. Just as beautiful as this. You've got it. Okay. I'll just repeat it again. You should actually practice this method of pen technique over and over again. It can help your hand to be more synchronized with your mind and you can create your hatches and shading better. If you get very skillful in this technique, You can be very successful in real and hyperreal techniques in with pen as well. This is actually the most basic way you can practice your pen technique. This is what's all sketching is about. The lines that I'm creating are actually meeting the work with the background. I hope you've enjoyed this tutorial as much as the others. See you in the next ones. 13. Primary sketching of the lips: Hello to all of my dear friends. Welcome to a new chapter of Sketching with Pen With Me. In this chapter, we are going to work on another part of the face, which is the mouth, or basically the lips, that we are going to sketch this beautiful model with our pen, just like the previous ones. For getting my primary sketch, I darken the back of my model. Then I place my model on my paper where I want primary sketch to be. Then I start going over my main lines and even some small details with my pencil. In this case, I can easily get my primary sketch very fast. I'm just placing the lines that I need. Here they go. I would also work on the teeth as well. I'll just check it once I can see my sketch is transferred or not. As you can see, when you check, you figure out which parts you've forgotten all over these parts and we're done. This is a primary sketch of my mouth. Now in the next step, we are going to shade this beautiful mouth to lips and a bit of tooth. 14. Start shading the lips and create the texture of the upper lip: Hello, welcome to the first episode of the Sutorial. Okay, in this part, in this episode, in this chapter first I'm going to determine the darkness and the textures of the lip itself. Then after that, I can work on my main shades. Just like that, I try to apply the darkness on this corner. So I'll continue from here, or better say, I'll start from here to apply my darkness and start my shading slowly from different directions. I apply my darkness. Okay, here it is. You see I am fading. My darkness, surroundings, and edges completely. Also, on this side, I create the darkness exactly as I can see it in my model and in my reference. Okay, here it goes. I apply the dark shades and the darkness over here all the way till I get to the other side. And also on the bottom, here it is. Now I'm going to start shading from inside of the lips, toward the teeth. There is a darkness like that. Also from here I've got a darkness like this one, a very dark place. Now, first I'm going to work on the textures that I have on the lip. By that I mean the upper lip, I start from the bottom of the lip. I try so hard to create these textures as similar as my reference in their own placement, but they are created randomly. Totally randomly. There it is. On the bottom parts of the textures, I go darker. As I move up toward the top of my upper lip, they'll be lighter basically, I'm working on the upper lip, on some parts it's darker on the bottom of it, it's darker. As I move up, the textures get lighter Also, I let go of the more. Okay, so just like that, as you can see on the top of my upper lip, the textures and the lines are very light and faded. Okay, I'll do the same thing over here, creating all of these ful textures. They are so easy to create, you just have to pay attention to two things. First of all, they should be created as randomly. They shouldn't be too organized, or they wouldn't look real natural or good. You can try to put them in the place that you see in the model, but if they don't come around exact same place, that's okay. The second thing you should pay attention to, as I told you, is that on the bottom of these textures, on the bottom of these lines, you should shade darker, and as you move up, make them lighter. I want to do the same thing on the other side of my lip from the other corner. Of course as you can see the other, this other corner is dark. But I'm still going to place these textures in their own placement and I'll try to fade them because this area is a complete darkness in my work. Due to that, I work on these parts. Darkness more and more again, As I get to the top of the work, I'll lighten my shades. Here it is. In this way, okay. Now I should also work on the central part and the middle part of the lip, and then again, I work on my lips. Textures in this area very easily based on what I see in my reference. Most of it is based on that. Again, I say if you don't get these textures in the exact same place as you can see in your model, impossible, don't worry about it. They are more random than organized. Okay, now in the next step, the thing that I should do is that very cohesively, I should start shading my work. Meaning from the center part of the lip, it means the inner part of the upper lip. Let's start with shading, especially dark on that area, On the center, right above the teeth. But as I move toward outside, decrease this darkness. Then I framework the lip. I determine the area around the lip. Now, just like that, I move on to do the rest of the shading. I'll continue my work very easily. Very easily. It's just a matter of you to take your time. Okay? Over here I should bring more darkness into my work. Just as you can see here, I'll have more darkness in my work, in this prominent part of the lip. I'll just repeat the same thing here as you can see. Because this contrast that I'm creating over here is basically showing you the volume of the lip. I've got to go darker on the edges and wider on the center to show the prominence. Okay, now in the shape of these textures, I bring darkness into the work. And from the darker areas I go up toward the light. I try to apply my darkness on the textures that I have already placed here. Just as