Portrait Drawing for Beginners: Learn to Draw Eyes, Nose and Mouth

1. Welcome to portrait drawing: Welcome to this course on drawing the facial features. In this course, we focus on the most important parts of the face, the eyes, the nose, the ears, the mouth, the hair. You will learn how to simplify each feature, understand its structure, and draw it step by step. This is where most mistakes happen. And once you understand these elements, everything becomes much clearer. The goal is not just to copy, but to understand how to build each feature with accuracy and volume. If you want a simple and structured way to improve your portraits, this course will guide you step by step. 2. How to draw a nose – three-quarter view: Now let's work on the nose, and we are going to work on four types of nose, a front view face, a side view face, a free quarter view face, and a crooked nose because that's a small variation that we often see when drawing portraits. And so I thought it would be quite important to see how to deal with this kind of nose. Like the other facial features that we'll be drawing during this course, I won't be sharing with you the reference photo in the video, and it's not something that I forgot. It is a deliberate choice, and I'm going to explain to you why. The nose, unlike the eyes, the mouth or the ears, for example, is not defined by a clear outline. It is a free dimensional construction that is built through light and shadow. And so drawing it without relying on a photograph really is going to help you to understand better its construction, its structure, and its form and how the light and shadow works on the nose on this feature to be able to create some value. And this is actually one of the reasons many beginner artists struggle with the nose. It is less defined and more subtle than the other parts because there are no outlines to draw it. And by focusing on how the nose is built, you will learn how to draw it from different angles, which is very helpful when drawing a portrait. So let's see how to do that. Before we start drawing the three quarter view nose, I suggest we first analyze how we could break down the structure of this nose using the nose of this beautiful woman as an example. If we look closely at the nose, we can see that the lower part could be represented by a sort of trapezoid forming the base of the nose. Moving upward, the central ridge of the nose could be visualized as a kind of rectangular shape. On the side, we could also use another rectangle, slightly trapezoid tilted to the side. I think that could work for the nose as well. Additionally, we could use some circles. Circles could help us define other parts of the nose. For instance, we could place a circle at the center, which I will call the nose ball, giving the nose a rounded effect in this area. And finally, for the nostriils, circles could also serve as a starting point. Of course, these are only basic shapes, but they allow us to quickly and easily establish the nose structure before refining it according to the person we are drawing. However, for a standard nose as we are about to draw now, this method works well and serves as an excellent guide for practicing nose drawing. So with these basic shapes, we can easily construct the nose. As I mentioned, they serve as a great guide. However, now we are going to take a closer look at the different shades and contours with precision. What stands out the most is the absence of defined contours. To create volume, there aren't any strong lines, hard edges. Instead, all the elements blend into one another. If we look closely, the only visible lines appear around the nostrils, especially on the right nostril and slightly on the left one, as well in the um inner contours of the nostril. Other than that, there aren't any clearly marked outlines shaping the nose. This is a crucial aspect when trying to render volume realistically. Instead of relying on harsh lines, the gradual transition of shadows and highlights defines the nose shapes and structure. Understanding this principle will allow us to create a nose that appears more natural and three dimensional. Now let's move on to the next step and have a look at the shading of the nose. Now let's analyze the shading of this nose, which is essential for creating volume. One key observation is the presence of a very pronounced highlight in the central area. It forms a long rectangular band. Of course, this highlight won't be perfectly straight. We'll need to refine its irregularities, but it remains clearly visible. To the right of the highlight, we find the lightest area as the light source come from the right. These regions are extremely bright and close in value to the highlight. And as we move further to the left and slightly downward, the tones gradually become more intermediate and slightly darker. The left side of the nose continues this transition getting progressively darker. The shadow under the left nostril is among the darkest area, along with a darker band on the left side of the shading, though it's not as dark as the left nostril. And this contrast is essential for defining the depth structure of the nose. There are many elements to consider, but these details, well, these elements of light and shadow will be crucial in creating a realistic and three dimensional nose. It's a lot of analysis and information, but I think that will help tremendously in making the drawing more accurate and lifelike. So now let's put this into practice and draw a standard free quarter view nose. Oh, there's one last element, one crucial element I almost forgot to mention. An important detail because it's one of the most common mistakes in many drawing. So I zoomed in even more because these mistakes happens in the nostrials. A lot of artists tend to shade the entire nostrial area with an extremely dark tone using something like 14 B or 12 B and pressing very hard. However, when we closely observe these woman's nostril, we notice that while the left nostril has a dark area, the overall shading of the inside of the nostril is not completely black. Yes, the nostrils are pretty dark, the inside, but they are not solid black. There are still variation in tone. So a key mistake to avoid is over darkening the entire inside of the nostril with excessive pressure. So that's another important thing to keep in mind. Now, I believe I've covered everything and we can begin drawing. So let's see how to draw our nose in a free quarter view using simple shapes. We are going to create a slightly imaginary nose, just a regular nose with its basic forms. We could start with a kind of parallelograms on the upper part, essentially a tilted rectangle and a trapezoid on the lower part, along with another tilted rectangle on the side. And we can see that just with these elements, we can achieve something three dimensional, even though we are still far from our final result. In the middle, we could represent a circle that will help shape the rounded part of the nose. Now I have switched to my HB pencil and I'm going to refine my lines to get closer to the final shape. Here we have this line that generally starts from the forehead and is fairly straight depending on the nose. And this is the element we are going to draw at the curved part, which will also help define the nose shape. The larger we make it, the flatter the nose will appear. And the more finely we refine it, the shorter the nose may seem. So we can play around with that. Similarly, for the nostril, I can adjust their shape, but first I can construct them with a simple geometric form, in this case, a small circle. Then using this base circle, I can refine the nostril and give it a more precise shape, likely making it slightly less rounded. The nostril will then connect with the part of the nose. And so I can draw the second nostril, though in this case, I later realized that the placement was off, it was position too low, so I can modify it afterwards, which isn't a problem at all. Then the nostril opening creates this boundary area. So now I'm going to erase my initial lines to refine the drawing. And so I noticed that the right nostril wasn't right, so I reposition it. But overall, this gives us a perfectly decent nose shape. To enhance its volume even further, we will need to shape these elements. And finally, we will also have the nose ridge well defined through shading. We could imagine a line just right there, some sort of line. But this line doesn't actually exist this separation. It's the shading that we will apply that will clearly define the separation between these areas. Let's shade the nose and start with the light areas. In general, I like to work from light to dark when it comes to the light areas of the we have the side portion, which helps define the volume. Of course, this depends on the direction of the light, but for a standard nose, we can imagine roughly frontal light source. This means one side will be slightly darker. So I gently shade it with an HB pencil and along the edge of the nose as well. There will be a subtle shadow to create depth. Finally, in the center, we will have the eyelight running along the nose ridge, which I can shade with a two H pencil to keep it very soft, but I don't want to have something the lightest elements, I can add them with my eraser pen. Now I am going to blend these elements because it allows me to create a smooth surface, which will help refining the shading and adding skin texture details. I use a blending stump for this to stay precise. A brush or tissue can also work, but I prefer to use those those for covering larger area. So here I am using my blending stump in circular motions to distribute the graphite as evenly as possible and avoid any visible streaks. This is looking pretty good so far. We can still make out a slightly lighter area in the center. It's pretty visible, so that's fine. However, what doesn't work here is that the edge of the nose is too sharply defined. In reality, this line shouldn't be visible, so I need to erase it. What we actually see what we will actually see is the shadow on the opposite side due to the light coming from the right. The left side will be slightly darker because of the shadow cast by the nose in this free quarter view. Now using a darker pencil, Tubi, we can further refine our shadows. What we notice when viewing a nose in three quarter perspective is that in general, the edge tends to be slightly darker and gradually fades toward the ridge of the nose in the central area until it reaches the highlight, which remains very bright. On the other side, along the side of the nose or along the side of the nose to properly create volume, we will also need to create a slightly darker area. So I will reinforce it afterward making it a bit deeper. Similarly, just above the nostril, we can observe that we have something darker to make the nostril stand out. And as I mentioned, on this side of the nose, these darker areas we had will help create the impression that the nose is elevated compared to the rest of the face. Then I blend all these elements again using my blending stem because personally, to achieve a truly realistic effect, I prefer not to have visible pencil strokes. However, if your style leans towards visible hatching and cross hatching, for example, feel free to work that way if that's what you prefer. Now to make the nose more readable, we can focus on the nostrils. One common mistakes many beginners make is drawing them uniformly dark. But if we analyze them closely, we notice that the nostril isn't completely dark everywhere. It varies in intensity. Typically, the edge is very dark, but inside, it sometimes lightened slightly. And on the side of the nostril, I also had the darker areas because this crease on the nostrils side helps define the three dimensionality and gives it more volume, this dark element that I have added. This nostril will be more in shadow because I imagine the nose with the light coming from the right. So therefore, this one is more in shadow in the left. It's logic, like we could see it in the basic course where I teach light and shadow. And here I shade it a little bit, and then I will blend everything again with my blending stump to have a smooer surface. So I'm going to use it on this side and also on the left nostril that I have just shaded. I can also use it within the right nostril and to spread a little bit the graphite that we use, like, right here, you can see, I am blending these elements. And this time, I am using the tip of my blending stem because I want the graphite to move in the direction of the nostril. Like you can see, I go upward with my blending stem to create a better effect. Because right here, I'm blending with precision and not trying to blend the entire surface. So I'm blending the details if you want. And with a darker pencil, I can reinforce this circle aspect that we have right here in the middle of the nose. So I am adding a little bit more of shading with my four B pencil. And step by step, this nose is getting better and closer to a final result that we could have. And finally, the last element I am going to add to my nose is the small highlights. To make the nostril stand out, we'll have a few lighter areas that really pop. Similarly, on the side where the volume is created, we have a few lighter marks which also help with texture work. We can also see that the nose usually has a highlight along the ridge. All along the area, we have some lighter spots. And as I mentioned, on the small rounded part at the center, we also have a few highlights that give that spherical look and enhance its three dimensional appearance. And to further emphasize the left nostril following the principles of light and shadow, we will also add a well defined highlight to make it stand out, and that will be it with this nose. And we have created a sort of perfect nose, perfectly straight and well proportioned, we can see that by adjusting the nasal bridge, we can also play with the overall shape of the nose. If we want, we can create a nose with a slight curve by modifying and adding a gentle arch. We can also create a more pronounced nose with a dip resembling a slightly aquiline nose. Here, I'm going to add a dip to the bridge which gives it a more distinct shape. And finally, another thing that we can do by working on a nasal bridge, we can also create the effect of a small bump on the nose, and I can emphasize this as well. And each of these nose follows a slightly different trajectory. As you can see, I'm going to add it with a migraine marker, and that will be it for this three quarter view nose. Now we are going to look at how to work on noses in profile and front views. 3. How to draw a nose – side view: So here is a nose seen in profile, not fully in profile, but sufficient for our analysis. If we closely examine this nose in profile, we can break it down into simple geometric shapes. We can see that a large portion of the nose can be encompassed within a triangle. And within this triangle, we can have two circles, one to define the nostril and another to represent what I call the nosebll. And using these basic shapes, you can easily construct the nose and refine its contour. Next, if we observe carefully, we can notice the presence of highlights that help define several aspects of the nose. First, they contribute to shaping the volume of the nose ball, giving it a more three dimensional appearance. Then they also highlight the ridge of the nose distinguishing the central structure from the side planes. And with these elements in mind, we now have a clear understanding of how to approach the drawing. So let's get started and begin creating this nose. As the nose in profile is actually, I think, the simplest nose to draw between the front nose, the free quarter nose, and the profile one. So now let's see how to draw the nose from the side. What we can start with is drawing it using simple shapes, and we can see that the triangle works well for this. Then just like with my three quarter view nose, I will once again add a small curve, a small circle to define the round shape that appears at the center of the nose, and I can use another small circle to create the nostril. From there, we will use these basic shapes to draw our nose. Next, starting from the top, this is where I can define the shape of my nose, wherever I want it to be straight, have a bump or a certain curvature. From now, we'll go with a slightly straight nose to begin with. In this area, I can also work on the roundness of the nose. Making it larger or smaller depending on what I want to achieve. Using this guideline, I can see that this is the spot where my nostril will appear, which serves as a good reference point to draw it. And then I can draw a little bit the shape of the nostril as well in this area. And for the shape of the nostril from a profile view, we can see that just a simple curve line and another one below it are enough to define the depth, allowing us to create a side view nostril. Now, all these lines I have drawn, I will erase them since they were just construction shapes. Well, I mean, the basic shapes, the triangle, the circles, I want to erase them. And also, I'm going to erase a little bit with the needed eraser, the final contour because I want it to be a little bit lighter. So with the kded eraser, I have softened it a little bit. So another thing we notice through analysis is that in the profile view, the nose also has a ridge that can be slightly visible. This will be represented by lighter areas in the center of the nose and lighter areas in the center of the nose, while the side will be slightly darker and we need to and we need shading, darker shading. So I can define it very lightly to create reference points, making the shading process easier when I start. And now we can start shading. And so I go with a very light, um, HB pencil to add some darkest marks. And like I said, in the middle, I leave something a little bit whiter. For now, it is blank because, yes, there is the highlight here that will help to create volume in the area. Now, once that I have completed the shading, I can blend everything using my blending stem to create a smooth surface. And gradually, just like we did with the free card of nose, we will have increasingly darker elements to build depth. It's not a problem if some of my shading spreads slightly into the highlight area. It will still remain visible and I can emphasize the lighter areas later using my eraser pen. At this point, I can have darker elements using a four B pencil. When drawing a nose in profile, one noticeable feature is that the nostril, well, must the part of the nostril that's really on the side will be darker along the edge, which helps it stand out. Similarly, on the side of the nose, this shadow area that I have headed enhance the three dimensional effect and as volume. This contrast also makes it clear that the ridge of the nose is straight and exists on a different plane from the side area. And these details contribute to the overall sense of depth, just like the edge of the nose, which will also be slightly darker, reinforcing the three dimensional look. So now I am doing it again on the side of the nose, and this helps to reinforce this three dimensional look, as I said. Under the nostril, I can also add a few small dark areas. And with just these pencil strokes, my nose appear more in volume, which is a great result. So the inside of the nostril, I can use a darker tone, but I need to be careful because just like with the free quarter of your nose, the farther we move away from the nostrils edge towards the inside, the lighter it should become. So here we can observe slight variation in values across the shaded areas inside the nostril. And finally, using the blending stump again, I can soften everything to create a smoother and more refined surface. What I am also doing here with my eraser pen is carefully erasing the contour line of my nose because it is too pronounced and I don't want it to be visible. If we closely observe a person a person's nose, we realize that its edge is nothing more than shading, almost blending with the rest. There isn't a clear outline defining the nose. So I have softened this contour to make it less noticeable. However, now the area looks a bit too bright, so I don't hesitate to rework it. What I really wanted to avoid was having a clearly visible outline. Next, I can refine a few details such as the edge of the nostril. I want it to stand out a bit more and create more depth. I go over it with a slightly darker pencil in the areas that need more contrast. Okay, now we can refine the highlights in this area a bit more. Of course, when working from a reference, the position of the light source determines exactly where the highlights will be, their shape, and their intensity. But here in a standard model, we can imagine a highlight just above the nostril, like we see here, which helps create volume. There's also the highlight along the ridge of the nose which effectively separates the cider area from the central part of the nose. And these small highlights contribute to adding depth and to keep them from being too dark. I had a slight shading inside the highlight so it doesn't appear too white. And with that, we are all set with this tutorial. 4. How to draw a nose – front view: Now let's observe and analyze our subject for a front facing female model. In fact, this method works just as well for a male model. The approach remains the same. So let's break down the nose into simple shapes. So first, we can identify three circles, one central circles which represent what I like to call the nose ball, the ball of the nose. This gives a rounded effect to the central part of the nose and two additional circles which help define the approximate placement of the nostrils. From the base, we can construct the nose structure, and we can draw two straight lines extending upward from the central circle. These lines help define the ridge of the nose, giving us the general structure of the bridge. The central portion of the nose, which is slightly more forward, can be well represented with these guiding lines. Next, we can refine the nostrils and the lower part of the nose using simple and clean lines to create a shape that closely matches our reference. And from there, we can close the structure by sketching the sides of the nose, which had depth and relief to the drawing. And at this stage, we have a standard nose model providing a pretty solid base and from here, we can refine the details to better match either a nose we want to invent or a real person we are drawing from observation. And this breakdown helps us create a well structured nose, making it easier to refine proportions and detail. And now that we have the contours and fundamental shape, we can start and start looking at the shading and how to create volume within this nose. Now, if we observe this nose, we can notice that just like with the free quarter view nose, there are no clearly defined outline shading in this nose. Why we will initially use construction line, they should eventually disappear. We won't need them. The real separation of different areas and the creation of volume comes from the shading and not from the lines. The only visible lines will be, as we saw in the free quarter view around the nostrils and the lower part of the nose, specifically the inner contours of the nostril and the edges of the nostril. So now let's start analysing the shading. So for the highlights, there is a very strong highlight along the central ridge of the nose, making this area appear more elevated. Another highlight is a little bit visible on the right nostril, reinforcing the presence of reflected light. And on the left nostril, there is also a slightly lighter areas within the shadow. This left side is more in shadow, actually. And this highlight is less pronounced than the one on the central bridge, but still a little bit noticeable. It creates a subtle contrast within the shaded region, adding more depth. So that's why I thought it was important to, um, show it to see the sole difference. Now, the light area surrounding the main highlight, we can identify lighter areas that gradually transition into the shadow, and also on the sides of the nose as it descends towards the cheeks, the tones become lighter again, and this helps separate the nose from the rest of the face. Now, the darker areas are essential for creating depth and defining the free dimensional structure of the nose. So therefore, the sides of the nose have noticeable shading helping give the impression that the nose is slightly elevated above the cheeks. And the lower part of the nose, especially around the ball of the nose, as I said, has a significant amount of shadow to reinforce its roundness. And one of the darker zones is the lower part of the nose where it transitions into deeper shadow. This creates a strong contrast and create more volume with our nose as well. So once again, there's a lot of information to take in with this noes, but I think it's essential, especially when you're just starting out with portrait drawing to take the time to analyze and observe these different elements. These aren't necessarily things that you naturally pay attention to if you are not actually trying to draw them. If you're not in the mindset of the drawing, you don't really notice you don't naturally notice all these slit variations in shading, highlights, and contours. But with practice and experience, these details will become more obvious to you. Right now the analysis takes several minutes. But as you develop your skills, your brain will start recognizing these elements almost instantly when you look at the reference. And over time, this process will become automatic and you won't need to consciously break it down step by step anymore. So, yes, it may seem like a slow and meticulous process at first, but the more you practice, the more intuitive it will become until it all clicks naturally when you start drawing. So now let's put this into practice and draw this nose from the front. So standard front nose. Alright. Now let's see how to draw a nose from the front. Once again, using simple shapes, we can start by drawing a circle from the central area, which I like to call the nose ball. From this ball, we can extend two straight lines to define the nose ridge, creating a well structured shape. Starting from the center of this ball, we can draw a guideline which help us position the nostrils. These can also be represented by two circles. Then from the bottom of the ball, we can connect the circles with straight lines to begin shaping the nostrils. This gives us a solid foundation for nose drawing. Next, I refine the nostrils. By defining their upper shape, and this helps create a more structured nose. Here we are essentially drawing an idealized nose, a straight, flawless one. Later, depending on the nose we want to represent, we can modify this base accordingly. For now, we are working without reference, but this technique can be applied to any type of nose. Even if we were working from a model without using a grid technique such as when drawing someone directly in front of us, we could still use this method to establish a base and then adjust it to match the person's features. So once the basic structure is complete, I erase my construction lines since I don't want them to be visible. When we look at a person's face, we don't see outlines, straight lines, what truly defined the nose shapes and structure is the shading. So that's what I'm going to do now. And to begin, I shade both sides of the nose using an HB pencil, and this will already start to give it more volume. And I will also shade the lower part of the nose, imagining the roundness of the central bull and gradually giving it depth with the HB pencil. And of course, to achieve a smooth and natural look, I will blend all these areas using my blending stone, making sure to use circular motions to create the best possible result. As before, if some graphite spreads into the center of my area, it's not a big deal. I can always refine and perfect it later using my precision eraser. Now I'm going to use a darker pencil, the four B, and I will try to define some slightly darker areas. By working along the edges, we'll aim to add more volume to the nose. The side areas never consist of a single uniform value. It's the combination of darker and lighter values that create the illusion of volume. So here I am applying my four B pencil in this area, setting everything in place, and I blend it afterwards for an even better result. And we can see that the further we move away from the central area, the lighter the shading tends to become. So that's what I'm going to do. I'm going to apply less pressure compared to what I have done near the center. And as I move toward the side, I apply less and less pressure to have something a little bit lighter. Now I'm going to take my two B pencil. For my central area, I want to have a more natural transition between the darker shading and applied with the four B and the lighter central zone. And this will help create a smooth gradient and prevents harsh contrast between the two areas. Now that I have blended everything, the transition look much more natural, which is great. However, I feel that the contrast between the central area and the size isn't strong enough, so I go back over it slightly with my four B pencil. Generally, on the nose, the lower part tends to be a little bit darker as well, so I had a little bit more elements. And I also want to refine the transition with the central area. So I apply a few more strokes with the four B pencil being very gentle, being very light on my strokes. Additionally, the sides of the nostril also need a bit more darkening to enhance the sense of volume and depth in this area. And by adding these dark elements, I reinforce the three dimensional effect, making the nose appear more realistic and well defined. Also, I am adding a bit of elements at the bottom, and I scribble a little bit with my pencil, something a little bit darker to create even more texture as I go. And as I add darker elements to create volume, these small scribbles that I am adding also helps to create texture of the skin with some irregularities. Now I can also refine the inside of the nostriel, but it's important to remember that in the front view as well, they won't have the same value throughout. I need to be careful with this. On the outer edge of the nostril, I can add a few pencil stroke also to create even more volume in this area. So that's what I'm going. So that's what I did. Underneath the nose, I apply a light shading, nothing too dark. Just a few subtle marks are enough to make this area look more realistic. Now with my pencil, I'm going to add few pencil a few small touches here and there to enhance the texture and slightly darken certain areas for more natural effect. I really like and I really like how this nose is coming together. A key aspect, especially noticeable in the front view nose is the highlights. They need to be well defined in certain areas. The most pronounced highlights will appear along the entire ridge of the nose, forming a central rectangular like shape. This highlight should be clearly visible, but shouldn't look like a perfectly straight line. Instead, it should have some natural irregularities. Additionally, on the sides on the nostrils, I highlight also certain areas, and these highlights make the nostrils appear more free dimensional and stand out in contrast to the central area, the ball of the nose, like I said. Now that I have added these highlights, I fine tune the shading by darkening some areas on the side, which helps enhance texture and improve the overall shading. At this stage, my nose drawing is almost complete. The final adjustments involve removing some control lines, especially along the lower part of the nose. I find it too pronounced. And as we saw with the profile view the control line should be barely visible with the nose. So I erase it lightly with my eraser to achieve a more natural and refined look. So, now I am focusing on adjusting the lower part of the nose, making sure that there isn't a harchline but rather a natural transition between these elements. To achieve this, I apply a few subtle pencil strokes here and there, ensuring that the separation appears softer and more organic. And by carefully refining this area, I try to make the transition more seamless, creating a more natural and realistic look. This subtle approach helps integrate all the elements harmoniously, making the nose appear well balanced and three dimensional. And so this is the end of this tutorial. Like you can see, I am adding a few highlights on this right nos trail, and that will be it. The nose will be finished. 