beautiful as that it's done. Okay, now from these sides, I should apply more darkness into the work. In this way. See, I will spread this darkness all around my lip. And then I'll fade it as well. I'll spread it and I'll fade it. Then I bring a very soft and smooth shade for the surroundings of my lip. Like this. As we did in our previous sketches, it's just for getting the lip separated from its background. Then I need more darkness over here from above the teeth. That will be actually the inner part of the upper lip. I'll create it and I'll try to fade it outwards and lighten it at the same time. Here it goes. Then I would also apply some more strong darkness for here in order to show some wrinkles on the lip. That they have even more depth part of the texture. But are some cuts. Okay. I'll try to keep these textures that I've created here. I don't want to lose them in all of this shading stuff. You know, as I told you, I even emphasize on some of them, like when your lips go dry and they create wrinkles, as I told you, I even create a very general shade around the lip to make it pop out. Now, also for the other side of the lip, I'll do the exact same thing from the bottom. I move toward, up with hatching. I'll try to create a very strong darkness and fade it. This side, as always said, is darker. So that's what I need to do now. I'll try to keep the hatches that I create close to each other. As I move my hand, I can actually get softer and smoother shades if your hatches are right next to each other and very close to each other. Okay? Now, from this part of the lip, I would bring more darkness into the work. And then little by little, I fade this darkness in this area. Okay? Now, just as always, I should bring the darkness from this part of the lip upwards. But again, I tell you that you should work on the darkness, on these shapes based on what things that you wanted to create, based on the textures that you have already created. K. Be very careful about the placement of the darkness and light in your reference or model because the volume and the direction of your work is determined by them. You shade it all light or all dark. You don't get to see this be useful volume in your work. I'll just make the shadings over here more cohesive. Basically, I go over them. These shades will just be a bit more darker even on the textures that I've already had created. For the lip, I should emphasize on them and go darker on the. Okay, Then I'll try to darken the shadings of this area, making them a little bit more cohesive comparing to the parts surrounding it, but it's still lighter than the other parts. Step by step is shape this beal. Then I also create some more textures like creating tree branches and sticks. That's so easy, you just have to pay attention to the way that you're going to create your texture and the way you shade it. So we're going to continue in next episode. 15. Creating the lower lip texture: Hello again to all of my dear friends, and welcome to the last part of this tutorial with me. Okay, so we're going to work on the rest of this beautiful sketch. Well, I'm going to increase the darkness in these parts again, and then I place some darkness as the shape of textures. I would also actually keep some lights so I can create a contrast as well. This area has a very strong darkness. I increase my hand pressure, therefore I can get a very strong darkness here. Then I come more to the middle. Again, I work on some dark shades. Actually, I'm dragging the textures upwards and I move up. I create my textures lighter and smaller. They should be thinner, finer, and smaller, and also a bit lighter. Okay, now for the lips, we also need some horizontal textures. I'm going to create them like this, Therefore, I can show the skin on the lip better. I would also have to create a strong darkness over here. This area in the center of the upper lip, I would have a lighter part. By darkening both sides of it, I can show it's more prominent. You see here it goes. Just like that. We had our work. Now, I want to work on the teeth here. First of all, I should determine the line for the lower lip and then the line between the teeth. Here, I create dark areas of the teeth, the parts of which there's a space between them. And I can see inside of the mouth. Then from the corner, from the darkest areas, I create a very faded and light shade toward the left side. You see again, I have a stronger darkness here. Then as I move to the center of the tooth, I lighten my shades also from the lower part. But as you can see, I want the whole shaving to be more cohesive. Therefore, I go over it once then again, I would increase the darkness for this area, even here. Okay. Now I'll do the same thing. I'll follow the same process for this other tooth as well. One very general shading, I faded from this lower area. Then in this part between the two teeth, I'll do the same thing. I'll darken this area completely between the two teeth. Again, I say, okay. I fade this area like that, I create the darkness toward the teeth. Okay? Then I come to the lower parts of my tooth. I work on this area as well. Okay. Now we can start on creating the lower lip exactly as I did for the upper lip. I'll do the thing like the text string and the shading on the lower lip as well. As you can see, first I've frame, worked my lower lip. I know the concentration of my darkness is over here. That is also spread it downward. In this step, I'll just place it like that very strong darkness, which is spread it a little bit downward. And then I'll start creating the textures on my lower lip the way I see them in my reference here. You see I also create some more textures from the darkness I have on the bottom of the lip, the bottom of the lower lip. Just to clarify, I would also consider some textures over here. You should pay a lot of attention to the direction of the textures. Your textures should be in the direction of