5. How to draw a crooked nose realistically: Now let's see how to draw this nose. We can see that it is slightly crooked, not perfectly straight, and we will try to work from a reference model this time to reconstruct it to reconstruct it, sorry, as faithfully as possible and capture the slightly twisted effect in our nose. So now let's get started. So let's draw the outline of our nose. As we did before, I can start by sketching a circle to define the ball of the nose in the center. We can see that in this case, it is slightly wide. Then I can draw two straight lines. Although later, we'll see that they won't remain perfectly straight. But for establishing our base this is a good starting point. I also had two small circles again to position the nostrils. From there, I can begin to sketch the shape of the nose. We can see that the lower part is well rounded and then rises to form relatively straight nostrils at the bottom. Before curving on the sides, the nostrils, yes, they curve on the sides. Moving forward, I refined the central area. There are strong shadowed lines that help define the width of the noses ball if needed. Next, I continue by placing these elements accordingly, and overall, the structure seems to be shaping up well. In the central area, we can see that there are distinct shadowed sections. These are crucial for defining the curvature of the nose and ensuring it doesn't appear perfectly straight. It's important to carefully observe the different shaded areas present in the image. Some of them are quite prominent, as we can see on the second picture I have added. And once everything is in place, I can erase my initial construction lines before moving on to refining the details and start shading the different areas. Now we can start shading our work. And I start with the HB pencil as it seems like the right base for most of this area on the nose, for the central part, and at the top and also at the bottom, these areas are pretty light, so I thought the HB was a good choice. On the lowest part of the nose, we can see that this area is much darker, but I think that the two B seems like the right pencil to begin. It's not too dark because some area even though this area is quite dark, not all elements are very, very dark. So I think that the two B pencil is the right choice. And that's the same case for this kind of bend on the side that helps to give the nose its twisted aspect. And also a little bit on the left area, these elements are a little bit darker to create more volume. I can now blend everything together, and this will help to mix these different grays together to have a natural transition between these different elements in my nose. I can also start defining the much darker areas using a four B pencil. On the edge of the nostril, there is a very dark zone. Another particularly dark area is the underside of the nose, where the shadow is extremely pronounced. To ensure I define it correctly, I first outline the shape of this shadow. Then I begin shading with the four B pencil. At this stage, the application is still quite light, but I can always refine it later and darken certain areas as needed. To prevent the shading from spilling over onto the nose itself, I carefully trace a small outline using the four B pencil, and I will also darken a little bit the edge of the nostril, which is slightly shaded, helping to add more volume and depth to the nose. Now I will focus on defining the areas more precisely with my four B pencil and start strengthening the shading. On the right side, we can see a slightly darker band that helps give volume to the nostril. I have marked that area. On the lower part of the ball of the nose, there's also another dark band that I can had and I'll define with the four B pencil. At the moment, this area is not standing out enough because the area under the nostrils isn't dark enough yet this shadow. I'll need to work on that later. This is the key element that I need to had to determine if the base in this area of the nose is dark enough or not to compare with it. As you have seen, I have blended all of this, and now we can focus on this section I talked about a few seconds ago. So I can work on it using a very dark pencil, such as ten B, 12 B, or even 14 B pencils, anything that works well and that is very dark. So I begin by drawing the line under the nose. This helps me be precise and ensures that I don't go over the nose itself, as it will be difficult to erase dark elements once the dark elements are added. To make the shading softer and more appealing, I use the side of the pencil lead and gently had these darker details. One thing to notice in this area is that while it is very dark, the closer we get to the lower part, the lighter the shading should be. So it's essential to pay attention to this subtle, subtle gradient. Now, it seems to be looking pretty good. And I continue to use circular motion to get the smoothest result when I blend the shading. I also extend the dark area slightly downward, which creates a more gradual transition to the area beneath. Even though the goal isn't necessarily to work on the area below this transition at a softer effect. Once I have applied this dark shading, I realize that my nose elements aren't dark enough, so I can rework them with a six B pencil. And as you can see, the lower part of the ball of the nose, yes, on the lower part of the ball of the nose, there's a distinct light line. But for now, I want to avoid it. I will shade it all with the six B pencil. I will refine the highlights later with my precision eraser instead. With my six B pencil, I can also shade the upper part, which helps define the shape of the nose. Between this dark band and the over dark element next to the nostril, I apply a base layer using a four B pencil, pressing quite a lot to achieve a sufficiently dark tone. Next, I refine the area by identifying other spots that need to be slightly darker, where a four B pencil would be a good choice. Up until now, the shading on the central part of the nose was quite basic focusing mainly on the dominant gray tones. Now, I aim to shade smaller areas. For example, right next to this dark band, I notice right here, I noticed some slightly less dark elements. I can add darker elements to the central area of the nose, particularly around this ball. Some darker spots naturally stand out, so I incorporate them into the drawing and I continue this process throughout the area until I am satisfied. I am fully satisfied with the result. Afterwards, I will blend everything to create a smoother effect. Using my blending tool, I will carefully connect all these shaded areas to achieve a harmonious and natural looking effect, and I will be back once this step is complete. Now we can say that the shading base is very well defined. The nose stands out beautifully. So at this point, the focus shifts to refinement. The goal is to add small details and improve certain shadows without necessarily blending everything again, as I no longer aim for a perfectly smooth surface. Now I will have very fine shadows and work on enhancing the texture of the nose. Skin has many small irregularities. It's never completely smooth. If we observe closely, we can see tiny pigments and slightly darker spots scattered across the skin. That's what I will try to replicate now. I do this. To do this, I analyze my photograph and determine where I should add small dark touches or lighten certain areas using my precision eraser. So I observe the shapes these texture elements take. So appear as tiny dots, other as short lines, and some as subtle scribbles. So I will carefully incorporate these details, and little by little, the nose will appear more texture and realistic. This process doesn't take too long, but when we compare the final result to what it looked like a few minutes ago, these small additions will make a noticeable difference in my drawing. I am going to darken the shading under the nose a little more because in the reference photo, it was extremely dark and I felt that mine wasn't standing out enough. So I have added a bit more depth there. Using my kneaded eraser, I decided to soften the area on the side as it was slightly too dark. The kneaded eraser allows me to lighten the shading without completely removing the details that I have added. I gently fades everything. The darkest areas become slightly lighter, while the lightest area become even brighter, but overall the elements remain in place. They are just softened. Next with my precision eraser, I will the final highlights. There is a very pronounced highlight running perfectly straight down the center of the nose and an oven near the nostriel which helps them stand out more. And these are the final touches of my drawing. And once this step is complete, the nose will be finished. And so this is the final result of this tutorial. I hope you like it, and it was helpful, and we'll see you soon for another one. In. 6. How to draw closed lips realistically: We are now going to study three different mouths, one closed mouth, one smiley mouth, and one mouth that is wide open showing the tongue. These three variations will help us understand how the shape of the mouth will vary depending on the emotion and the expression that we are showing on our face. A mouth is really a key feature of the face. It's not the most complex element to draw, but some small mistake can completely ruin the overall realism of the face. So this is why I'm going to show you that you don't need to do much things to get a mouth that is realistic and really faithful to the model that you want to draw. And so these free complimentary exercises, these free mouth that we are going to draw, will help you to have a strong foundation so you will be able to draw any kind of mouth in the future. Let's get started, and let's see how to draw a mouth. First, we can start by drawing a horizontal line. Then approximately in the middle, we can also draw a vertical line. You can use ruler or not. It's really up to you. Next, we can play some marks to define the height of our mouth, keeping in mind that the lower lip is generally thicker than the upper lip. In this image, we can clearly see this difference. Then we can use straight lines to create simple geometric shapes, outlining an initial contour that will serve as a base to work on. From there, I can refine the drawing with more precision using these elements as guides. I will also erase them slightly because I don't necessarily want them to be too visible. One thing we notice, especially on the upper part is the presence of diagonal lines in the middle. So I refine them and soften the outline also by adding a few curves. On the lower part, as well, the straight line we initially drew will disappear replaced by curve lines. Finally, I'm going to work on the middle line of the mouth. Looking at the reference, we can see that this line is not straight at all. It has dips and rises, so I try to replicate that. I also slightly stretch the lips as I notice that the upper lip appears a bit longer due to the way the central line curves upward in the edges. Like, right there, you can see that. Now I am going to erase the contour of my lips so that it's almost no longer visible at all. If we take a close look at our lips, we can see that the outline isn't sharply defined. Lips tend to blend smoothly into the surrounding skin. So I want to ensure a soft transition between these elements, which is why I felt it was necessary to erase the contour. Now we can start working on the shading. I will apply an HB pencil over the entire area as a base layer and using the side of my pencil lead. This will serve as a foundation on which I can later add Dio details such as sold folds on this entire area. I know that the entire area will be at least this dark or possibly even darker. So I work on it by blending everything using circular motion. For the lights area, I can later use a precision eraser to lift some of the graphite. Now I switch to a darker pencil. I will use a fbi to emphasize the shadowed areas, especially on the right side. Along the central line of the lips, we can also see a slightly darker strip. Before focusing on the final details of the lips, I make sure to establish a solid base with the right shading, as this is crucial for achieving a well executed result. Proper shading, along with accurate proportions, plays a key role in making the drawing look realistic. And once I have applied darker tones, I blend everything again using circular motions to achieve a smoother and more natural effect. Now I am going to work with a darker pencil, an eight B to refine the entire central line of the lips. This is a fairly dark pencil because this line will be the darkest element in my drawing of the mouth. What is useful about this is that this line will serve as a reference point. I will be able to compare the value of the over dark areas against it and adjust to curling lee asking myself whether certain parts are too dark or not dark enough. Using the eight B pencil with a lighter touch in the side of the lid, I will mark the shading in areas that need to be slightly darker than what I have applied before. This includes parts of the central line and the right side, which is more in shadow, making those elements appear darker. I can also add some depth to the upper part of the laps with this pencil. Next, I'm going to blend these areas again, and this will be the final blending step before moving on to the details. At this stage, I'm still focusing on adding shadows to create volume and realism before refining the intricate details of the labs. Once again, I use motion circular blending motions to smooth everything out. Now we can move on to the detail phase. I will start by emphasizing the most obvious lines, those that stand out the most, such as the central crease of the lips. This line is clearly visible and quite dark. So I carefully mark it while analyzing its direction and length. However, I make sure not to make it too dark, as that can sometimes be an issue, lines that are too prominent can look unnatural. I noticed that these lines should remain relatively soft and blend well into the shading. They should be slightly more visible than the base shading, but not overpowering. So I add a few more lines gradually, and little by little, the lips will start to look increasingly realistic thanks to these subtle details. On the right side, the elements are noticeably more in shadow. As a result, the details I had in this area will also appear slightly darker. For now, I am using a four B pencil, but I won't hesitate to use to a darker one. In fact, I will even use a 12 B in this area as I realized that what I did with the four B wasn't dark enough. And the shading I did before wasn't dark enough. So I need to deepen the shadow's fervor. Since this part is more in the shade, I shouldn't be afraid to use a 12 B or even a 14 B. I know that many beginners hesitate to use such dark pencil. Fearing that the results might be too harsh, but in reality, these deeper tone create beautiful contrasts, which enhance the artwork and make it look even more realistic. Now I continue refining my work. At this point, I take a sort of predator mode, scanning all these small details that can add beauty and depth to the drawing. Right now I'm focusing primarily on the vertical lines, and I will work on the horizontal ones later. Of course, if I notice an obvious horizontal detail, I'll mark it, but the main work on horizontal lines will come afterwards. I also try to keep the new lines consistent in value with those I previously added. And now I transition to working on the horizontal line, ensuring that I apply them with a light touch to maintain a soft and realistic effect. One important thing that might not be visible to you is that I take the time to carefully observe my reference before making each pencil stroke. I analyze the darkness or lightness of the line and its direction to ensure I get it right. If I were drawing from life, I would follow the same approach, taking the time to study the subject carefully. I am also using my precision eraser in some areas. This is because certain highlights stand out more and I want to enhance them. Then with my blending stump, I'm going to soften the edges to avoid horch borders. This ensures that if I later work on the surrounding skin area, everything will blend naturally together. Now let's move on to the lower lip. Just as I did with the upper lip, I will start by applying an overall shading to the area, trying to identify the main gray tones and begin with an HB pencil for the base layer. Then gradually switch to two B as I noticed that the central area of the lower lip becomes slightly darker. The right corner, however, will be even more shadowed. So I'm going to move to a six B to deepen that area. These are just the base grays for now, but if I later realize that some areas are too light or too dark, I can always adjust my shading to improve the overall value balance. Once the six B is applied, I proceed as before. I lean everything to create a smooth base. Again, I use circular motions to ensure a seamless transition between terms. This gives me a solid foundation on which I can later add finer details and enhance realism. Now I will continue refining the shading, but with more precision. At this stage, I am focusing on identifying small areas where the values slightly differ from what I previously applied and carefully mark them. For example, I notice darker areas in the corner, so I use an eight B pencil to enhance them. I also see some fine lines. Technically, they could be considered details, but since they match the value range I'm working with, I decide to add them now. Sometimes I just follow my instinct and make adjustments as I go. The AB pencil, I also deepen some shadow areas shaded areas, but I apply less pressure to keep the softer look in certain parts. Once elements are added, I proceed as before, blending everything smoothly. Now I am moving on to the detail phase. Looking at the central line, I notice that the elements I added earlier are not dark enough. They don't stand out as much as I would like, so I go back over them refining and reinforcing the contrast. I always find it useful to revisit previous work to ensure that the values are accurate. I keep a critical eye on what I have done so far and adjust elements of the central line where necessary. It is important to note that this line doesn't have the same value throughout. There are subtle variations. So making small value adjustments helps maintain realism. Now with my four B pencil, I focus on adding the main lines that define the texture of the lower leap. There are a few here and there, and they tend to follow a gentle curve, unlike the upper leap, where the lines are slightly more rigid and straight. Keeping the in mind, I carefully mark these details, ensuring they follow the natural shape of the lip. Once I have added the key element, I will work with my precision eraser to create highlights. These lighter areas will help enhance the sense of volume, making the lip appear more three dimensional and adding a realistic touch to the drawing. Now using my precision eraser, I carefully remove certain lines, paying close attention to their direction and curvature to replicate the subtle highlights I observe. In some areas, these erased elements might appear too bright, but that's not a problem. I will soften them later using my lend my blending stump. By lightly going over these spots with the blending stump, I allow the graphite already accumulated on it to redistribute, reducing the intensity of the highlights and making them blend more naturally into the shading. And with that, we are reaching the final stage. This is the complete result, and I hope you enjoy this tutorial, and I'll see you very soon for another one. 7. How to draw a smiling mouth: Let's analyze our subject. So we have a beautiful smile, and when we look at the leaps, we notice that the lower lip is quite light with a strong highlight. However, overall, there aren't too many details. There are a few defined lines on the lower part, surrounded by smaller ones, so the lips won't take too long to draw. The upper lip is relatively thin and in many areas, it's barely visible as it blends into the skin. Now, observing the teeth, we can see that even though this person has a great smile with white teeth, we can see that the teeth are not actually pure white, so we can't leave them blank. And as we move toward the back of the mouth, the teeth appear darker. This means we need to carefully adjust the values to create depth. Similarly, the gums are generally darker elements, but not uniformly. If we look closely, some areas of the gums are darker than others, so we need to pay attention to these subtle value variations. Looking around the mouth, we see that the skin is relatively light, particularly on the lower part. The mustache has some very dense areas, especially in the central region. This section will require deep and dark shading. However, as we move toward the sides, the mustache becomes lighter and less dense with fewer hairs. We also notice that the mustache hairs are slightly shorter and more rigid compared to the beard hairs, meaning they appear straighter. In contrast, beard hairs tend to follow a natural curve, so we need to carefully capture that distinction in our strokes. And one final important observation, below the lower lip, there are many fine light hairs. This should be carefully worked on using a precision eraser pen to bring out highlights and maintain realism. And with all this information in mind, we have everything we need to start drawing this mouth. So let's get started and grab your pencils. Here we go for this new tutorial. We are going to learn how to draw the smiling mouth and also work a little on the texture of the mustache and beard that can appear. I'm using a five per eight centimetros paper, a small format, which is often the case when drawing mouth. So let's see how to sketch it. If you'd like to skip this step, you can simply create a grid and go straight to the shading. To draw this slip, I start by sketching slightly diagonal lines forming a sort of V shape. For the upper lip, I also draw an almost straight line which I will refine later on. I estimate approximately where the lower lip should be. I made an initial sketch, but I found the gap too large, so I adjust and start again. For the width of this lower lip, I estimate that it is about the same as the width of the teeth. So I use this as a reference and adjust accordingly. Next, I position and draw the teeth, starting with the central incisors. To place them correctly, I align myself roughly with the middle of the lip and start outlining their shape. So we can see we have a vertical line right here and the gum, as well. So I progress from here and start with this central and pretty large chief. Now I continue placing the over tif. For the next one, I noticed that the gum is slightly more visible, so I emphasize it a bit more. I also realized that this tooth is smaller than the previous one, so I adjust its size accordingly. The following tooth is approximately the same size as the one I just drew, so I repeat the same process, and by comparing the tief with each other, I can place them quite easily. We are almost done with this side, with a few smaller teeth in the background, which will be mostly in shadow. So there's no need to define them too much. On the right side, the process is pretty much the same. I see that the central tooth is the same size as the one on its left, so I sketch it by estimating and comparing it to the others. I continue this way until I have drawn all the teeth. For the teeth placement, I also use the lip as a reference. And also, if I get stuck on a particular tooth, I could have started from the back teeth and work my way forward to the ones I was struggling with. That would have been another approach that is possible. Now I'm going to refine the contour of the lip since my initial outline was quick and simple. So I take the time to adjust on curves and emphasize certain areas. But overall, there's not much left to do at this stage. Next, I will start adding the contour as well of the goatee and the mustache area. And once that is in place, we will be ready to start shading the mouth. O the lower lip is quite light, so I will start with a very soft shading. I'm applying a base layer that I can build upon later. For this, I use my HB pencil to lightly shade the entire area. On the upper lip, the central part also appears somewhat lighter while the sides gradually darken. So here again, I apply a light base, but I press slightly harder than on the lower lip to create a subtle contrast. For the lower lip, I also darken the edges a little more by applying more pressure with my pencil, creating deeper shading in those areas. Now I switch to a darker pencil, my four B because these side area are a little bit darker, so I think I needed a deeper pencil, and the four B seems like a right option. So I darken a little bit this edge, and you can see that it gradually gets darker and darker as you get closer to the corner of this mouth. I also do the same thing on the right side, and still using my four B, I can darken a little bit some areas like this one at the top of the upper lip and also right there. And these elements that I have had it, I'm going to blend them a little bit with my blending stump before adding more details in the area. Before working on the details of the lower lip, I first refined the shading on the upper leg using a two B pencil. There are a few darker areas that stand out, so I think it is important to enhance them a little. Now we can start detailing both lips. This part won't take too long as these lips are extremely detailed, and also we don't need to define every tiny crease to achieve a realistic effect. Simply adding a few well placed details and some highlights in key areas will make the drawing more lifelike. As you can see, in the central part of the lower lip, I added the main dark lines first. Then between those lines, I can add smaller, almost scribbled lines here and there, which is enough to create a realistic texture. On on the upper lip, I will add a few small details later. However, since this leap is thin and blends quite a bit with the skin above it, I don't need to add too much detail. For now, I am focusing on the lower lip, adding a few lighter areas using my precision eraser. And once that is done, we'll move on to working the Tiff. Now, let's work on the tif. Contrary to what we might think, teeth are not completely white. When comparing the current drawing to the reference photo, it's clear that something feels off if we leave them blank like this. So I start by applying a light gray base, especially on the central tif using an HB pencil. For the next tif, I'll still use my HB, but apply more pressure as they appear slightly darker. And for the back tief since they are even more in the shadow, I use a two B pencil to darken then fervor. Now, I erase the control lines of the tif. These lines were helpful for placement, but they are now too visible and make the drawing look unnatural. So it is important to remove them at this stage to create a more realistic look. With the HB pencil, I then add small dark details on the tif to create depth and relief, making them look more natural. Now I will start working between the tiff. You can see that in some areas, especially next to the left, incisors, there are small shadow zones, and these shadows help create the rounded appearance at the bottom of the tiff. Next, I refine the gums, focusing on the upper part. This helps to add volume to the tiff and enhances the separation between them. Important detail. Not all part of the gums have the same value. Even in small areas like this gum, some parts are darker than others, so it is important to observe these subtle variations and apply them carefully. For this part, I work with the tip of my pencil to maintain precision while defining the gums. To enhance the volume of the teeth, I add highlights. Since they are quite thin, it is a bit tricky. So I use my eraser pen and I carefully observe their placement and apply them where needed. And I continue refining the gums and the areas between the teeth. For the back areas, I switch to a four B pencil. The closer we get to the back of the mouth, the darker these areas become. The HB and two B pencil weren't enough as I needed a deeper and richer gray, deeper black to create true depth in the shadows at the back of the mouth. And so what I'm doing on the left side, I will also do it on the right side. It will be pretty much the same thing. So we'll see each other again once this right side of the tiff is done. Let's continue with the mustache on the upper part. Before I start drying the individual hairs, I first lightly shade the skin area above the lip. This zone blends almost seamlessly with the lip. So when I use my blending tool, I also softly blend it into the lip area. I also took this moment to add a few extra detail to the lap as I felt something was missing. Now, before working on the individual hairs of the mustache, I apply a light gray base underneath. This represents the visible skins beneath the mustache. Since the mustache won't fully cover the area, it is important to shade the skin first to create a realistic depth effect. And now that the base is set, we'll be able to draw hairs over this skin area. Now I have switched to a four B pencil because I wanted something darker. When I look at my reference photo, I notice that these areas of skin are slightly darker, so I adjust my pencil to achieve the right value for this skin tone. Even though I will later hair details on top, it's important to set the right base. I can also work on the central area, which in this case, is much darker in some places. For that, I use a 12 B pencil applying a very dark base. However, even though it's a 12 B pencil, I work with the side of the lead rather than pressing with the tip. This prevents the shading from becoming too extreme. I want a deep tone, but not excessively dark in all areas. Now that I have applied shading across most of the zone, I switch to an eight B pencil to smooth the transition and avoid making everything uniformly dark. And once that's done, I begin blending the shading using small circle of motion. The goal of blending here is to create a smooth surface which will later allow me to properly work on the hair texture. Now I can really start working on the texture of the mustache and begin adding the individual hairs. I start with a two B pencil because I want to define the lighter hairs first. A common mistake is shading everything with the same pencil, resulting in a uniform gray tone everywhere. But as we can see, not all hairs have the same value. Some are lighter while others are much darker. That's why I begin with the lighter ones and gradually move up to darker pencils to have depth. Every time I had hairs, I carefully observe their direction and length making sure to follow the natural flow before drawing them. Now I have switched to a six B pencil to have darker hairs, though they aren't the darkest yet. These hairs are slightly deeper in tone than the ones I previously applied. And step by step, the texture starts to build up. I analyze the areas where the hairs are similar values, looking at the different brown tones in my reference photo. Then I continue adding more hairs until I have properly shaded the entire area while maintaining realistic value variation across the entire area. Now I am moving on to something even darker, using a 12 B pencil to refine the different areas of hair. As we get closer to the central area, we can see that this is where the darkest elements are. Another thing to notice in the central zones is that in some places we have very short thin, fine hair, while in others, we see larger patches of hair. It is important to pay attention to these variations. Overall, working on a mustache texture requires a bit of patience. To create a realistic effect, we need to carefully build up lots of small, short strokes which takes some time. However, while it isn't excessively time consuming, it doesn't require it does require, sorry, a steady and patient approach. Now that I have covered most of the area, I am going to move on to an even darker shade. This time, I'm going to use a 14 B pencil to had the absolute darkest details, the ones that are almost pure black. With the 14 B pencil, I work with the tip and press firmly to achieve deep rich blacks, entering that the darkest area stand out clearly. Okay, so at this point, I have shaded almost all the necessary elements. The mustaches really taking shape, which is great. Now what's left to do is look for the final details I can have here and there. Whenever I notice a spot that seems to some hairs, I'll go in and had them to refine the texture. Finally, the last important step would be to work on the lighter details found in the highlighted areas. To do this, I will use my eraser pen carefully observing where these lighter elements appear in the reference. This will help bring out contrast and help realism to the drawing. Let's move on to the area beneath the mouth. We can see that on the right side, there is a very light skin area, so I will use an HB pencil to shade it lightly. However, for the areas where hair will be present, I will start by applying a six B base just as I did earlier with the mustache. This represents the skin beneath the hair, which appears darker because these areas are densely covered in hair. As a result, they don't reflect much lighting, require deeper shading. So I've gone in with six B for the darker skin areas. While in between, I reapply HB to maintain contrast between the skin and hair section. Now I'll blend the shading to create a smooth base, and then we'll continue with the next step. Just before refining this area further, I soften it slightly using my needed razor to make certain elements appear a bit lighter. For the beard, I will use a similar approach to what I did for the mustache. That means I will start with the lighter hairs and gradually move toward the darker ones, switching pencils as I go. Right now, I am using a six B pencil, and step by step, I will move to darker shades until I reach the deepest tones. This process isn't too complicated, but does require patience and close observation of the values, direction, and curvature of the hairs. Unlike the moustache, the beard hairs are less rigid. They tend to be more curved. It's important to capture that natural flow to maintain realism. Next, I'll transition to an even darker pencil to define the deepest black hairs. And finally, to make the area stand out, I'll use my eraser pen just like before to bring out the brightest, most highlighted hairs, and that will complete the beard. And here is the final result. I hope this tutorial was helpful for you. See you very soon for a new one. 8. How to draw an open mouth step by step: So let's start this tutorial by analyzing our reference photo, which will help us properly draw an open mouth with a tongue. The first thing we notice is that this mouth can be represented by a large circle that encloses the entire shape. Inside this circle, we can sketch the tongue, which can be broken down into simple geometric forms. I think a large rectangle in the center and trapezoidal shapes at the top and bottom. And using these basic shapes, we will construct the mouth. We can refine the proportions of this mouth by comparing elements to each other. While we can always use the measurement techniques from the basic course, some visual comparisons can also be useful. For example, the distance between the lower lip and the tongue is roughly twice the thickness of the lower lip, and this serves as a reference point for correct placement. Similarly, when placing the teeth, we can see that the ends of the two central incisors align with an angle visible in the lips, and this helps us accurately position them. By applying these proportional techniques, we ensure the rest of the elements are well placed. For the leaps, we've already discussed shading techniques in the previous lessons. However, when it comes to the tongue, we notice several shadow areas that will help create depth and volume. The upper part is heavily shaded as it is in shadow. The sides and lower section also contains significant dark areas that will be useful for defining its shape. And finally, looking at the inside of the mouth, we observe that it's not completely black. Some areas are slightly lighter, making them important to define properly. And with all the observation in mind, we are now ready to begin the drawing. Let's get started with this new tutorial on drawing mouth. This time focusing on a wide open mouth. So first, I establish the basic shape. If I had to identify the overall shape of an open mouth, I would say it closely resemble a circle. So I lightly sketch a circular shape on my paper, and when I feel ready, I define it more clearly with my pencil. So yes, I try to mimic the gesture for the circle first. Next, I refine this shape using straight lines, applying the blocking technique coverted in the basic course. And I observe that on the sides, we can use vertical lines then had diagonal lines to connect them towards the center where a more horizontal line we'll define the middle part. This gives us a strong foundational structure for the mouth. Now I focus on the lips and the surrounding features, leaving the tongue for later. I start by determining the thickness of the lip. I estimate that the central part of the lip maintains a consistent thickness. I play small guiding point to mark it. And as I analyze the shape, I notice that as the lip extends towards the sides, left and right, it becomesthinner. So I draw lines accordingly entering the gradual tapering effect. At this stage, I am simply establishing a base sketch. And once I have all the elements placed, I can re evaluate the proportion, and if anything falls off, I can easily adjust the lines to make sure everything is well balanced before moving forward. Now that I have my base lines, I can start refining the contour of the lbs, carefully marking the different curves. So I noticed that the left side of the upper lip isn't thick enough, so I adjust it to make it more proportional. And once the shape looks good, I will move on to outlining the tongue. So first, I observed that the lower lip is slightly visible on the left side. So I marked that before focusing on the tongue. Accurately position the tongue, I compare it with other elements in the drawing. I realize that the distance between the lower lip and the tongue is about twice the thickness of the upper lip. I place the tongue accordingly. I also notice that the tongue aligns roughly in the middle of the side area of the lips. So I adjust my sketch to match that proportion. Next, I observe the diagonal lines that define the tongue shape. On the right side, the diagonal slopes downward more sharply than on the left. Keeping this in mind, I finalize the placement by drawing the key structural lines. If needed, I can adjust the tongue size later, making it shorter or longer or wider, depending on what looks most accurate with the proportions. Now, I move on to positioning the teeth. To do this, I use the guidelines we drew earlier to help with alignment. Observing the proportions, I note that the teeth appears slightly thinner than the lib, so I place them accordingly. I also notice that the width of the front tooth extends roughly to the corner of the upper lab where there is a small angle. So I mark this point as a reference. And by relying on comparisons and proportional measurements, I ensure that all the elements are placed accurately as possible before refining further my drawing. Yeah. One important detail to note is that the inside of the mouth and the throat are not entirely black, even though it might seem like an easy solution to just fill it in with a solid dark shade. Upon closer observation, we can see that some areas are slightly lighter, which helps create depth and realism. Paying attention to the subtle variation ensures the best result possible. At the same time, I refine the contour of the tongue. The tongue isn't a perfectly smooth shape. It has small dips, curves, and irregular edges. So I carefully adjust these elements to reflect its natural structure. Now, I start marking the shadow areas on the tongue, which will help establish its volume and three dimensionality. These darker areas will define its form and make it appear more realistic. And once I have all these elements in place, I really raise necessary construction line, making sure they are as faint as possible. And this also gives me a clear view of the drawing. And while raising, I take the time to carefully observe the overall composition and use propusion measurement techniques to check for any inaccuracy. And I notice that the left side of the mouth isn't long enough. A mistake I realized because the molars I placed are too close to the lips. To correct this, I adjust the left side of the mouth entering it extends properly. By modifying this, I improve the overall balance and achieve a more natural and proportional look. And now we'll be ready to move on to the shading phase once this modification will be in place because I think the right side also need to be a little bit extended. Now we can start defining the shading for this area. I begin by applying a light layer with an HB pencil over the central area of the lap, which will be the brightest tone. For the surrounding areas, the tones need to be slightly darker, so I switch to a two B pencil to create a more distant contrast. This gradual darkening helps define the volume and form of the laps. Once all these base tones are in place, I will blend them to create a smooth transition. This step ensures that the shading looks natural and provide a solid foundation for finer details later on. One technique I particularly like when shading is using small circular motion with the side of my pencil tip. This method helps achieve a softer and more even gradient, making the shading look more organic. With the four B pencla, we now try to shade the elements more precisely. We're not yet at the detail phase just refining the shading as we had already established a fairly solid base with a graphite pencil. So now I darken some areas such as the lower contour of the lip, which appears slightly darker. The left side of the lip is also generally darker. In the center, there's also a slightly more pronounced elements, so I add that as well, and I blend the shading elements as they are still part of the base I am refining. Now that this is done, we can start working on the details. When working on details, I also refine the lower line and switch to using the tip of my pencil for greater precision. This allows me to work with more accuracy. On the sides, I can see some more defined lines, just a few here and there, which I carefully had and place correctly. And this is enough to achieve a good result. There's no need for excessive details in this area of the lip. A few well placed pencil strokes are enough to make it look realistic. On the right side, I also notice a few additional elements that I can add, and also to emphasize the crease in this area, I can work on this line that you are going to see in just a few seconds. This one will help to create a better crease in this area. And for the leap, I don't need to add many more details. Just these few adjustments already help create a realistic base. So just going to add a few here and there and that will be enough. So, for instance, on the right side, I noticed that it has more dark areas, so I reinforce them, and gradually the leap take proper shape. One element I can have to finalize this leap is the small horizontal lines that appear here and there. So I had a few of them. Well, we also had highlights in this area as they are quite pronounced. I work on that carefully. And once this is done, I would say the lap will be finished, and we will move on to working on the Tiff. For the tif, we can notice that the two central incisors are very light but not completely white. So one trick I like to use is working with my blending stump, as it already contains a bit of graphite. By making circular motions, I create very light gray, which is enough for this tif. That's what I did for the main tif. For these ones. However, some darker elements need to be headed. For example, the gums are slightly visible, so I lightly sketch them in the upper area using my HB pencil. There is also a small and subtle line that separates the two central incisors. It's not very dark, so I draw it very lightly to maintain the natural look. Even though the teeth are bright, we can still observe some small shadowed areas for the teeth for the central teeth. I use my HB pencil and gently had soft touches here and there. And for the side tif, however, they appear darker, so I press a bit harder with my pencil to make them stand out more in comparison with the central ones. Lines separating the teeth on the right need to be slightly more defined. So I will darken them a little bit because, well, this area is a little bit more in shadow. Another thing I forgot on the lower contour of the lip, especially in the central area, line the contour appears slightly more pronounced and darker. So I will make sure to refine that detail at the end. So now I'm finalizing the teeth and we are almost done with this part. I will repeat the same process on the other side, and once that is finished we'll continue with the remaining areas of this mouth. And also, like I said, I will darken a little bit the slower contour of the So that is done, and now we can move on to the central area of the open mouth. And I start by marking the darkest elements in this area. These include the sides and the center as well as the contour of the tiff. The line just below the tiff will be darker, which helps them stand out properly. So I take my time to make sure this line will be well defined and that I don't go over onto the tif as that would be very difficult to erase since this contour is very dark. So for the drawing of this tip for this control, I work with my pencil tip to be more precise and more accurate with this contour. I am drawing. And so I carefully observe the direction and had these elements precisely. So I really take my time. For large shaded areas, though, I avoid using the pencil tip too much and instead work with the side of the lid, making it easier to blend later. And so I continue progressing through this section, adding all the very dark areas, and one that is done, will be able to finalize the shading in this part of the mouth. So take your time to define the control and add all the deep shadows. Now that I have marked the darkest elements, I can work on the areas between them. These areas are still very dark, and it's only through careful observation that we can distinguish the different gray values. To achieve this, I use a ten B pencil working with the side of the lid. However, since this area require deep shading, I do apply some pressure to ensure they are sufficiently dark. Subtle contrast is what makes the drawing look even more realistic. Once all these elements are in place, I can use my blending tool making server motions for a better result. However, I specifically used the blending stem dedicated to dark areas, as I have multiple blending stems. This way, when working on lighter zones, I will avoid unintentionally transferring excess graphite from the darker areas. Now this is done, I will adjust this area slightly as some parts appear a bit lighter. I refine them using my precision eraser, making sure to be as accurate as possible. These adjustments are very slow, but certain marks stand out, so I make sure to correct them. I also notice that some areas need to be darker, so I go over them more precisely. And what that is done, we can Uh, move on to shading the tongue. Observing it, we can see that it is divided into two sections, the upper part that is relatively dark and the lower part that is lighter. So to start, I apply a quick HB shading to establish a light base on the tongue. Okay, now that this is done, I can start shading using circular motion, and I can do this relatively quickly, as well. The goal with this tongue is twofold. Create volume and define the folds visible on the tongue through proper shading, and then convey the texture of the tongue, which has numerous taste buds scattered across its surface. You will see that there's no need for excessive detail. A few well placed elements will be enough to make the tongue look realistic. Now I move on to more precise shading. Observing this area, I notice that as I mentioned earlier, this upper part is darker. So I start by defining it with four B pencil, applying a more defined shading than before. Previously, everything was covered with HB, but this section is significantly darker, so I now use four B, and I work with the side of my pencil lead to ensure smooth application. And once this shading is in place, I will blend everything, allowing me to refine the details more precisely in the next step. Now I observe the different shading elements on the tongue. There are some darker areas, particularly on the right edge, which appears quite shadow. The central part also has slightly darker section, and these shadows will help define the thickness of the tongue. So using my four B pencil, I lightly mark these areas. And I also notice that the central zone and the left side contain additional dark elements, which I had to better define the folds of my tongue. And once this is done, I will blend everything, and little by little, the tongue will start to appear more three dimensional. Now I am going to refine my work fervor. Using a darker pencil, I focus on the upper part of the tongue, adding more dark elements to enhance the volume. So I work precisely using the tip of my pencil, placing tightly packed dark marks, and then drawing them out carefully. Since the patterns in this area are quite irregular, they consist of small line of variously sized dots. I had them without overthinking. Sometimes I simply scribble in certain areas, and that's enough to get a good result. So I constantly observe my reference photo, identifying which elements stand out the most before adding them. And overall, I would say that this upper area is almost complete and we'll move on to the rest of the tongue. For the rest of the tongue, I continue adding details, focusing on the taste buds. Like in the upper section, I use small lines and dots varying their size and shape. Some are more elongated, while others are wider or more compact. So I build up this texture with a light scribbled approach. What's most important when adding taste buds is the variation in values depending on their position and the light heating the some areas appear darker while others remain lighter. To achieve the right effect, I take my time carefully observing subtle changes in value and shading by adjusting the pressure on my pencil, I ensure that each detail is accurately shaded, and that's what I'm doing now, still using the same pencil, simply adapting my pressure to match the contrast and depth I observe in the different areas. Uh, You You And finally, to complete my work, I use the precision eraser to create lighter areas. So first, I go over the line I previously drew since the dark elements don't always appear as a solid line. So I break it up slightly to make it look more natural. Then I had all the lighter details visible on the tongue. And once that is done, the mouth drawing is finished and we can move on to a new subject. So I hope this tutorial was helpful and enjoyable and that you also tried drawing this tongue. If you you knew 9. How to draw an eye – front view: In this section, we will study the eye with four different views front, profile, three quarter, and a closed eye. These variations will help us to understand how the eye changes depending on the view that we have of it. The eye is the most expressive part of the face. It is what conveys the most emotion, and it's truly the work on your eye that will bring life to your drawing and to your artwork. So the work on the eye deserves more attention to your portrait as it is clearly the most important elements of the face. So eye that we will be drawing in this tutorial, we will at first start by studying the different eyes. We will have an analysis of the different eyes to really understand the structure of the eye. And don't skip that part because it is really important to understand how the I is formed because this will help us to draw it more easily and with some better proportions. We will try to look for references and landmarks that will help us to have a better drawing of the eye. So we will do that for every single eye that we will be drawing at the beginning of each at the end of this video, I will introduce you to a very helpful tool that will help you to draw the eye with every angle from the side, from up or down, three quarter view up, three quarter view down, et cetera. It will be a very helpful tool. It's not magical, but still very helpful, and I will show you that at the end of this video. So now let's practice and draw these four eyes together. Welcome to this