your lips curve. It's important that you do not just create straight lines for these textures because these are the things that can create your volume and you should put them in the correct and the right direction. It's very important be very careful about them. They can give your work a whole new look or ruin it completely. Okay? As you can see, I'm creating different kinds of textures for the. I even consider some of them for the center of the lip. Here, you can see easily I've worked on the lips textures and I've placed them in their own positions. Okay. Now from the slower part of the lip. Again, based on my direction I come and I'll continue my texturizing. Here it goes. 16. Shading the lower lip and completing the design: Okay, now, exactly like what I've done in the upper area, I'm going to start creating the shadings here for my lower lip basically. I'm going to start from the bottom of my lower lip with a controlled hand pressure. I'm doing my shading here, I am creating those beautiful shades. I also do it from this side with a high amount of darkness. Okay, here it goes. And it will be like this. Obviously, don't forget that you should go in different directions. I come all the way up. Just be careful that this prominent part of the should be definitely light. When I get my darkness to this area, I'll decrease the amount and the strength of the darkness. Just getting my light and getting actually my shades lighter. Okay. So here it goes. And then again, I also shade in the opposite direction. It's actually coming to life even from now. We just have to work harder on it a bit. Okay. Then I'll make my shadings more cohesive. Okay. And then I increase the darkness of this area. With creating textures like this over here, I'll do the same thing. I should pay attention to the deep textures on the corner of the lip. You shouldn't just forget about them. Okay, here it goes. I've texturized it, I shade it dark over here. I should also fade this darkness to outside of the lip as well. See. So it's the same way. Okay. Now I also want to do it in the opposite direction to have a more cohesive shade. Of course, just as you can see here, I would also fade this darkness toward my background completely, should be totally faded again. If you do that, it's going to look like the lips and mouth is coming out of the paper. Like what we did for the eye part. For the eye chapter, I've got to place some strong darkness here of fading it. And I would also take some of this darkness upwards as well. Just drag a bit of it up so I can get a darker shade on the bottom of my lower lip. Okay, here it goes. Okay. I would also want to work on the darkness on the corner of the lip. I'll try to fade it toward the outside as well. With a soft and smooth hatches and shades. I'll fade them toward outside. It's very soft and smooth shades and hatches. It's an easy thing to do if you're paying enough attention to it. Just as beautiful as this, we are actually getting our work to come together and create a perfect outcome. Again, as always, I insist on the fact that if you spend more time on it, you're definitely going to get a better outcome. Don't be afraid of that and don't rush through it. I should also increase the darkness in this area, both on the outside and inside, Doing the same thing for both sides. Okay? As you can see, I've got the volume of my lips perfectly and completely. I should also apply some more darkness from this area to my lip, below the teeth. As I told you, I'm keeping the middle part lighter to show that this area is more prominent. I give it a color, but it's very light. Then I want to go over the shape of this textures. I'm going over my textures once more to give them a better shading because some of them might get just lighter or even a bit faded while you're working on the other areas for the touch ups, you should go over them again and emphasize on the lines of your textures to show how deep they are, to show how they really are and so on. All right, then, here we go. Okay, I'm getting this shades in order. Then from the side area, I increase this darkness a bit more. Again, I want to add some more darkness to this corner, left corner. I would also like to consider some very small textures for this area. They are not too big and not too dark. Some small, fine textures, they are little, but in general shape, they give my work a good touch. Also, I'll do more darkening on the lower part of my lower lip. Basically forever else. I think it's need more darkening. I'll apply it either it's on the lower part, the upper part on the textures themselves or even in the background like here. Okay, I'll just work on the background a bit more, giving it more effort, it'll look better, might think like that. But actually working on the background is very important too. Because if you get that right, as I told you before, you can show your in your mouth or whatever you're creating is coming out of the paper makes your work more volumiz, more three D. I should also apply a bit of darkness over here in the center of my lip, Above the upper lip, this curve on the upper lip to show its volume better. So here we go, getting all these shades all over this place. Okay, Now in next step, I'm going to use my white pen and I'm going to create some light spots. White lights actually, wherever I can see them, very strongly and very sharp. You see I am creating some white, or better say, lighter spots, some of them here. Some light in this area. But again, I emphasize on the fact that your lights that are created with your white pen should be really sharp, even in this light, or whiter areas on your upper lip. Got to do the same thing. Use your white pen. Okay, we are almost done with this whole sketch. You can see how attractive it got. Okay, this tutorial is also over. I hope you've enjoyed it as much as I enjoyed it doing it. I hope you can follow us in the next chapter. See you later.