tutorial, and today we are going to draw this man's e. Before we start drawing, we can first analyze the proportions and key reference points that will help us achieve a realistic eye. These observations are essential for placing each element correctly and avoid mistakes right from the start. So to structure the e at first, we can imagine a line that divides it into two in two parts. If we draw an imaginary line starting from the left corner of the eye, we can see that it almost perfectly divided into two equal parts. Guideline is very useful as it will help us better structure the overall shape of the eye. However, it's not perfectly centered because for instance, the iris is not perfectly centered. If we look more closely, we notice that the iris is not divided into two perfectly equal parts by this line, as the upper part is bigger than the lower one, but it's good to know we can use this to have a better drawing. Additionally, this line can be also very useful, for instance, with the pupil, because if you look at it, you can see that the pupil is slightly above this line, which is an important detail to keep in mind, and it will be easier for us to draw this pupil later on. Next, we can also divide this eye into three equal parts. When carefully observing, we can break the eye into three parts, and these parts are almost of the same size. So first, we could have the white of the eye on the left, the iris in the center, and the white on the right of the eye on the right with a small pinkish area in the inner corner. And this three part division gives us another helpful reference for drawing the eye more accurately. Also what can be useful is this precise reference point that can help us place the iris correctly, this red point. To position the iris correctly, we can use this red dot marking the intersection of these two diagonal lines, these lines moving upward while the other extends towards the left. And the intersection of these two elements gives us this reference point which is very useful for ensuring the iris is placed correctly. Now, let's have a look at the reference itself and see all the elements that can be interesting to draw this accurately. So, for instance, for the iris, we can see that it is very bright at the center right around the pupil. However, it gradually darkens along the edges and at the bottom, especially on the left side of the iris. And this variation in value will be important to create depth and realism. If you look at the iris also, we can see that it has a lot of details, which can seem pretty complex, but you will see that we will break it down very easily, and step by step, we will create an iris that looks very realistic. If we're still looking at the iris, we can see that the reflection in the eye is not completely white, and that is an important detail because contrary to what we might think, the light reflection in the eye is not pure white. In reality, it appears slightly gray and even contains some visible eyelashes inside it. These subtle variations are crucial for achieving a realistic effect. Also the white of the eye is not entirely white because the term white of the eye is misleading, sorry, because this area is actually composed of different shades of gray. And these subtle tones help to create volume and depth within the eye. So it's important to avoid using a completely uniform white. Also now if you look at the eyelashes, we can see that the upper and lower one are not the same. The upper eyelashes are more numerous, darker, and more defined. And in contrast, the lower eyelashes are thinner, lighter, and less prominent. Respecting this difference is essential to keeping the drawing natural and realistic. And the skin around the eye has relief and creates shadow, important shadow. The skin below the eye has various reliefs that create light and shadow contrast. And we can also see a noticeable hollow on the right side of the eye that shows that the eye is deeply set in its socket. And we can achieve and create this effect because of the work on the light and shadow that we will do. And finally, for the eyebrow, we can see that it has variations in thickness, in hair direction, and shading. Unlike a simple uniform line, the eyebrow consists of hairs of different lengths and orientation. Some areas are denser and darker while others are lighter and more spars. So with all these references, we have everything we need to draw realistic eye. So I know it is a lot of information, but I think that these observations will help us to place each part of the eye precisely and achieve a convincing result. So now it's time to apply everything we have learned and start drawing. Oh, one last detail before we begin, I promise this is the last one. This eye can be broken down into simple shapes. On the upper part, we can sketche the base using free straight lines while the lower part is defined by a more curved line. And that's exactly what we are going to do now. Start the drawing by building the eye with these basic geometric shapes. Let's get started for real. Et's start working on this I. As you can see, I have drawn this small line that we have represented in the reference photo with the green line, which helps to divide our I into two parts. Almost equal. Now I can begin drawing and tracing this kind of vertical line that connects to our eye line eyelashes line. So I'll start by working on the contour of my eye using rabo straight lines for the upper part where we can see that there isn't much curvature. So here we have a line with this inclination, and we have a second line with a slightly lower inclination before reaching the leftmost part with this line that slopes down well. This line where the eyelashes are. Next, I can continue with the lower line. And what we notice here is that this line divides the space quite evenly into two parts almost evenly. So it's as if the upper part is equal to the lower part. So I try to position the lowest point of my eye, keeping in mind that it should be at almost the same distance as the upper part. So I place it approximately at the same spacing, though slightly less. A small point will serve as a reference for me to then draw my eye and its lower part. And we can see that here, the shape is rather rounded and smoothly connects to the left side. There isn't a steep slope joining both sides. So I try to trace that in turn before reaching the right corner where the inner corner of our eye differs from the left corner. Now comes the moment to position the Iris. This is a very important step because it determines whether or not the eye will be recognizable. So remember what we discussed earlier. We said that the Iris occupies about one third of the surface of the e. And if I wanted to, I could draw a full circle, but that's not mandatory. What I also remember is that when we looked at it using the green light, we noticed that the rounded part really started from the green light. That's where the lower part became noticeably more curved. Based on these guidelines, I would be able to draw the eye more easily. Another thing to remember is that the upper right part of the eye could start at the intersection of the vertical and the more horizontal line. So with all these elements, I am going to draw my iris, and if necessary, I will adjust it and modify it. What will also help me is observing the spacing between the iris and the lower part of the eye. Then we go for it and draw it. If it doesn't look right, we can always modify it. So there's no need to hesitate for ages. We can always correct and adjust. That's the advantage of using a pencil. So here, you see, I am drawing this vertical line starting from this corner to help position my iris. This can also serve as a guide to assist in drawing it more accurately. For the iris, we are pretty good. It seems well positioned. From here, I can start drawing the lash line at the top. It extend to the furthest left point and also crosses the iris area, so we can define it. And on the right side as well, we can see a few lashes that we can lightly mark. Next, I will make some slight adjustment to the corner of the eye. The corner won't stay as it is now. I need to refine its trajectory to enter it matches the reference photo as accurately as possible. We can observe a few angles in this area. I mark them, but nothing too complicated at this stage. There is also a shadow area that marks the end of the white of the eye and helps define the eye corner as well. Then I can draw the pupil. To do this, I use the guideline I had previously drawn. You know, the green line? Because when looking closely at our reference, we can see that the pupil is positioned just above it. To check if the pupil is correctly placed, I can observe the distance between it and the purple lash line I have drawn, making sure the spacing matches that of the reference photo. And finally, I had the eyes eyelight which overlaps the pupil and has a somewhat geometric shape. Now I can start marking additional elements, particularly these lines above the eye. For example, this line that's follow the lash line closely. We will also have some shading in the eye socket area with lines that help define its shape and also the volume in this area. Then once this is done, I can mark all the lines found below the eye, starting with the first one where the lower eye lashes are. I observe the separation between the eye area and this line, check the spacing, and then draw it. The same goes for the different lines on the eyelid that separate the various areas. I can draw them as well. These will serve as reference points, helping me determine where to apply shading before actually shading the drawing. And finally, I can draw the eyebrow line. I observe the spacing between the eye and the eyebrow line, and then I trace it accordingly. At this stage, I would say that the surrounding area of the eye are well defined with all key elements clearly marked. Finally, in my base sketch, I will add a bit more detail to the iris area. This will make the shading easier later on. We can notice that just around the pupil, there is a slightly lighter area, which I can define. In contrast, around the outer edge of the iris, there is a darker area that I can also mark. Inside the iris, there are many small details, but I don't think it's necessary to outline all of them at this stage. We will define them during the shading process. Lightly tap with my needed eraser to soften my sketch lines, and then we can begin. I start by shading the pupil, making it very dark, using a ten B, 12 B, or even 14 B pencil, it doesn't matter. I want to tip black. I like to begin with the pupil because I know it should be completely black. This way, I can set the right value and use it as a reference to compare the grays I will apply later. Now we can start shading and working on the iris. What we can observe is that right next to the pupil, there is a slightly lighter area. So I can mark it using an HB pencil and blend it with small circle of motions. However, this area won't remain uniform. It won't have just one single value. There will be some darker strokes and fine lines, so I will add them to bring more detail and realism to this section. It doesn't take long to add these small elements, and once that is done, we can consider this area finished and move on to the rest of the IRs. For the Iris, I choose to apply a base layer of HB over the entire area. This will allow me to later add darker details and yes, and more detail elements on top. Essentially, I am creating a foundation on which I can build up the details. After blending all these elements, we can start refining the entire iris area, beginning with the outer edge, which is darker. On the sides on the right side, I'm going to use a four B pencil, applying small strokes that I will most likely blend later. However, what we can see is that as we move towards the lower part, especially on the left side, it becomes darker. So instead of continuing with a four B pencil, I now switch to an eight B pencil to deepen those shadows further. Now that my area has been blended, it's time to refine all these details properly. I have noticed that the lower part, especially the contour of the eye is no longer dark enough due to the blending. I will need to rework that later, but it's not a big issue. For now, let's focus on these small details, the tiny elements that make the iris look so intricate. I am working with an AB pencil, and I want to emphasize that my pencils are extremely well sharpened because I need to work with the fine tip to ensure precision. I closely observe all these little patterns in the iris, and for each one, I identify its position, determine its value, and then carefully outline it. After that, I refine the shape and had small strokes inside to define it further. This step is really about patience and observation. The key is to analyze each small pattern, place it in relation to the others, and then gradually build up the details to shape the eye realistically. Some eyes won't have as many intricate patterns depending on the model and the reference photograph. But this particular one has a lot of fine details, making it a great subject for practice. It forces you to observe carefully and position all these elements methodically. Most of these patterns tend to have geometric or relatively straight shapes, so I place them accordingly. However, not all patterns have the same value. Some areas, especially on the right side, appear slightly lighter. Pay attention to this variation as you work through the entire ras, adding each element one by one. My iris is really taking shape, so I'm going to add a few final details. As I mentioned earlier, the control of the eye wasn't dark enough and wasn't standing out as much as it should. So I'm going to rework that. On the left side, to enhance the contrast even more, I would switch to a ten B pencil. This will create a stronger contrast and make the edge appear darker. So I am making these last adjustments to refine the eye, and once that is done, the iris will be complete. The next step will be to work on the reflection near the pupil. 10. How to draw an eye – front view, part II: Now looking at the reflection near the pupil, we can see that it isn't pure white. So I will start by applying a light shading with an HB pencil in this area to create a soft base. Then I blend everything to keep it smooth. Over the base, we have a slightly darker details, a few slightly darker details, which I can add using a four B pencil. So I carefully mark these elements trying to be as precise as possible by observing how they appear in my reference photo. I may erase and refine them slightly with my erase open, but if they are not identical, it's not a big deal as long as the reflection looks well worked. One more detail to note in this reflection is that a few fine hairs of our eyelashes are visible. So I add these as well, and that will complete our eye raise. Next, we move to the white we move on to the white of the eye. You will notice that I have erased the initial guidelines from this area. However, it's not actually white, which is why I start with a very light shading. So one key observation is that the right side of the white of the eye is slightly darker than the left. Keeping this in mind helps achieve a more realistic rendering. So I blend everything carefully to establish a smooth base. And once the base shading is well blended, we will start to add small details such as subtle veins and tiny elements that stand out slightly. These additions will make the area look more realistic and three dimensional. Mm hm. I will now work on the white of the eye area in a bit more detail. What we notice is that all around the iris, especially on the right side and slightly on the upper left, there is a slightly darker element right next to the iris. So I mark it as well as on the left side. Adding these elements allow me to create a more natural transition between the iris and the white of the eye. We also notice that in the left corner, there are slightly darker areas with small veins visible. I add them, and I slightly blend these elements because I want them to merge smoothly with the rest of the white of the eye. Then using um sharp pencil. I can add a few fine details that I want blend to enhance the area, such as small veins that are more noticeable. And overall, there aren't too many visible ones in this area. Next, I can move on to the inner corner of the eye where the shadow is slightly pronounced while the corner itself is a bit lighter. So I adjust my pencil to achieve the right values in these different areas. However, in the shadowed area I have added, the value is not uniform everywhere. Some areas are slightly lighter. This is why working with an eraser pen is important to create the different shades of gray present in this area. Now that we have finished working on this eye area, as we were discussing, we will focus on the surrounding elements to create volume in this area. This starts with the hollow around the eye where different shades of gray are essential to adding depth. I begin by shading with my pencil. We can see that this edge and the upper part are quite dark while the lower part shows a difference in value with a slightly lighter area. So I carefully mark these elements, paying close attention to the different values and adjust pressure on my pencil to create darker or lighter areas as needed. I make sure to use the side of my pencil tip, my pencil lead so that the blending and smoothing of the shading will be as effective and seamless as possible. Next, I shade the entire area where the individual eyelashes will be. Since there won't be hairs coloring the entire eyelash area, there will be a layer of skin, and on top of that, a few individual eyelashes. We actually a little bit we actually see a little bit of skin. So that's important to shade it first. So I start by marking the skin area, ensuring that some parts are darker than others. Then I blend everything quickly, even though the video was sped up a little bit. And then I move on to drawing the upper line just above the eyelashes. This line needs to be quite dark. So I use a 12 B pencil with a well sharpened tip to get the right value. However, as we move towards the right side, it gradually becomes a little bit lighter as it descends, so I will likely adjust my pencil strokes accordingly when I will draw it. At this point, I also refined some areas, especially the darker sections near the edge of the eye. There will also be some eyelashes here, so it is crucial to work on the base properly, darker base before adding these finer details. Okay, at this stage, I will say that we have a solid foundation in these different areas. However, the inner corner of the eye s a bit of volume and some darker elements, so I will had those before fully focusing on the individual eyelashes in the area. So I I made these small adjustments, and now it's time to work on the eyelashes. I start with the eyelashes on the left, where we can see that some of them are grouped together. As I draw them, I carefully observe their direction, their length, and thickness before committing to my strokes. In this particular model, the eyelashes are consistently dark throughout, but this is not always the case for everyone. That's why it is crucial to take the time to observe the value of each eyelash when drawing someone's eye. However, in this case, the lashes remain dark across the entire area for this person. Next, I'm going to refine a little bit the eye by adding smaller details. For example, on the lower part, I noticed a missing small line and also had a slightly more visible dark line near the white of the eye. Overall, I would say this section is complete, so I can move on to the upper area, the skin area where I start by shading the skin using an HB pencil. I use an HB pencil here because it is a relatively light skin area, and I can also shape the skin above the eyebrow before fully working on the eyebrow itself. However, on the right side, I want only use the HB pencil because there is a recessed area, and therefore there is volume. And so the area is a little bit darker. That's why I will use the four B pencil in here. Next, we are going to shade the eyebrow area. We can divide this section into three parts. The left side is lighter because there are fewer hairs, meaning more visible skill, which is naturally lighter than the eyebrow hairs. In the middle section, the hairs become more prominent, making this area slightly darker overall. And on the right side, the shading becomes even darker due to the higher density of hairs in that region. And to achieve this, I'm going to use a 14 B pencil, but I don't press too hard. I keep a control touch. I also work primarily with the side of my pencil tip to lay down an initial base layer of shading before refining the details. I have blended the entire area, and now I can start working on the individual hairs of the eyebrow. One thing to note is that on the outer left side, several hairs extend slightly beyond the skin area. So I add them, keeping in mind that these hairs are fine and relatively light. To achieve this, I use only my four B pencil, but I apply very little pressure as I don't want them to appear too dark. These lighter hairs are also present on the side, as well as on the upper part of the eyebrow. I carefully mark them to replicate this effect and ensure that the result matches the reference with delicate and natural looking hairs in this area. I have sharpened my pencil because it wasn't no longer precise enough and maintaining sharp pencil is crucial when working on eyebrows. Still using the four B for now, I had more hairs in the slightly darker area. Since I want this section to appear darker, I apply more pressure with my four B pencil to enhance the depth. For the central area, which is significantly darker, I switch to a much softer pencil. I use a 12 B and 14 B will also work well, applying firm pressure to achieve deep and rich tone. This section has a high density of hairs, making it appear much fuller. Another key observation is that the hair in this area are slightly longer than those I previously drew. So I take that into account when adding them. I carefully observe both the length and direction as not all eyebrow hairs follow the same pattern. Keeping this variation in mind is essential for achieving a natural look. With that, I would say the eyebrow is complete, and we can move on to the next step. Now that I have applied my base shading to the skin area, I am going to refine it. To do this, I will use a slightly darker pencil. To B seems like a good choice and the same effect could also be achieved with an HB pencil by applying more pressure. So I begin by adding small touches here and there to emphasize the natural irregularities of the skin. Then to highlight certain lighter areas, I use my eraser pen to gently leave some graphite in specific spots, creating subtle highlights, therefore. This contrast helps give the skin more texture and definition. And with this approach, the skin area will be well worked and clearly defined. Mm. Now we can move on to the lower eyelid, a highly detailed area where it is sometimes difficult to know where to start. When working on this part, I like to begin by marking the darker elements. Using a two B pencil, I define the folds of the eyelid and the line where the individual lower lashes will be making it darker than the rest of the elements I will head after. I also had shading to the small dark edge on the side. Additionally, I noticed that the lower contour of the line of the eye isn't dark enough and doesn't stand out as much as it should. So I reinforce it to improve its definition. Now between these elements, I can start shading. In some area, I can use the two B pencil, but I think that for most of the surface, the HB is likely the best choice as it gives a lighter, more natural result. But whether using HB or applying the two B lightly, the key is to ensure a noticeable contrast between the previously added darker elements and the new shading to create depth and dimension in the area. Since this area is bigger than the other one I blended, I'm going to use a tissue this time wrapped around my finger making circle motion to achieve smooth shading. For areas that require more precision, I switch to my blending stem to refine the details more accurately. At this stage, I notice a few things. First, I need to precisely rework the edge of the eye as the lower control line isn't standing out enough, so I reinforce it. Next, I'm going to adjust my shading in different areas as some shadows have faded due to blending, and in some places, I hadn't initially made them dark enough. So for the darkest areas of the lower eyelid, I use a four B pencil to ensure good contrast. Then I will incorporate B for the surrounding section, adjusting the pressure to create varying level of darkness based on the shadow intensity. Once these adjustments are in place, I will blend everything again this time using the blending stump for greater precision. Since this is the second step of shading, the goal is to refine the different tunnel areas, adding more precision and depth to the shading while entering smooth transitions. Now, I am going to focus on adding texture to this area, which involves incorporating many small details. So first, I start by drawing a few well defined lines that are clearly visible in the area. These will serve as reference points when adding finer details across different sections. Next, in the area where the eyelashes will be, I notice several small, a little bit darker elements, so I add them to enhance the realism. Between these darker sections that we added before, I observe many tiny, slightly darker touches scattered throughout. I incorporate these as well as they significantly contribute to the overall skin texture of the lower anglid. Essentially, the texture consists of small darker elements, tiny lines and dots placed strategically, which make the area appear more realistic. At this stage, I have added subtle darker elements without creating a drastic contrast, just enough to make a noticeable difference from the previous shading. Next, I will refine the highlights in the area. For that purpose, I will use a precision eraser hand and lift specific areas where the highlights stand out, which helps enhance the overall definition and contrast of the work. And I take my time to place them accurately in the area. And finally, I will hug the darkest elements in this area. This includes the fine lower eyelashes, which, while not extremely dark, stand out more than the previously added detail, so I make sure they are clearly defined. Additionally, in the darkest shadowed sections of the eyelid, I reinforce the shading to emphasize depth. So that's my main focus now. And once these elements are in place, the first eye will be complete. And that concludes this first tutorial on drawing eyes. Now let's move on to the second one, which will focus on drawing an eye in profile view. 11. How to draw an eye – three-quarter view: Let's move on to our third eye tutorial, the free quarter view. This time, we'll be drawing an eye from a free quarter perspective, which is often considered the most challenging angle. That's because the eye appears in positions that may seem slightly unnatural. However, with practice and experience, you will see that drawing it follows the same principle as any other eye. By breaking it down into simple shapes, we'll make the process much easier. So don't worry, it's going to go smoothly. So we can start by sketching the eye with simple lines. To begin, I analyze the eye and break it down into simple guiding lines. These help establish an easy follow, easy to follow contour. Using straight line, we can create we can first create a geometric shape that gives tracture to the eye. And from there, we can refine the details inside and make adjustments as needed by comparing different elements to each other. The key takeaway here is that by using these basic guidelines, anyone can approach this drawing confidently. Then the vertical guideline helps position the iris more accurately. We could also add the slightly vertical line at the intersection of the lower guiding lines. This will help us determine the correct placement of the iris. With this extra reference, it becomes much easier to define the right side of the iris and ensure it is correctly positioned. Then a horizontal guideline help place additional details. Just like the eye in the front view eye tutorial, a horizontal guideline can also be very useful. It helps us position important features such as the eyelight in the middle of the iris. Additionally, this line serves as a reference to compare distances between elements. For example, we can use it to measure the height of the eyelashes, comparing them to the reference photo and our drawing to check if the proportions are accurate. By making these comparisons, we ensure a more realistic drawing. Then we can see let's talk about the eye in general, from a free quarter view with this eye. We can see that it has fewer details than the front view, making it easier to draw. And the eye race in particular, appears less detail, which would make the drawing slightly easier. The light and shadow work we will apply here will be very similar to what we did with the other eyes. The only difference is that the elements may appear slightly different due to the perspective, which might alter the placements of shadow. However, the overall technique remains the same. Now that we have analyzed the structure and identify a key reference point, it's time to put everything into practice. So let's get started. Let's get started with the contour of the eye. So to draw it, I will use the simple shapes, this line that we made on the reference using this purple element to help myself and these green lines. For the proportion, I will try to be as accurate as possible, but it's only once all the elements will be put together that I will be able to tell if my proportions are right or if they need some adjustments. For the iris, you can see that it has a pretty circular shape on the side and on the upper part as well. Whereas on the lower part, it will follow the trajectory of the eye contour. Now I can position the iris. As you saw, to position it correctly, I use this dotted line that I added, which corresponds to the yellow line we saw in our reference photo. This helps me place it in the right spot. Next, I draw its circular shape on both sides and on the upper part. Then I refine my outlines a bit more and adjust this side because when zooming in on the eye, we can see that the part of the lower eyelid appears to extend into the iris. It's a mix of the white of the eye and the surrounding skin, so it's not very clear for now. It will be better once we have shaded everything. I am also modifying the upper outline slightly because I felt it didn't quite match what I saw in the reference photo. On the right side, we can have this small triangle which represent the inner corner of the eye. It might seem surprising, but it is due to the position of the eye. Once all the elements will be shaded and placed together, I think that everything will look more natural. And I can have the circular line that is the eyelid of the upper eyelid of the eye seen from this angle. Now I am adding this pink line that we had created and which devices are high in two. And by placing it, I realized that I had done things incorrectly because the lower part is too large. I should have thought of adding it earlier, but I had forgotten. So this allows me to see that this area isn't right and needs to be adjusted. I'm going to redo the same lines in almost the same places, but I will position them slightly higher. That is, I will keep the same I will keep the same trajectory just shifting it slightly upward so that the iris becomes a bit smaller than it is now. Once that is modified, I think my eye will be correct and we will be able to add all the other elements that are part of it. Sometimes, once all the elements are in place, and by using these reference lines and guide for comparison, we realize that some parts are off, and it's better to correct them immediately to ensure we have a solid base for proper shading later on. Now I can add the remaining elements. For example, this reflection in the middle of the eye. I can't position it correctly thanks to this line in the middle of my eye and also this line that separates the eyelid, which is important and needs to be clearly defined. Essentially, I'm adding all the lines that seem essential for my shading so that I can achieve the best possible shading in this area. Ultimately, creating depth and volume in the eye. That's what I want Indiana. We will define the lower eyelid as well, the eyebrow line and all these elements that will help ensure good shading in the area. A Let's start shading this iris. In this case, it's actually going to be easier than when we worked on the front view eye because this iris is much less detail. There are few small intricate elements, so it should be a little less complicated. What was more challenging was defining the eye correctly from a three quarter angle, which is always a bit trickier than a front view when it comes to positioning the different elements. We can see that all around the light reflection, that's where the darkest elements are. So I started shading them with a medium dark value. And between these areas, I applied some HB, which seems like the right value, not too dark, but not too light either as I did apply some pressure to the pencil. After blending everything, I can now add darker elements in this area using my four B pencil. We can see that the outline will be darker as well as the central area, which appears darker as well. Since blending has lightened some of the values, making them lose a bit of their depth, I'm going to refine those parts to ensure the right values in the area. The right side will also be slightly darker, so I will work on that as well. Little by little, the irons will take shape, but we won't need to spend too much time adding many tiny details because in the end, there are very few truly complex elements here. The edge of the eye will be also slightly darker, so I will work on that point as well. As for the reflection of the eye, I am going to slightly gray it out because it's not completely white. However, with a precision eraser, I can remove a bit of graphite as there are still some lighter elements that stand out. That's what I did trying to be as precise as possible, although it's quite challenging since the area is very small. The important thing is to have a few details that stand out slightly within this reflection. So I am adding a few more small touches here and there, and overall, the iris is almost finished. Next, we will shade the white of the eye, but we can see that it won't be white at all. On the contrary, it has a noticeably gray tone, and I will try to make that stand out as best as possible. I have blended different elements in the white of the eye, and in the upper part near the eres, you can see that I added a bit of darker gray because this area touching this iris is slightly darker. Now I can refine the white of the eye by adding small veins and slightly darker details which will help which will help, sorry, make this area look more realistic and slightly more texture. However, overall, there's no need to spend too much time on this part. Just a few well placed details will make this area look realistic. What we can also notice in this area is that there are some small elements that appear lighter. So I use an eraser to bring them out to bring out these small highlights. So let's continue. And now, what I'm going to do is start by shading this area just a little more right above the eye. We can see that we had a fairly dark little element, well, just above the eye ris to be more precise. And now I can come in and shade this area on the side of the eye. Now this is somewhat a little bit tricky tricky area because it's a little dark, but it shouldn't be too dark either, as it still needs to stand out in relation to what we see at the level of the iris. So the difference should still be fairly subtle about the value. That's why here, I am starting by going over it with an HB pencil, sorry, and afterward, if needed, that would have darker element on top. However, there's a really strong contrast that sharply stands out from the element around it. This kind of triangular shape, for instance, we can see that it is really quite dark. So, of course, I don't hesitate to go for it here with my four B pencil. At the moment, it's true that my eye still isn't fully satisfying me because right now, it's still hard to truly recognize this woman. We'll really be able to get a clear sense of it once all the surrounding elements are in place. When we will have added the eyelashes, worked on the eyelid, and incorporated the many hollows and reliefs that exist in the area. So patience is the key, and we have to trust the process. So there we go. We continue step by step. Now I can start shading this area above the eye, beginning with the section where the eyelashes will be. And in the area where the eyelashes will be, the shading needs to be a little darker. That's why I don't hesitate to press firmly with the pencil to make sure it stands out well at the level of the eyelashes. Even though this is my base, it's technically the skin area where the individual hairs will be. And so my base need to be relatively dark. However, as I move up toward the eyelid, where it will be purely skin without any airs, I apply much lighter pressure with the pencil before making it dark again to emphasize the line just above. Now, I am going to shade the entire skin area in this section, and we can see that there will be a lot of relief to create, a lot of volume. In particular, on the right side, there is a hollow that is defined by clearly dark elements. So I make sure to emphasize those well. And even if for now my pencil strokes aren't extremely precise, I am still trying to clearly define the different skin areas that will be present in this section. Then I will shade the entire surrounding skin area. That way, we can establish a solid base across the whole section and later add texture. So even though this is a relatively large skin area, it isn't particularly complex to work on. That's why I allow myself to shade the entire section at once the skin area above the eye. I have done a quick blending of the area. Now I am able to refine my shading areas a bit more precisely, particularly the darker tones, because I feel like they are not standing out enough. That's a bit of an issue when blending. While it does create a nice smooth surface to work on, unfortunately, some elements become a little too light again. So I emphasize these darker areas with a four B pencil. And overall, I think the entire section here on the right isn't dark enough, so I'll go over it again with my four B pencil to get the right values. Then I will blend everything again. This will be the final blending for this area. After that, I will have the small details section in this section of skin that gives it its slightly complex texture. These texture elements would simply appear a small lines scattered here and there. Before that, as you can see, right now, I go back over this line a little because I want it to stand out more, and I only really notice it now since all the surrounding elements are in place. I felt that it wasn't standing out enough. And so after refining that line, you can see that I was able to add other fine lines as well. Now, within this section, I will add those detail elements. This is a highly texture skin area, and to create that texture, I am adding small lines here and there. They are slightly darker than the base layer underneath, and to make them stand out, I darken them as needed. Later, I might add some highlights by lightly erasing with the pencil if necessary. But this is how step by step, the skin area will take on depth and most importantly, become much more realistic. And around this line as well, you can see that slightly darker elements, well, above sorry, above this line, you can see that some slightly darker elements need to be added. And afterwards, I can also work on the eyelid area to make it more realistic and had some finer details there as well. So here in this area of the eyelid, there are quite a few darker elements, and overall, the entire section is darker than this. So I'm working with my dark pencil, adding small marks here and there. And finally, what I would also do is refine the upper area by adding some slightly darker elements as well here and there and also had some highlights with my eraser pen to remove a little bit of the graphite. Now, I take my time to work on the individual eyelashes in this area. They are quite long and really dark, and most importantly, they will have a rabber pronounced curve when they are on the right side. So I really take my time before drawing them, carefully observing their direction and their length. If I want, I can also pretend to make the movement, practicing it in the air to ensure that I place it correctly. And once I am confident, I go ahead and draw it. In the end, we can see that this area we worked on, the entire section above the eye, didn't take a huge amount of time, but it makes a real difference. Now the eye is really starting to take shape and resemble that of this woman. At this point, with my dark pencil, I can also go back and refine certain areas of the eye that I don't find dark enough. Sometimes it's only after placing the elements all around that you realize that there are some small adjustments to be made. Now let's move on to the lower eyelid area. As usual, I start by applying a quick shading, which I then blend before working on all the details in this section. This area will be quite similar to the upper part. Yes, on the upper part, I had forgotten to add these slightly lighter elements, so I go back and mark them. Now, returning to the slower section, this will also be an area where we need to create volume. The approach will be somewhat similar to what we did on the upper section, but also slightly different because here the volume we need to create will be mainly in the small wrinkles present. Eyelid can sometimes have the slightly puffy effect, so we need to replicate that volume as well. With my pencil, I will focus on marking the small shaded area scattered throughout. We can also see that the eyelashes need to be worked on, but on the lower part, they are more subtle. We will limit them to just one or two hairs, pretty dark. I mean, it's really important to take the time to carefully observe each eyelash, its thickness, and its number. A common mistake is making the lower eyelashes too prominent when in reality, there are only a few and you don't see them much. So these are a few things to be mindful of. The eraso pen will also be very useful for highlighting and creating volume in these small wrinkles and folds. Another point I wanted to revisit. Earlier, I went over the darker areas again with my pencil because I felt they were too light. This is something that happens quite often, quite often. Sometimes people feel that their area doesn't stand out enough compared to the reference photo, that there isn't enough volume and it doesn't look three dimensional enough. One of the answer I often give is that people sometimes hesitate to darken certain elements out of fear that it will be difficult to erase them later. But it's important to take the time to observe carefully because very often drawings lack contrast in darker elements simply because the person isn't willing to use a 12 B or 14 B pencil in certain spots instead of staying with lighter shades. So the approach could be, as I did here to start with lighter elements and then gradually add darker details later when you realize that certain areas aren't standing enough, standing out enough. So one thing you can do is just take the time you observe you draw an area, you observe it. And when you see that some elements don't stand out enough, well, you shade them again. So yourself this question every time you finish an area. Is this area dark enough, or do I need to add a little bit more of some very dark pencils as ten, 12, 14 B pencil, for example. Now, let's finish with the eyebrow on the upper part. I started by applying a base which I blend. Then I can add the individual hairs of the eyebrow. This is not a very dark eyebrow. Eyebrows follow a certain curve with a slight wave. It is important to take the time to capture these correctly to create the right movement within the ear. And after this, we'll be able to move on to the final tutorial, which focused on the closed eye. 12. COURS PORTRAIT YEUX ANGLAIS 2 PROFIL : Let's get started with our second drawing model, the I in profile view. This time we are drawing the I from a side view. The profile I is generally the easiest to draw because we only see a small portion of it. However, that doesn't mean we should overlook important detail. There are still a few key elements to keep in mind. So we can start by sketching the eye with simple lines. If we look at this profile eye, we can see that its basic shape can be drawn using simple lines. We begin with two lines extending upward and downward to define its contour. What we can see also about the iris is that it has a straight edge on the left and a curved edge on the right. We notice that the left side is represented by the straight line while the right side in contrast is more curved. And this distinction helps define the shape and depth of the eye in profile view. Now looking at the eyelashes, we can see that we can first outline them as a general shape before adding individual details. This approach helps maintain a structured look before refining them all at once. And overall, there isn't much more to add about the profile eye. It is relatively simple to construct. So without further ado, let's get started to draw this eye. Let's begin drawing our eye in profile view. The shape that best represents this perspective, sorry, is a triangle. So I start by sketching a triangle or base. Inside this triangle, I draw the iris. One key observation about this iris is that the left side appears relatively straight, while the right side has a more rounded shape. Initially, I made it a little bit too curved, so I adjusted to better match the correct form. Next, I move to the upper area where we can see the eyelid and the eyelashes. So I draw the eyelid with a consistent spacing from start to finish using a slightly straight line to define it. As for the eyelashes, they form a clustered mass in this area. While I will refine them later and draw them individually later, I outline their general shape now. I then add a small line to define the lower eyelid. Now it's time to sketch the eyebrow. To position it correctly, I observe that the thickness of the eye is roughly equal to the distance between the eye and the eyebrow. Using this measurement, I accurately place the eyebrow. Comparing the elements like this is always helpful for achieving the right proportions. So I draw the eyebrow, making sure it extends slightly beyond the area where the eyelashes are positioned. I also make a slight adjustment to I'm going to make a slight adjustment also to the ed as it wasn't quite thick enough, I think. So just above the eye also, I define a slightly darker area where the eyelashes will be. And finally, before shading, I'm going to lightly tap over my lines with a needed eraser to soften them entering they remain visible but not too prominent. This tap prepares the drawing for the shading phase, making it look more natural and refine. Start shading the iris. So I begin with this lower part, which may be slightly lighter. Of course, not everything will be that light, but for now, I can already mark some areas. On top of that, I will add darker elements later. We can also notice that the upper part of this iris is slightly lighter as well. Again, it won't be uniformly light everywhere, but at least I can build on top of it and add darker element after. If I had started by marking the darker elements first, it would have been more complicated to bring out these lighter areas. So it is important to anticipate this. When it comes to planning ahead, highlighting lighter areas is a key aspect of drawing. Now, in between area, I have applied something very much darker because, again, it won't be entirely black everywhere. So I started by laying down a lighter shade in um, something dark but not as dark as the elements I am adding right now. And now I am using the tip of my pencil, and I mark these darkest elements. It can be done with ten B, 12 B, or 14 B, whatever allows us to really emphasize these black details. In the upper area, I can also add some slightly darker elements. And the same goes for the lower part where we can see that the outline is a bit darker. This way, my work on the iris will be complete as there isn't much more to add to this section. Now I can start shading the white of the eye. We can shade it using a very light pencil, such as an HB or two B, applying very delicate pressure, since we can see that it's not completely white. However, one thing to note is that the inner corner of the eye will be slightly darker, so I will emphasize that. Just before doing this, you may have noticed that I have blended everything. I'll try to softly blend this area with the iris by layering over it again. The right corner and the upper area will also be darker because this is where the eyelashes will be placed later. And before adding the eyelashes, I can already start by darkening this line slightly. As I mentioned earlier, I am further darkening the left corner of the eye where we can see that the elements are somewhat darker. At this stage, it is true that the eye may not look very expressive. It might even seem a little eerie. But trust the process. Every drawing goes through this phase where things don't look quite right yet. It just takes time for everything to come together. Once all these elements are in place, I'm confident that it will look much better than that of drawing will appear far more realistic. There we go. I just realized that my eye wasn't quite long enough, so I am making a slight adjustment. Keep in mind that making mistakes is completely normal even after years of practice. I still make them, whether in painting or drawing, but what matters is taking the time to correct them properly to ensure that our artwork looks realistic. You may also have noticed that I use the kneaded eraser because some areas of the white of the eye wear a little too dark, so I soften them slightly. Now let's move on to the upper eyelid. I start by applying a very light shading with an HB pencil and in some other areas using a two B pencil. Then I blend everything out because I have also added well, these darker elements on top, and I want to smooth surface to work my texture more on the eyelid. And so to work on this texture, what I am going to do is first darken some areas just above the eye as they stand out quite well. I also will blend them to smoothly integrate them with the rest of the area. And finally, using my pencil, I will add small lines and slightly darker dots here and there while also bringing in some lighter elements with my eraser pen. This way, I will create a more realistic skin texture of the eyelid, as this area is generally very detailed. Now I can start working on the line just above the eyelid. It is a slightly darker line, but if we look closely, it's not that dark. For example, compared to the portrait of the man we worked on earlier, the last line, well, this line of this woman is a bit more subtle. To achieve this, I am using a two B pencil with a light touch, and then I will shade the area around it. Just above this line and towards the right, we can see some slightly darker elements, whereas the rest of the area remains a bit light. So those lighter parts, I will shade them with an HB pencil applying very delicate pressure. I also make sure to work with the side of my pencil to avoid visible pencil strokes since I intend to blend them later. I can also shade the skin area to the right of the eye, again using an HB pencil. In the slightly higher area, I will go back in with a two B, but still keeping it very soft. For now, I am focusing only on the skin areas and not paying any attention to the eyelashes. I work on them once this section is complete. For blending this area, I use circular motions with my blending tool. Then I will start refining the texture within this area. As we observed earlier, just above this line, there are slightly darker elements, so I am enhancing them with my pencil. Similar to what we did on the eyelid earlier, this texture is made up of small lines here and there, along with slightly darker details. So I add these using my two B pencil, making them stand out more against the HB shading I initially applied. Later, I can highlight some lighter details using my precision eraser. Entering everything is well defined. Right next to the eye, we can also notice some small darker elements standing out. I'm not referring to individual eyelashes on the right, right here. I'm but rather to the skin texture. The inner corner of the eye is an area rich in detail with many tiny elements to add. So I take my time to carefully observe this detail, paying close attention to their direction, their length, their thickness, and so on, and I add them making this area look more realistic. Another important detail not to forget in this area is the slightly lighter band along the edge of the iris. I also erased a bit higher up to clearly define the area where the individual eyelashes will be placed. Now I am adding the final small details with the precision eraser as these lighter areas help the darker elements stand out. Now we can finally work on the eyelashes. I say finally because they really make a big difference in this area. But before that, I go over some of the lines again. Initially, I wanted to keep them light, but I ended up making them too faint. So they need to stand out more. At this stage, I can define the contour of the area where the eyelashes will be. This tres precision in my work and prevents me from overdoing it. Adding too many eyelashes can make the effect look messy rather than achieving the aesthetic we want. Also, making them too long isn't ideal, so it's important to be mindful of that. I apply a six B in this area because it contains some slightly lighter elements. Then in the upper section, where the darkest elements are, I can use either 12 B or 14 B. It doesn't really matter. The key is that using the tip of the pencil allow you to achieve deep and well defined air areas. And dark areas. Closer to the iris and the eye area, not everything should be completely black. So I make sure to leave some lighter section. Additionally, some individual eyelashes stand out slightly from the main cluster. These are a bit lighter, so I adjust the values accordingly. A common mistake to avoid is shading all the eyelashes with the same dark value, making them uniformly black. That's not the case here. Variations in turns are also essential to achieving a realistic effect. Okay, so now I have shaded the entire area with an HB pencil, and I have blended everything. And now we are going to work a little more on the details of this slower iid. What we can notice is that along the edge of our area, we have something that we can shade with a two B pencil. So I am adding small details here and there, which will improve the texture of the skin area. But overall, this won't be a particularly problematic area. We will just need to add a few small eyelashes here and there later on. And visible on the lower part. And just like with the front view, the eyelashes in this area are not too noticeable and not very prominent. And so I'm just adding a few more here on the right. They extend a little bit further, but that's about it for these eyelashes. So no need to add too much. If you had too many ones, this will look a little bit wrong. Next, we can start working on the eyebrow area. Before anything else, I will do what I did for the front view eyebrow. I begin by defining the bays, marking the elements that group areas by value and then applying the individual hair in this area. So I am applying my base, and then we can work on individual hair, refine the movement of this hair structure, and define each trend. You will notice that the farther we move array from the right side, the more sparse the hairs become and the area appear less dense. I start with this area on the right where there are many hairs closely grouped together. It's also important to carefully observe the movement of these hairs as there are beautiful curves that we need to respect. And once that is done, the work on this profile eyebrow will be complete. Profile eye, sorry, not only the eyebrow. The entire eye area is about to be finished. 13. How to draw a closed eye realistically: Welcome to this new tutorial. This time we will learn how to draw closed eye. And this is the final tutorial, I series. To begin, let's break down the structure of the closed eye to make the drawing process easier. So first, to enter proper placement, we can start by drawing a horizontal line from the left corner, below this line, we can then sketch a curve line that represent the impression of the closed eyelid. Using this horizontal line as a reference makes the process much easier, especially when drawing the eyelashes and getting the right curvature. By comparing the curve of the eyelashes to the straight line, we can check the spacing and ensure accuracy. This method simplifies the process significantly. When observing the closed eyelid, we can also see that it forms a circular shape. And this shape is clearly visible thanks to the shadow around it, which play a crucial role in giving depth and dimension to the eye. To achieve a realistic result, we need to carefully work on the shadow and highlights to create this volume. Paying attention to this tunnel variation will make the drawing more lifelike. And we can see that there is no contour for this curve element. It's only the work on shadow and light that will help us to create this effect. And also, what we can see is that before detailing the individual eyelashes, we can first outline them as a simple curved shape. Starting with this general form makes it much easier to manage the structure before refining each lash. Instead of immediately focusing on individual strokes, this step helps create a natural and well balanced eyelash curve. So these are the main elements to keep in mind when drawing a close line. And now let's move forward step by step and see how to bring everything together. Drawing a close eye isn't the most complex task, but careful attention to shading and contrast is essential to create realistic volume in the Did area. So let's get started. Grab your pencil and begin drawing. Here we are for the final tutorial in the eye series where this time we'll be learning how to draw a closed eye. I can start by sketching this imaginary line which you can visualize in the image. And from this line, I can draw a small curve line just below it to define the shape of the eyelid more precisely. From there, I can define the shape of the eyelid. There are no clear lines that outline the eyelids shape. However, we can observe certain shadow areas and varying levels of darkness that suggest its form. In a final result, there won't be any defined lines indicating the eyelid. Instead, the shading will help convey its rounded shape. Just above, I can sketch the outline of the eyebrow. This eyebrow will be particularly interesting to work on because the hairs are quite sparse with a low density. This makes it a different type of eyebrow to draw compared to the one we covered in previous tutorials. Next, I can had the different elements beneath the eyelid. For example, I can draw a simple shape that generally defines the placement of the eyelashes. Later, as we had individual lashes, they will take it on their true form. But for now, we can imagine a curved line encompassing all the lashes. The lower eyelid area contains a lot of details. So I am marking a few lines to define it. For the upper eyelid, I can refine the different shadow areas further with the left side being slightly darker. And all these lines that I have drawn, I'm going to soften them with my kneaded eraser to make them to make them much less visible before starting the shading process of our eye. Now let's move on to the shading. We'll start with the eyelash area and the surrounding skin because many individual lashes will overlap the skin, so I think it's best to begin with the shading first of this area. One thing to notice is that the skin around the lash area tends to be darker. This is because some part of the skin are beneath the lashes, and as a result, the lashes cast shadow, making the skin appear darker. However, as we move toward the right, the area becomes lighter. That's why I didn't apply the same pressure with my pencil on the right side. I had a lighter touch in this area. In the lash area itself, the overall tone is quite dark, but it's not uniformly shaded. Instead, I start with a solid dark base across the entire area, and later, I will have the individual lashes on top that are darker. Subtle details and variations in gratons make all the difference. When learning to draw, it is important to develop an artist's eye, being able to perceive the subtle shades of gray that we might not notice otherwise. So I also shading the skin area below using my HB pencil with a light touch. And once everything is blended, we can refine the details more precisely. At this stage, I'm going to blend everything with my blending stump to create a smooth surface, which will allow us to add texture and fine details in the next step. Now I can start adding texture to the skin below the eye. To make it more realistic, we can observe that in the corner of the eye, the texture appears as fine, short lines with slight variations in tone. So I add these details carefully, paying close attention to their direction and darkness before drawing them. And as we move toward the central area, the direction of these elements changes slightly compared to the left side. So I adjust a little bit my pencil strokes to match my reference as closely as possible. The movement of our pencil strokes is crucial, so it's important to be precise, to be accurate. In the inner corner of the eye on the left, we see some darker details. So I will also add them in. At this stage, the drawing may not look like much, but once I have added all the eye lashes, I'm confident that everything will come together. Patience is key, trust the process, and once all the elements are in place, we can assess whether it looks right or needs adjustment. On the right side, I will also add some texture later on, but since this area on the right is much lighter, the details will be more subtle. So I will use only a few light strokes to suggest texture. And one thing I forgot to mention earlier is that to enhance the free dimensional effect and create a sense of volume in the skin details, I can use my precision eraser to refine the highlight. And finally, an important note, it's not necessary to replicate every single detail down to the millimeter. The goal is to create a texture that resembles a real skin, but if a few elements are slightly different, it's not big deal at all. We can start working on the eyelashes. The first thing to notice is that on the upper part, at least up to the center, there is a very dark line that stands out more than the rest. So I make sure to drawing it using my 14 B pencil. Next, I focus on placing the darkest eyelashes in the area, since as we have seen, not all the lashes have the same value. On the left side, I identify some particularly dark lashes and draw them. Before that, I always I also observe their thickness. Some appear darker because multiple small hairs are clamped together. So I carefully sketch them paying attention to their direction. Up about the middle, up to about the middle, the eyelashes follow a certain curve, but I notice a shift in direction, so I'm going to adjust it accordingly. I'm also going to switch to a six B pencil because the central area contains slightly lighter elements, making six B a good choice. I can also use it for the right side. On the extreme right side, right here, we can see that some hair are also lighter. Now I go back to a ten B pencil because as we reach the right side, even though the lashes are still dark, they are slightly lighter than those on the left. That's why I find the ten B to be the right tool for this area. Another important detail to note is that some eyelashes start out very dark at the base, but become slightly lighter toward the tip. To achieve this effect, I reduce the pressure on my pencil as I reach the lower part of each eyelash, making the ends appear slightly softer and more natural. Now we can shade the skin and eyelid area. I start with the slightly darker corner on the left, and since this is one of the darkest area, I decide that an eight B pencil would be a good choice for establishing a base. However, since this will be the darkest part, I then switch to something lighter. A four B pencil seems like a good choice, good option because it provides me some darkness but isn't as intense as eight B. So I continue shading with the four B. And on the left side, I am still using the four B, but with a lighter touch compared to this middle section. Then with a similar light touch, I shade the right side using the fob as well, since this area is slightly darker than the central zone where I am going to apply an HB base. And finally, I shade the skin area above the eyelid. Here, I will use a two B pencil because it is just a bit darker than the central area we worked on earlier. And once all of this will be blended, I will refine the details within the area to achieve a more realistic texture. But even at this stage, just by carefully applying the right gray scale tones, we can already create a sense of volume in the area, which is a great result. Now I am going to add the details within the eyelid area. So I start with the darker elements using a 12 B pencil. Along the lash line, there are some well defined creases, so I make sure to include those. Moving on to the rest of the eyelid, we can see that this area has a lot of texture. There are many small dark elements, and at times they seem to form lines. However, these aren't perfectly straight lines. Rather, they are made up of small scribbles and marks placed next to each other, creating the illusion of lines without them actually being rigid or defined. And by layering these tiny scribbles together, we achieve a natural looking skin texture. On the right side, the area is much more illuminated with stronger light heating the surface. Because of this, I want my texture details to be more subtle and less prominent. To achieve this, I switch to a lighter pencil, but my technique will remain the same. I continue adding small scribbles and scattered marks, entering the texture remain consistent but softer in appearance. At this stage, we can see that just a few well placed pencil strokes have completely transformed the texture, making it look significantly more realistic. And this is a great sign, and I will continue refining the details in this area. And overall, the eyelid is nearly complete and it stands out nicely from the surrounding skin. And finally, for the finishing touch, I use my precision eraser to add subtle highlights. I place lighter details right next to the dark elements I previously added. And these small eyelights help certain areas stand out, enhancing the three dimensional effect and making the texture look even more realistic. So I carefully observe where these lighter details naturally appear, and with gentle strokes here and there, I add them in. This step is like the cherry on top. It brings the whole area to life and ensures that the eyelid looks as realistic as possible. Before working on the detailed texture of my eyebrows and individual hairs, I start by shading the underlying skin tone that will appear beneath the eyebrow hairs. But before focusing entirely on that, I take a moment to refine my eyelashes, as I notice that some elements could be slightly improved. Some lashes seemed a little bit too short or not dark enough. One technique I like to use to check if my eyelashes or even my entire drawing looks right is to view my drawing in a mirror. This method is incredibly effective because any mistakes become immediately apparent at a glance. In this case, I felt that the eyelash area needed a bit more refinement. Now, back to the eyebrows, I begin by drawing the lighter hairs first because when looking closely at the reference photo, we can see that eyebrows are not uniform. They contain various shades of gray and black, with some hairs appearing much darker than others. So I start by placing the lighter element. When drawing eyebrows, one of the key aspect I focus on is the direction of the hairs. The hairs on the right side of the eyebrow don't follow the same orientation as those on the left. To create a realistic effect, it is essential to capture this natural variation and give the eyebrows a natural flow. Once the lighter hairs are in place, I move on to the darker one. Some of these hairs are longer while other will be shorter. So I pay attention to all these differences to achieve an optimized and realistic result. So now, like I said, I'm going to add these darker single hairs. I am adding a few final details because I felt not completely satisfied with the area. So I extend some eyelashes slightly refining the shape, and I will also make a few adjustment with my precision eraser to enhance certain elements. And once that is done, everything will be in place marking the end of this tutorial. 14. How to draw straight female hair: In this video, we are going to focus on the hair and see how to draw every type of hairstyle. And for that purpose, we will see how to simplify the hair, and we will work on four different models. So we will have two hair of women and two hairs of men, so that we can see different cases. And we will be working on some squares of papers that are 10 centimeters by 10 centimeters, so we can work that in good detail. So now let's get started. So this is the first type of hair we are going to work on a smooth and straight hairstyle. This makes it the easiest one to start with and a great way to ease into the process. If we take a close look at this hairstyle, we can clearly divide it into three distinct areas. There is a section with lighter hair, another one with medium dark hair, and a central area with very dark hair. So we have three different value ranges, three different shades of brown, meaning we will need to carefully adjust our pencil strokes to match these variations in tone. Also one important thing when we observe this hair in detail, we can also notice a few stray strands going off to the side. They are slightly curved. However, they are so light and insignificant that we don't necessarily need to emphasize or draw them in. Sometimes certain details can be left out and we don't need to focus on them too much. One surprising but very real fact, though, is something that becomes evident when we zoom in on the reference photo and you can see it is that even though this woman appears to have very long hair, when we examine individual strengths closely, they actually look quite short. This is due to factors like lighting, hair thickness, and other elements. The key takeaway here is that when drawing these individual strands, they don't need to be excessively long. Instead, short pencil strokes will be enough. What's truly essential is carefully working on the different grayscale values we apply to best represent the hair. So those are just a few important observations before getting started. And now, well, let's dive in. Here we go. Let's get started with the work on the hair. I have my full frames ready, and without further ado, let's begin with this lady's hair, straight and smooth. We are going to focus only on her hair and not at all on her face. So it might seem a little strange, a little weird, but don't worry, that's completely normal. It's only the hair that interests us. So what I'm doing is working on my outline. I'm going to mark the three different zones, the light zone, the dark central zone, and the intermediate zone on the right. Next, I'll apply a base shading. For the light area, I think HB will be the most dominant gray in the zone. In fact, to determine which base shading to use, you have to ask yourself, what is the dominant gray across the entire area? One way to figure this out is to imagine looking at the reference photo from a distance. If I saw it from far away, what would stand out the most? Which which shade of gray would be the most appropriate? So photo left side, I started with HB. Now on the right side, I am using four B, and I'll go even darker in the central area to apply a base that is sufficiently deep and clearly marked this very dark chestnut hair section. At this stage, I'm laying down my base shading so that the entire zone is covered, grayed out, and the white of the paper is no longer visible. Only once this is done and I have blended everything, will we really be able to work on the air in detail. So now I am blending, and for blending, I use a blending stum since it's not a very large area, and I make circular motions. And because gratons are quite different from one another, I've chosen to use multiple blending stumps. One for the lighter areas and another for the darker areas. This way, the dark graphite from the central zone on spread into the lighter left zone. Now that I have blended everything, I can move on to the second step. This second step will allow me to start creating more volume in the area, and I will be working with increasing precision. So what we did earlier was apply the most dominant gray in each zone without necessarily being very precise because the areas were quite large. Now, within these three different zones we marked, I will try to be more precise and identify smaller areas within the larger sections. For example, I noticed that there are thick and dark lines that stand out more than what we had before in this light zone. So I can add them in. This way, my area will start to look more and more realistic, gradually bringing us closer to the final result. I'm not yet focusing on the finest details, but we are getting there, and we are beginning to create something increasingly realistic. For instance, in this medium dark strand, I can see that there are additional darker elements, so I add them in. And at this stage, I am not necessarily working with the tip of my pencil. May also notice that my pencil isn't sharpened to a fine point as the details I am adding now don't require extreme precision. This is where we understand that when drawing hair, we are not trying to render each individual strand right away. Instead, the focus should be on distinct group of grade that stand out. Only once that foundation is in place, can we move toward finer details, working on individual hairs to truly bring texture to the drawing. So for now, I am pretty happy with this approach, and we can keep going on and progress in these different areas of hair. Now we can really get into the details of this hair. As you can see, my pencil are much sharper now because I am going to work with precision, adding these elements and using the very tip of my pencil. To add these details, I observe my reference photo and ask myself, Where are the small elements that need to be added? So I analyze and notice, Oh, here are a few darker areas that I need to include. So I mark them, and these details take the form of fine small lines, and contrary to what one might think, you'll notice that they are not necessary very long line, very long detail that I am adding. Because, yes, this woman has long hair, but what stands out here is that there are many value changes due to the thickness of the hair, the lighting, and various other factors. This means that the lines I am drawing here don't need to be excessively long. Just a few small strokes here and there are enough to create a realistic hair texture. So at this stage, patience and careful observation are key. With just a few pencil strokes strategically placed, the left side of the hair is already looking much more realistic. And to enhance the effect even further in this area and make it more realistic, I will also use my eraser pen to highlight the brightest area of the hair. This will help create strong contrast, adding even more volume and realism to the hair. So again, with my eraso pen, I look for the slightly lighter zones, then go in with confident strokes using my eraso pen to instantly brighten the area. And with that, I would say the left section is complete. Now I'm going to refine the details in the central part where the darker areas need to stand out even more. And I will follow the same process, observation first, then carefully drawing the lines. And again, my pencil is well sharpened with a fine and precise tip to the individual hair. At this point, we can really see that with just a few well placed pencil strokes. Well, actually, I have to admit I did use several dozen. It's not just a two or three stroke that well, we can see that the air has reached a fairly realistic level, and we are getting very close to the final result. And yet, I didn't try to place every single hair with millimeter precision. Instead, I roughly identify the areas where darker or lighter elements appeared and marked them accordingly. One very important thing to keep in mind when working on hair and adding this individual strand is to carefully observe the direction of your pencil strokes to ensure they follow the natural flow of the air. In this case, the air is quite straight and smooth, so it's not something we need to worry about too much. However, for other hairstyles, like in the next demonstration, it will be crucial to pay close attention to this aspect. In this area, I also have some slightly lighter elements. So I can bring them out using the erasoen. However, since this section is already very dark, they won't stand out as much. And that's fine because I don't want them to be too prominent. To keep them subtle, I go over the area with my blending stump, redistributing the graphite so that the zone doesn't appear overly bright. Now I will finalize my work by applying the same technique to the right side. However, since this right section is lighter than the central area, I will adjust my pencil strokes to ensure they don't come out too dark, overall, that will be it for this hairstyle. There are still a few minor details to add, but soon we will be ready to move on to the next type of hair. You 15. How to draw wavy female hair: Here we go for this tutorial, let's start by analyzing this photograph. When dealing with wavy hair, like in this case, it can feel a bit overwhelming because it seems to go in all directions. However, by breaking it down into individual elements, we realize that it's actually much simpler. The first technique that seems useful to me in achieving this is trying to identify the different strands of hair, as you can see on the screen. What will also help us a lot in identifying them is marking the dark area. So every time you find yourself facing this type of hair, try to mentally group the different strengths within the hairstyle. And just by observing this way, by breaking it down like this, the drawing will already seem much straightforward. Good. What will help a lot is observing the direction of the hair. Paying attention to this direction will give movement to our hairstyle. When we take a close look at this hair, we realize that not all the strengths go in the same direction. On the contrary, there are many different and varied direction. Being mindful of this is really going to help us a lot. For example, in these two strands, we can see that the hair moves roughly in the same direction. However, in the strand on the left, we can notice that the direction changes slightly at the bottom. But in the next example that you are going to see, you will see that the hair moves in a very distinct direction. So it's not the same direction for all strands. So for example, if we look at this new strand, we can observe that even within the same strand, the head doesn't necessarily follow uniform direction. Instead, it has a slightly different curvature from the left than from the right. So again, paying attention to this is essential for capturing the movement as accurately as possible within our drawing. And finally, if we examine this last strand, we can see that even within a single strand, there are multiple movements in different directions to follow. So understanding this and of course, applying it will be key to achieving the best possible result. Another example would illustrate this even more perfectly. For example, with this hairstyle, we have a hair that is even more wavy, forming curls, which creates even more strands and make it even more complex. However, once again, if we break it down, it immediately becomes much easier. This technique will be extremely useful when dealing with this type of hair. Once we have broken it down, identifying the movement within the hairstyle will help us tremendously in rendering it accurately. Whenever we encounter hair like this, applying these two techniques, first breaking it down to identify the most visible strands, and second, recognizing the movement will make the process much easier. This combined with the work on value, shading and the final details added to the hair would greatly improve our drawing. So now let's get started with the first model. Let's get started with this second work on hair, where we will be working on this beautiful wavy hair and figure out how to approach it. What I will begin with is drawing the outline, making a quick sketch. And for that, I will mark the main locks of hair that we will find in this hairstyle. In itself, it's not very complicated to draw at this stage. You just need to identify the locks properly, as we saw at the beginning with the analysis of this subject and then trace them. If I want to be really sure of myself, I can use precision techniques such as those covered in the basic course like the grid technique if I wish, or I can measure use sting and angle citing with a ruler, pen or pencil. There are plenty of techniques to work with precision and ensure that we have the right proportions. Though, in this case, since we are working on a small frame, I think we can do without them. But if you feel the need, don't hesitate to use them. So first, sketch out the different locks of hair to identify the logs more easily and avoid getting lost when shading, even though it's just a small format here, it can be really useful when working on a large scale to identify them. And one thing you can do is mark all the darker logs, hatch them, and reinforce them a little. You'll see we'll do this later as it will help us navigate more easily within these different areas of hair. Now it is time for shading. With this wavy lock, I will take a rather different approach from the first work on straight and smooth hair. I will work lock by lock, and I won't shade the entire area at once. Instead, I will focus on one lock, fully refine it, and then move on to the next. The issue with highly wavy locks that go in all direction is that if we shade the entire area at once, we risk getting lost, eventually feeling overwhelmed and ending up with a drawing that doesn't look the way we want it to. That's why I will work on one at a time, shade it completely, add all the details, and then move on to the next one. As I mentioned earlier, I have roughly marked the darker areas nearby to ensure I can navigate properly and not get lost. I have blended the entire area right now to create a gray base to work on, and now I continue. But this time, I will create a more precise shading within the area. At this stage, I am still not working on the details. I am still shading and applying the base layers. However, the base layers I am applying now are thinner and more precise than those I added a few moments ago. By doing this, my hair will start to gain more volume because we are using different shades of gray, carefully placing them in the right spots. Then once I have done that, I think I will blend these elements again before really starting to work on the texture and the individual strands of hair in this area. Now I can start working in more detail. With my 12 B pencil, which has a well sharpened tip, I can draw these individual hairs. They take the form of lines that follow the movement of the hair. It's very important to observe the direction and then add them accordingly. The hairs I am adding here are quite dark. And then in the lower part, we can see that the elements become a bit lighter, so I switch to a slightly lighter pencil to add this element. At these points, we are truly starting to work on the texture of the air. And as I often do, I use the eraser pen to mark lighter areas, creating even more volume and realism in this area. So I would say that for this lock on the left, it's good. We can move on to the one on the right, where you can see it is a real mess. There are lots of hair going in all directions. So what I do is start by shading most of the area with a four B pencil. This gives me a base to work with. Then on top of that, we can a darker elements. I blend everything to get a smooth surface. Which will allow me to add details later. And here I begin defining certain areas more precisely with a 12 B pencil because there are extremely dark sections in this hair. Just like I did with the overlok on the left, I mark some areas that will be quite dark. I carefully observe my reference and place these dark spots accordingly. In the lower section, I notice that the entire area is much darker. So I go over it again with my 12 B, working with the side of my pencil leads so that I don't have something too dark. On top of that, I will a lighter details using my eraser pen, as you can see now. Some strands stand out well. They are much lighter compared to this very dark background. So I define them, and if I feel they stand out too much, I can always use my blending tool to redistribute the graphile and make those areas appear slightly less bright, toning them down a little bit, if necessary. Now I am going to work with more precision in this area and define the elements that are really dark, almost black. The base is already darker than before, thanks to the 12 B pencil, and now I am using the tip of my pencil to add extremely dark details. I will try to be as precise as possible, working around the lighter strands we previously marked. These deep black elements will create a strong contrast, making the strands of hair stand out much more than they did before. I will apply this technique to the entire area, and for this particular lo, I would say that it will be good. On the right, you can see that there is a strand, a lock of hair that is pretty dark. So I'm going to apply HB my HB pencil in this small light strand. And on top of that, I will add just a few details for more precision with the tip of my pencil, but that will be it. Next, I'm going to shade the adjacent black area using a 14 B pencil. There's nothing too complicated here. I'm just working with the lead to ensure my strokes are smooth and less visible. I will blend everything afterward to create a solid base in this section. In overall, there won't be much more to add here except perhaps a few lighter strands that I can bring out using the razor pen at the end, but that should be enough. In this area, I might also had a few subtle marks that slightly overlap onto the adjustment strand, but that's about it. And just below for this lighter strand, it's like a lighter of hair, I'm working with a lighter touch using a two B pencil, as this strand is relatively light overall. This will allow me to easily add darker details later or on the contrary, soften certain areas and make them appear even lighter. Now, working on this strand that we initially shaded with a two B pencil, my approach will be to carefully observe the direction of the hair just as we analyzed it in the reference image. We can see that the hair follows a certain curvature, so I will be very mindful of that. Here we clearly see that the curvature matches what we identified in our analysis, and I will also gradually move toward darker values. I start with something light and step by step, I get to something even darker. So at this stage, I am using a four B pencil and applying the same technique to the right side of the strand, where we can see that the curvature is slightly different. Then I move to a darker shade. I am switching now to a six B pencil to define the darkest area. The darkest values are located at both the top and bottom edges of this strand. While the central area remains lighter, creating a strong highlight effect. So I had these dark elements carefully observing their placement, their length, and curvature before marking them. I applied the same process to the second section on the right, where I encounter areas that are particularly dark. And for this very dark area, I have two options. Either switch to an even softer pencil, something darker like 14 B, 12 B or maintain or keep the same one, but apply firm pressure to deepen the values. However, when using firm pressure, I make sure I am confident in my placement and in my values because pressing too hard makes it much more difficult to erase or correct any lines later on. And with my eraser pen, I can add the highlights in this area, being very careful to place them at the right place. And with something very dark, I will shade this area at the bottom of the picture with the 14 B just like we did before. For this strand of hair, now that I am fully working on it, I can add some extra shading elements to make things easier for myself. At the beginning, I tend to sketch all the elements fairly quickly, but once I'm deep into the details, I realize that it will be more efficient to refine and better define certain areas. So that's exactly what I'm doing here, and you shouldn't hesitate to do the same if needed. Adding these adjustments as you go can help improve the overall structure and make the drawing process smoother. Regarding the shading of this trend, we can see that in the upper part, there are some slightly darker areas. So I can go in with an eight B pencil. We find a very similar value in the lower section, so again, I can use the eight B pencil. Based on what I observe in different areas, I will adjust my pencil choices to create a base that closely matches what we see in our reference photo. It's true that in some places, the elements I initially added the internal contours get covered up. But that's not a problem. They were still useful as guides, and they're still they're beneath the shading. You may have noticed also that I have shaded some lighter areas, and I used the two B pencil for that, and now for the darkest area, I'm using a 12 B. This approach helps establish a solid base for the hair structure. And so I'm going to progress until this entire strand is shaded. So for this strand, we can move on to the step two. I'm going to define the darkest elements, since the lighter areas here are slightly larger than in section, and because some parts that I am shading now are extremely dark, I try to avoid shading over them too much. These lighter zones are already more noticeable, but more importantly, the area I am shading are now very dark, which makes it trickier to erase with my eraser pane later on over that to had these lighter elements. So that's why I have decided to leave these lighter areas untouched for now instead of going over with a pencil that is too dark. This way I preserve some brightness in this section. You will also notice that I have worked a bit on the transition toward the darker area on the right by adding a few light strokes. And overall, this entire section is quite dark, so I am shaping individual strands accordingly. However, I will be adding lighter details here later because as you can see, I haven't shaded this area as heavily as I did on the left and proportions. Finally, for this strand, we can see that the lower part also contains a few dark elements, so I had them, and gradually the shape takes form. What you might realize at this stage is that once you have mastered the process for one strand, the approach remains the same for the rest of the hair. The key is to observe carefully each time and not assume that just because one strand curves a certain way, the next one will follow the same direction. Each strand has its own unique curvature, but the overall method remains consistent across the entire hairstyle. For this strand, as I mentioned, I am adding lighter details using my eraser pen because I wasn't able to apply strong enough pressure with the pencil in this section. In the areas I deliberately left light, I can also go over them with the eraser to enhance the brightness. However, I have noticed that the eraser has lightened my details quite a bit, perhaps a little too much. While that is useful, it has made some areas a bit too bright. And as usual, when the section becomes too light, I use a blending tool to redistribute the graphite. Once that is done, which shouldn't take long. I will go back in with my pencil to define a few individual hairs within these lighter areas. Right now, some of these bright sections are a bit too wide. So by adding a few delicate strokes, I can suggest more strengths within the zone to complete it. So just a few fun final touches left in this area, and we'll be good to move on. The next sections on the left are very similar to what we have done so far, so they shouldn't be too difficult. That's why I will be skipping this part, and we'll meet again when working on the hairs that go in multiple direction. We'll see how to handle those. If you'd like, you can also skip this part and focus only on the hair that go in multiple direction. If you have mastered what we have done up to this point, it shouldn't be an issue. So it's really up to you to decide how you want to proceed. Oh. And finally, as we can see in the reference photo, there are hairs going in multiple direction intertwining with each other. This final touch will really enhance our piece and make it even more visually appealing. So here I'm using my erasupen which allows for more precision. I apply it with a light touch because I don't want these strands to be overly prominent. The key is to observe the direction of the hairs and carefully add them in. That said, if you don't match the exact number of strands of their placement down to the millimeter, it's not a big deal. The goal is to capture the overall effect rather than stricter accuracy. And with that, this tutorial comes to an end. Thank you for watching. Oh 16. How to draw crew cut hair: Let's analyze this reference for our tutorial to see how to draw this masculine hairstyle with a nice crew cut. First, if there's one key element, we can immediately notice, it's the distinction between the forehead area and the hair area. But more importantly, between these two zones, there is a transition zone. And this transition zone, which you can see on the screen, is going to be extremely important. This is because many people tend to forget about it. I come back a lot about this in the tutorial, of course, but it is a crucial area because hair doesn't just stop abruptly. It's not simply the forehead on one side and the hair on the other with no blending between them. Instead, right there, we can see that there's a real transition, a real connection where a few strands of hair are visible on the forehead and where the skin is still slightly noticeable before reaching the main hair area, where the skin is no longer visible at all. So this is the first key element that I consider very important, and it's something you shouldn't neglect. Next, another important observation is that we can divide this hairstyle into two sections. On one side, we have the area with the wave at the front. Yes, will be mentioning the word wave a lot to refer to this front part of the hairstyle. And then in the background, we have the hair behind the small wave. This background section is a bit more is a bit less defined. And in the end, we'll spend much less time on it because there are fewer details to add. So it's essential to show a clear distinction between these two elements. And finally, the last important point, in my opinion, when drawing this hairstyle is to avoid getting lost in all the strands of hair within the wave. So to do this, we can try dividing them into different sections. And one way to achieve this is by using the dark elements, the black areas within these trends, which will help us identify them more easily and reduce the risk of getting lost in our drawing. So quite a few elements to consider, but with this analysis and this observation, we should be able to approach our drawing more confidently. So now let's get started. Grab your pencils, and let's begin. Well, let's get started with this new topic. And now let's work on this gentleman's beautiful hair. We are now going to focus on men's hair cut. And so here with this crew cut hairstyle, we will see how to approach this. First, I begin by outlining the controls of my element, and I will try to do this as precisely as possible to make my work easier later on. What I have marked here is the area visible on the forehead where the hair falls over the forehead, creating a transition zone that is never fully covered with hair nor entirely skin. This in between area is very important, and we will see later how to work on it properly and why it is so crucial. Next, what we observe is the strand at the front of the hair, which follows a circular movement. So I have drawn this line, and in the upper part of the hair, we can also see a few distant strengths, which I am also trying to outline. Here I am marking all the elements that seems the most useful to me. To do this, I try to divide the hair into section and identify the main strands. The same applies to the central areas, the front part where we can see many different strands. My goal is to identify them as accurately as possible so that later I can reproduce the elements in the best way. For now, it may not be very clear. I am just drawing the outline, but once we apply different shades of gray and black, it will immediately become much more evident, so obvious. So I will continue working this way, identifying the main strands, and once that is done, we can begin shading the area. To start my shading, I will apply HB to the skin area we are working on the forehead. I shed this area because the hair will fall over it, and if it's not shaded properly, it will be difficult to work on in a realistic manner. Then on the transition zone, the area between the hair and the forehead, I will apply a darker base using to B. With my two B pencla we work on the forehead area where I previously applied HB to add a bit of texture. However, I'll do this very quickly because the focus on this video is more on the hair. And I can also highlight a few slightly lighter areas, but like I said, I won't dwell on this as it's not the main goal of this video. Now I can work on this transition zone between the forehead and the hair. Earlier, I applied the two be base. Now we can add details. What I am going to do is draw fine hairs in this area just like the ones we can observe. So I am using the two B pencil working with the tip, which makes the strokes darker than the initial base I had applied with the side of the lid. Here I focus on these hairs. They are of medium length. So I observe their length and direction checking if they are curved before drawing them. I am not trying to draw each hair with me metal precision or match the exact number of hairs. My goal is to create this transition zone, and this transition is very important because in many drawings, it doesn't appear at all. Instead, there is a harsh break between the hair and the forehead, but in reality, that's not the case. There is always a transition with areas where the hair becomes sparser, which makes the hairstyle look realistic and creates a natural flow between the forehead and the hair. Without this, we get a sharp cut as seen in some drawings, which makes the hair look off without immediately knowing why. So now that I have worked with my two B pencil, I will continue the process using my four B pencil in the same area. This will have some slightly darker details, and once that is done, we can move on to the larger trend above the prominent wave shaped section. Now we can move on to this wave shaped strand. I start by working with my 14 B pencil to mark all the darkest elements in the area. Why do I do this for several reasons? First, this area contains a lot of details which can make it look confusing and difficult to navigate. Marking these dark element serves as a reference point, helping me place the other elements and making the process clearer. By first positioning the most obvious elements, it becomes easier to place the others as they naturally align with these reference points. Another advantage of starting this way is that I already know these elements will be black and so very dark. This allows me to compare the shades of gray I will apply later with this black, asking myself whether they are too dark or not dark enough in relation to these black strengths I have added. I can then adjust accordingly. So marking these lines has a double purpose, making it a very useful technique. That's why I always I almost always begin my drawings this way. All right. Now we can really start shading and creating volume in this area. So I have applied the darkest elements. Now I will go with some light one. For that, I can use my eight B pencil, and the pressure I will apply with this eight B will allow me to have some elements that are darker and some elements that are lighter. So depending on where I am shading, I adjust the pressure on my pencil. For instance, right here, it's a little bit lighter. So I shade very lightly with this eight B pencil. Okay, the approach I will have with these different strands is that I'm going to focus on one strand at a time and detail it completely. And then once that is done, I will move on to another one. This way, I it makes it easier for me, and it's less likely that I get lost in all the different strands that there is in this area. So that's what I did right here. And as you have seen, I have to first lighten a little bit these elements with my eraser pen and then added somethin details with the tip of my pencil lead. And now that it's done, I am working on another strand right here. In this area, you can see that there is a much lighter elements that I have added. And right next to it, right now, I am adding something much darker, and this helps create volume because it is the basics of light and shadow and how it works with some light element next to dark ones, and this helps create some volume. At the top of this kind of wave hair, I am working on this very light strand that you can see that helps to delimitate this, Element this way, and I am working with my HB pencil using the tip of my lead because I want to be accurate in this area. So I started with HB, and now I have switched to a two B pencil because there are some elements that are a little bit darker in this area. And after that, I will also add some elements even darker, so that's what I'm doing right now. And I can also lighten a little bit some areas with my erasu pen as I usually do. Here, I went back to a slightly darker pencil because I felt that some elements were not standing out enough. Now we move on to the strand over here. It may appear very light, and it is, as it stands out well, but the trap would be to think that since it looks bright, I should use something very light, like an HB pencil. However, that wouldn't work. It would look unnatural if I use HB. It stands out well because the surrounding elements are very dark, and simply applying a medium gray is enough to make it pop and look natural. That's what I focused. That's what I focused on doing. And I also marked the darker lines next to it. And we can see that just by adding these few lines, the strand stands out nicely. I will now continue shading different elements across the area, and I carefully observe my drawing and my photo to identify the elements present. For example, when I reach the lower part of the strength, I don't hesitate to extend my pencil strokes to individual hairs that overlap onto the transition zone we previously worked on. This further refines the transition and helps create a smoother blend between the forehead and the hair. Using my eraser pen, I continue to a details. This tool is particularly useful as it allows me to create very bright highlights with precision without needing to reserve white spaces in advance, which could be quite difficult to do. Now I move on to another strand that also appears relatively light. I apply a light base just as I did before and then add darker elements on top. These darker details will help enhance realism and create more volume in the strand. And when working with the hair, it's really the combination of light and dark elements that gives the impression of free dimensionality in the strength. And actually, with everything that you will draw, it's really observing the right value and this combination of light and dark elements that make your drawing realistic and appear in three dimensions. Okay, let's continue with this strand located here. I have sped up the video a bit because it's essentially the same work as we did previously with the other strands, except that this area might be slightly darker, so keep that in mind. I will proceed in the same way each time carefully observing the different values of the various shades I had and also working on the small hairs that will extend onto the forehead. And once this is done, we can move on to the area on the left side, which is a little bit different. Now let's work a bit on this area on the side. It's slightly different because the hairs don't necessarily follow the exact same direction or curve. I started shading with a ten B pencil because this area is quite dark. Over this base, I will be able to add even darker elements. We can notice that as we move towards the forehead area, this man's brown hair becomes progressively lighter. So I adjust the pressure on my pencil to achieve a slightly softer effect. I have decided to blend this area later since it is a pretty large section and I don't want the white of the paper to show through. This way, it will be completely concealed. Now to finalize this area, I will add individual hairs to refine and enhance the texture. There are quite a few slightly darker hairs that stand out. And as I did earlier, I will make sure to carefully work on the transition zone with the forehead, and that's pretty it. Overall, just a few more small details to had in this area. It's not necessarily one of the most complex sections, but it's interesting to see how to approach it, especially since the hairs here follow slightly different curves. And Now, let's work on the upper part of the hair. I will start by marking the dark areas, particularly the shaded section that appear just above our wave shaped strand. These dark elements will help make the wave stand out even more and clearly define the separation between this section and the background elements. Well, the air in the background. I mean, this section that we are working on. So I mark them carefully and also focus on identifying all the other dark areas in this section. Unlike the wave, I will take a slightly different approach here because this area seems less complex. Instead of working, strand by strand, I will shade the entire section. So I begin by shading the darker elements that will serve as reference points, and then I will shade the rest of the area with a two B pencil to create a solid base for further work. Since applying the two B over the entire area is a fairly simple process, I won't be showing it in detail. For now, I am adding a few darker elements, and once the entire area is shaded, we'll continue refining the details. So as I mentioned, I have applied a basic to be shading, and now I can start refining the details on these different strands since I have a solid and well blended base allowing me to work on the texture. What stands out in this part of the hair is that most of the strands follow the same direction. Many fine hairs flow upward and toward the left. That's what I am focusing on as I begin marking these darker strands, the darker individual hair. And I will do this across the entire section of the hair. Once that is done, another crucial step for this area will be working with the erasor pen. Since there are many fine and relatively light strengths, I will need to be very precise with the eraser to make them stand out effectively. For now, I am continuing to focus on applying the darker fine hairs in this section. Then I will move on to refining the highlights with the Easo pen. So as I was saying, now I can work with my eraser pen to refine these details. I try to be as precise as possible, using the corner of the eraser for delicate adjustments that are very, very thin. If I find that some strands are too light, I will go over them with blending tools to redistribute the graphite as we have done before. Another important step is adding the individual hairs that stand out from the main mass of the hair. These are fine strands that can be placed on the upper section as we can observe, but there's no need to add too many. Additionally, I will include a few stray hairs that don't follow the same direction as the others and instead go in different directions. I will add them with my eraser pen at the end. There are only a few of these, but adding them will enhance the realism and truly finalize the drawing. That's what I'm doing now. And once this is done, the hair will be complete and we'll be ready to move on to the last case study. 17. How to draw short male hair: So this is the last topic of interest, a very short masculine haircut, and contrary to what one might think, this won't be the easiest exercise because defining the hair can sometimes be tricky with such a short hair. The first thing we can observe is that the section of hair can be divided in two areas. In the upper parts, the hair is relatively long. Here, the approach will be very similar to what we have done with the other hair styles, identifying lighter and darker areas and marking strands of varying lens. However, what makes this different is that in the lower section, the hair is extremely short. As a result, parts of the skull, the scalp become visible, meaning we need to shade it accordingly. We can't just place hair everywhere. The best strategy here, in my opinion, is to start by applying a light shading to the scalp. Once that is done, we can had short individual hairs to create texture. Since this is a relatively small area, it is definitely manageable. But if you're working on a much larger section of short hair, it can take more time. The density of hair isn't very high, so and each single hair needs to be carefully rendered. Unlike longer hair, it's harder to define groups of strands, except in the far left area near the ear. In that section, the hair appears slightly blurred, making the details less distinct. And so that's it, we can start drawing this hair now. So here we go for our last model, the man who will have short hair. I quickly sketched the outline and shaded the skin area on the forehead, which wasn't very complicated, and I did it quite lightly. So what we're going to start with is shading the upper area, this area that will be quite dark. However, be careful because we can notice that within this area, not all elements will have the same intensity. Some part will be slightly lighter than others while others will be very dark. So I'm going to apply everything with 14 B. However, when I start applying the slightly lighter areas, I will try to be a bit delicate with my 14 B to ensure it doesn't get too dark. Alright, now, we can see that I have marked the lighter elements, and I'm going in again with my 14 B, but this time, I'm pressing much harder on the pencil so that my elements are really deep black. Even though I'm only applying my base shading and working with the side of my lid, I want these elements to be really dark because if you look at our hair, they are indeed quite dark. So that's what we want to replicate. Then in the lower area where the hair is extremely short, we can see the skull. This means we will need to shade some skin areas. So what I'm going to do is shade this entire area, the one just below completely, but in a way that's slightly darker than what we had on the forehead. Then I will blend everything. And once all the elements are blended in this area where we see the skull, I will be able to add a lot of small hairs in this area to make sure that I have the right texture like it is on this men's hairstyle. So now all the elements have been blended, and we can now work a little more on the short hair. I start by working with the HB to add a few light as that slightly overlap onto the forehead area. So I mark these few elements while carefully observing their direction and length. These are Rava short hairs, and that's the effect we want to convey. I mark these elements in HB and little by little, by layering the short hair, we will be able to create this texture, which might seem a bit complex. At first, when we think of short hair, we don't necessarily assume that it's one of the most complicated to most difficult thing to draw with the hair. But in the end, it's not that simple because with long hair, it's easier to identify the long strands and different values. Here we have a mix of hair and skin and very different values and some texture that is very short, and you have to be careful because if you add too many hair, it doesn't look very good. So this kind of hair can be a little bit confusing. So really, it's important to take your time and to try to observe and analyze how it works. So now that I have applied all my HB elements, I move on to something else. I switch to a four B pencil and once again, mark a few darker elements on top of what I did, and gradually it takes shape, and step by step, I will work towards increasingly darker elements. Here, I try to identify all the areas where the four B would be the right pencil to use. And when I'm done with this one, I'll move on to even darker elements. And we can see that in the areas where there were some lighter hair, some very light one, a few darker hairs also appear. Marking them even if it's just a few of them will be enough to make the area stand out. And now I have moved to something a bit darker and use a six B. Earlier, I made a slightly bigger drum going from HB to four B because I really wanted the difference between those elements to be noticeable. I was afraid that with a two B, the contrast wouldn't be strong enough. Now I continue, and what we can also notice is that on the left side of the hair, there is a darker elements that helps it stand out, so I didn't hesitate to add it to the hair. Since I had blended the area at the top, the very dark elements may stand out a little less, making it harder to perceive the hair and reducing the texture effect. So in this upper area, which is quite dark and where I had blended a lot, I will also work on it further and add a few more hairs. The same goes for the forehead area at the top. We can see a few small hairs with a slight curve, so I mark them. Another thing we can notice in this upper area is that this man has a slightly longer hair, which is reflected in the pencil strokes we need to apply. They should be a bit longer. Some hairs are really dark and with well defined strands, so I add them as well in the area. And little by little, the area is taking shape, and we are approaching the end. There are only a few more elements left to add, and it will be complete. We can also notice that there are a few small hair sticking out on the side, preventing a sharp edge. And since these hair are a bit blurry, I'm going to blend them with my background so that they don't stand out too much. I also notice that along the edge of the area transitioning into the forehead, the elements are slightly darker. The skin is a bit darker. So I used the graphite that I had used to draw the hair, which is somewhat dark, and I spread it out a bit in this forehead area with my blending stem. This way, I made it slightly darker. So just a few more adjustments, a few small details, and it will be done with this hair. 18. How to draw an ear – side view: This section, we are going to focus on the ear, and we are going to draw on a paper that measures about 10 centimeters by 10 centimeters, quite a regular size. And we'll be drawing two ears, one scene from the side and one scene from the front view. The front view is actually the simplest way to draw the ear because it is barely visible. We don't see much. And so it becomes quite simple to draw. But on the profile view on the side view, it's quite different. The ear is an element that is quite complex with a lot of different volume and recesses. And so you have to create a lot of depth on a small area. So that makes it particularly interesting to work on. The ear is often overlooked or rushed, and people tend to say, Come on, it's just an ear. But it is very important to draw it properly because the ear really helps to create a sort of harmony and to make your drawing balance because if all your entire drawing is properly done, but the ear is overlooked, well, your drawing won't be balanced, and we will be people that will see your drawing will be like, mm, something seems to be wrong with the drawing, and that will be because the balance will be broken due to this ear that is not properly drawn. So it's really important to take your time and to draw it properly. And that's where we are going to see, and it's going to be very interesting to see how to create some depth, some free dimensionality on such a small area because there are a lot of recesses, lots of areas that are connected to one another, and with not a lot of sharp edges actually on the ear, so we are going to see how to deal with that. So grab your pencil and let's do it together. Here is the ear we are going to work on next, a profile view of an ear. Before drawing it, we might ask ourselves, what geometric shapes could we use to represent it? What simple forms encapsulate it entirely. If I had to choose one, I would use a rectangle to enclose this entire ear. And from this rectangle, we could define the different lines and angles using the blocking technique which helps structure the drawing. And with just a few line, we would already have a well established outline. For this drawing, we will work directly with these contours of the blocking technique and angles. I think we can do without the rectangle, but if you feel it would help, don't hesitate to use it. Now that we have covered the basic shapes for drawing the ear, let's focus on the internal contours that we need to work on. When we look at this ear, we can see that there are many internal contours that help define the different shadow areas. The ear has a lot of volume and recessed area with hollow. So it's important to mark these lines when drawing it. However, to notice about this contour is that some are sharply defined while in many other areas, the forms blend into each other. Theise create what is called hard and soft edges, hard edges where elements are clearly separated, and soft edges where shadows merge smoothly together. A common mistake when drawing an ear is trying to outline all the different zones too distinctly. But if we carefully observe the reference, we can see that this is not the case. Some areas have well defined edges while others are only separated by soft shadows that gradually transition into one another. So when working on this ear, we need to balance sharp contours with soft transition to create a natural and realistic look. In red on the photograph, I have marked the sharp contours that will be represented by clear lines. While in green, I have indicated the soft edges, the soft contours, where shadow areas blend into each other. One important observation is that in some areas such as the upper part of the ear, a sharp contour with a red line starts clearly defined gradually fades as it moves downward, merging with the surrounding shadows and therefore becomes a green light. This means that when we're shading our subject, we need to pay close attention to the transition, starting with a clear defined edge in some places and letting it softly disappear into blended shadows in others. Properly managing these variations will help create more realistic and natural rendering of the ear because one of the common mistakes made by people is to have sharp edges in the entire ear. So be careful to that. Now let's take a closer look at the shading. If we examine it carefully, we can see that this area contains numerous highlights scattered throughout the ear. The reason there are so many highlights is that the ear has a lot of reliefs and recesses, creating multiple areas of light and shadow. And because of this complex structure, light reflects off on many different surfaces, resulting in a large number of highlights. Alongside these highlights, we can also observe several lighter areas, as well as darker patches where the value gradually becomes deeper. It's important to carefully analyze this variation and ensure and transitions in value to ensure accuracy in shading. Additionally, some areas of the ear will be significantly darker. Why I haven't made a specific distinction between the different dark regions, we need to pay close attention to this. If we zoom in on the reference image, especially in the hollow part of the ear, we can clearly see that there are very dark areas with different values. I've illustrated this by zooming in on this section and using different shades of blue, we can see just how many value variations exist. This is something we need to be mindful of while shading. So that's about it and for this section of the ear, and it's already quite a bit of information. Now, let's get started by drawing the contour of the ear first. Let's get started with this ear drawing. We can sketch the ear using straight line to establish its overall shape. If we want it, we could begin with a rectangular geometric shape before refining the angles. However, in this case, the structure isn't overly complex, so we can work directly using the block in technique, breaking the form down into the different angles we observe in the ear. Once I have done that, I refine the lines. However, what I notice is that some elements aren't properly aligned when comparing them to the reference photo. This means I need to make some adjustments. So I compare the ear in my drawing to the reference image and realize that the straight line extending downward is better positioned slightly to the side, so I'm going to modify it. Like, right here, I think it's better. So now I can erase a little bit this element, and I'm going to start to draw the inner contours. There's a long line that I can now trace. And one thing to note about this line is that the spacing between this line and the outer edge remains fairly consistent from start to finish. It's almost the same width everywhere. From this inner control, I can start to add the other elements. For example, I can add this curve line right here because I know I try to locate where it starts exactly on this first inner control I drew. Then there is the shadow area that is on the right side and almost at the top that I can have and then move with this one. And I compare the the spacing between this line and the first one, the first inner control we drew. And step by step, this is how I progress. And if I feel that some elements are off not placed exactly where they should be, then, well, I modify it, but I think we are pretty good with the different contours and different elements of this here. And if some adjustments need to be done while shading, well, I will modify them because when we shade everything, we can see that some elements might be a little off, and so we can modify them. We can still modify them. So that's the advantage of the pencil Now, let's start shading our ear. And what we will notice is that this upper part is really very light. So I will begin by applying a basic HB shading. It seems like a good idea to keep this area ravt as a starting point. Then I will gradually shade all the different areas, always asking myself which pencil would be best suited for each zone. For that, we can use value scales if we wish. Here I notice that there are other elements in this section next to the area I shaded with HB that are going to be darker. So for this, I switch pencils and use a two B. Then there's this slightly curved area that I had drawn earlier, more darkness and deeper shading. So I realized that the two B might not be the most appropriate pencil. So I switch to a six B and shade this entire area with my six B since the value remained fairly consistent in this part. Next, there is also the shadowed area on the side of the ear, which is quite dark. However, I won't shade the entire area with the six B because as we move towards the left, the shadow gradually lighten. So I have only shaded a small portion for now. Now, I'm going to move on to the hollow part of the ear. This area has a lot of depth, since it is recessed. To create this depth, it is important to carefully work with the different shades of gray available. When we closely observe on reference, we notice that the value are not uniform everywhere. There are many subtle variations that need to be taken into account to achieve a strong sense of three dimensionality and effectively render this hollow shape. So at this point, I am shading the darkest area with my six B, applying a bit of pressure on the pencil. Then I can shade the rest of the area with the six B again, but this time using a lighter touch on the pencil. Now still using my six B with a lighter touch, I can shade next to this area which was already quite dark. As mentioned earlier, the entire area doesn't have the same value. So now I have switched to two B pencil, and I will shade the areas between these darker sections where the tones appear slightly lighter. In this case, two B seems to work quite well. At this point, we have established the darkest element found in the ear. So I will continue progressing through the area, shading all the elements that seem important to darken with T B. Then between these areas, there are some lighter sections, so I will come in with an HB pencil. Once that is done, I will use a blending stump to smooth everything out, ensuring that our pencil strokes are no longer visible. This will allow us to refine the shading fervor with more precision before working on the texture of the ear. So now, um, with the blending stem, the challenge will be to ensure that each element stays roughly in place, keeping the light areas bright and the dark areas well defined, preventing them from bleeding too much into the lighter section. To achieve this, I blend using circular motions across the entire area with my blending stem, as the circular motions help me to have a better result with my blending. Now that all my shading has been blended, I can refine the details area, the shading areas more precisely and adding subtle elements that are less visible. For example, in the shadowed area, we can see that some parts are slightly darker, especially on the upper section and the right side. On the lower part, there's a kind of line visible, but it shouldn't stand out too much. The transition between the shadowed area and the element on the right needs to be smooth and natural. So I will make sure to blend these elements together. However, on this upper part of our shading, there is a distinct line separating the shaded area from uh, the lighter one above it. You can also see this clearly in the reference photo, as I have emphasized it. With my pencil, I am going to emphasize some darker elements, particularly in this low area. We initially had a good base shading, but I feel that this recessed area doesn't stand out enough, so I need to add darker details. At first, we apply the general shading layer, but sometimes it is necessary to adjust it later to enhance certain elements or to bring out details that weren't prominent enough. In this case, we can also observe that the ear contains many small shadowed areas. When applying the initial shading, we focus on the primary shadows, the ones that stand out the most. So it's a little bit difficult to include all these smaller elements right from the start, and that's why I am adding them right now. Right here, for instance, we had shading done with the two B pencil. But as I am progressing, I feel that now my shading isn't standing out enough, so I am readjusting it. So it's not a shame to readjust the elements you have done. It's best to take the time to have a critical look at what you have done and make the necessary adjustments so that your drawing looks best. To make the ear stand out even more and ensure it closely resembles a reference, I am also going to add shading around it. This surrounding area consists of hair. However, I don't want to spend too much time drawing individual strengths, since that's not the focus of this lesson. Instead, I will apply a fairly dark shading all around the ear. This will help me create a more objective comparison with the reference photo. Having dark elements next to what we are drawing can influence how we perceive the different value, so it makes sense to mark them in. Finally, I am going to blend all the additional shading we have just applied. This will allow us to move on to refining the details of the ear, finalizing the drawing, and working with more precision. And as we progress in creating our artwork, we can see how the drawing becomes increasingly refined, bringing us closer to the final result we are aiming for. Oh. Now it is time to work on the ear and refine the details further. I am going to add small pencil touches here and there. For example, along the entire edge, I want to darken certain areas a bit more. I also want to add some texture to make it clear that it is skin. This is skin. To achieve this, I will have these small marks that mimic the natural pigmentation of the skin. If we closely observe real skin, we notice that it's not uniform. It contains small pigments and subtle variations. By incorporating these details, I can create a more realistic texture. These texture details I am adding now won't be blended. I will only use the blending stump again if I feel that the shading in a particular area needs adjustment. However, when working on texture, as I am now, I want these pencil strokes to remain visible, so I will leave them as they are as they are once I am done. Next, I will reinforce this shaded area to create a stronger contrast with the section above it, making these parts stand out more. Using my pencil, I will refine the shading while simultaneously enhancing the texture. I also work on the small shadowed areas in different spots which help smooth the transition between elements, and little by little, the area will take shape and reach its final form. This work we are doing to refine our shading and had slight variations in value, even in very small area is very important. One of the common mistake we often see when people draw ears is that their shading tends to be too uniform with only a single value in certain areas. And as a result, the soft transition between light and shadow aren't properly developed. It is essential to work with subtle gradients, and these require careful attention to shading. Observing the different values in the photo in the reference photo and then in our drawing is very crucial. This issue is also closely related to another common mistake, overly defined contours, inner contours. The edges if the edges are too sharp, the ear won't look realistic. In reality, we don't see many distinct outlines because most elements blend into each other. That's why there are very few strong visible control lines in the structure of the ear. Another important point to mention, I think, is that the ear is one of those elements in a drawing that is often overlooked but remains essential, especially when viewed in profile where it becomes much more visible. While the ear is not the focal point of a portrait, a well drawn ear adds realism and credibility to the entire face. On the other hand, if it is neglected, even though it might not be the main focus, it will still stand out as something that feels off. That's why it is important to take the time to draw the ear properly. Despite being a secondary element, it has a complex structure due to the lack of clearly defined lines. Instead, what makes an ear look realistic is the careful work on the transitions between shaded areas. Mastering the subtle shift in values is what ultimately brings the ear to life in a drawing. Sometimes you might see me going over the same area two, three, four, even five times to adjust the shading. It's true that it can feel a bit tedious to keep refining certain elements, but that's the price to pay to ensure our drawing looks truly realistic and has the right values. At first, we might think the shading looks fine, but once we compare it to the surrounding areas, we realize it needs improvement, and that's exactly what I have been doing in different areas throughout the process, constantly adjusting to get the best possible result. Now I'm going to add all these very light elements that we have in some area. So for that purpose, I'm going to use my eraser pen. So you can see that on the left side of the ear right there, we have something pretty light and that stands out a little bit, and it stands out because of the hair that are pretty dark and that we added before. And I'm going to look for all these very light elements that we have in the area using these to be accurate enough. So there are actually quite a lot of very light elements in these different areas. And the reason for that is because, well, the ear has a lot of volume and hollow areas throughout the entire area. So therefore, there are a lot of highlights in many different areas. So I am adding them with this erasopen. Later on, I will use the needed eraser because some areas will be a little bit lighter but not as light as the highlights I am adding right now. And the needed eraser help me to soften a little bit my pencil strokes, but allows me to have something not too light as well. So that's why the needed eraser will be pretty good. And I shape the needed eraser to make sure I have something pretty precise and to work with a tip that is pretty thin to erase just some small elements. Just a few more adjustments, and we should be good our hair has really taken shape and we are reaching the final stage. That's great because we now have an ear with depth and texture, making it look quite realistic, which is really satisfying to see. And that brings us to the end of this tutorial. The next step will be working on an ear, but this time viewed from the front. 19. How to draw an ear – front view: Now let's move on to drawing the ear, but this time from a frontal view. This will be a quicker process because when viewed from the front, we only see a smaller portion of the ear. However, we still need to be very careful with the placement of shadows and highlight to create volume. Whether the ear is seen from the side or the front, the approach remains the same. I started by drawing the contour of the ear using simple straight lines. Applying the blocking technique as we did previously with the ear from the side. Now I can move forward, and I notice that at this point, the curvingture begins about one third of the way down from the top of the ear. So I follow the same observation in my drawing. I refine my edges to ensure precision and to make sure I have the right angles and curves. Next, I will draw the internal contours. Even though in the front view, the edges of the he are not always sharply defined and some areas blending softly into one another, I will still outline all the contours I can observe. Later, during the shading process, I will work on softening on completely fading these internal lines, making sure that they are no longer visible. Instead, it will be the shading itself that connects the different elements smoothly and create volume. So now my focus is on drawing all these lines that we can observe. To do this accurately, I use comparison between the different element, carefully analysing their position in relation to one another to place them as precisely as possible. Now I am going to soften my lines to make sure they are no longer visible. This is something I always do using a kneaded eraser. Earlier with the side ear, we used an approach where we shaded the entire ear first, then refined it with a second layer of more precise shading, followed by the details and so on. That's one way to do it. However, there's another method we can try with this ear. Instead of shading everything at once, we work on one area at a time, completing it before moving on to the next. So that's the approach we'll experiment with now. Both methods are valid, and it's up to you to choose which one you prefer. Sometimes, depending on the drawing, you might feel more comfortable using one technique over the other. So I started by shading the area with a light base tone. Now, with my six B pencil, I will define darker elements like the ones along the edge of the ear. On the side as well, we can see a slightly darker area, so I am adding this deeper tone. You might notice that for this ear, I am using a different blending stump because the area is smaller and I want to be precise. This particular stump works well for that level of detail. Now that these areas are done, I can move on to the next section. Here, we can see a very dark edge that will help create depth, so I add it to further enhance the relief of the ear using an AB. This method is one that I use a lot in painting because in painting, we have the constraint of drying time, which means we need to finish an area more quickly than in drawing. In drawing, we can leave a section unfinished for a day, a week or even a year, and it will remain the same. Now I have shaded the entire area with a darker tone, and I'm going to add a few lighter touch using the eraser pen to create highlights. Once that is done, we'll be ready to move on to the next section. For the lower area, we are going to start simply since this section is quite bright. So I will first apply an HB pencil to shade the one lightly. I will also use the HB on the small geometric shaped element that we have on the left. So I'm shading these areas quickly, and then I am going to switch to a two B pencil to define darker elements found between these two sections. At this stage, I am applying a light base, keeping it subtle for now. There are some darker details in the corner that I will add later on. Once these elements are in place, I can apply a soft blending to create a nice foundation. And this will make it easier to add deeper shadows and highlights later. Looking back at the previously finished area, I realized it could be improved. So I take my pencil and refine the darker element in that section. As always, I maintain a critical eye on my work, and if I see something that can be improved, I don't hesitate to go over it again because once we have added new elements next to it, the things can seem a little bit different. And so you can see if something is wrong more easily, I would say. Now these elements are in place, I can start adding darker tones to create depth and relief within the area. Using a six B pencil, I will define this section. However, it is important to note that the value won't be the same throughout. On the left, the tones are much darker, and as we move away, they gradually become lighter. I will keep using the same pencil, but I will apply a lighter touch to create this transition. At this time, I will use my blending stump to smooth the shading while ensuring a natural gradient between the darker and lighter area. In this section, I also noticed a few small darker spots scattered throughout. They aren't very well defined, so I had subtle touches here and there. When blended, they will contribute to a more natural look. I also adjusted I'll adjust this darker edge that felt not intense enough, and I blend it back to ensure I blend this area again to have a better consistency. With my kneaded eraser, I lightly type certain areas to bring out small highlights. Since this area right here is a little bit large, the kneaded eraser was a better choice than my eraser pen, as I only wanted to soften the graphite without completely removing it to create a stark white highlight. On the edge of the ear, it's important not to forget the dark defining light which I had now. Additionally, I am refining the texture sometimes by adding small pencil strokes here and there, carefully placing them to enhance realism. In the darker corner, I go over it with the same pencil, but this time applying more pressure to further intensify the relief in that section. Gradually, you can see how the ear is taking shape, which is very satisfying. By adding one element at a time, the drying builds up to a strong result. In the geometric area on the left, I also enhance the shading with a few more pronounced touches to improve both the shadows and texture. And finally, I'm going to use my Easo pen this time to create small scattered highlights that refined texture with tiny bright spots. This is something I couldn't achieve with the needed eraser as it wouldn't have given me the level of precision needed to place these small elements of texture exactly where I wanted them. Conclude, let's focus on the ER lob area. At the bottom, this section isn't particularly complex, so I will start by applying the shading. On the lower part of the ER lobe, there is a slightly darker element that stands out more against the shading I am now adding with my HB pencil. Next, I will blend everything smoothly. After that, I will add a few small details because even in this relatively simple area, we can see some subtle relief, so that needs to be defined. So I will carefully include those elements to enhance the realism. With that, the ear will be complete. Nothing too complicated for this section, a few final touches to bring everything together. Now I am adding the final details to this ear with a few lighter touches. I can also add some stray hairs overlapping the tub, even though that's not the main focus of this video. So I'm finishing up the final details, and that will mark the end of this tutorial. I hope these two tutorials on drawing ears have been helpful and that you now feel more confident in drawing them than before watching this video. So thank you for watching and see you soon with another one.