Portrait Drawing in Black and White for Beginners

1. Portrait Drawing Introduction: Okay, so in this class we're going to learn how to do portraits. You're going to start out doing. These are just sketches where you learn the proportions of the human head. Where you put the features in the face. How do, where do the features fit onto the face? Where the eyes go? Where does the nose go? Where does the mouth bow? How you put them on the face and the right place. You're gonna do a frontal view, a profile view, and a three quarters view. Then we're going to start working on features. So we're gonna do eyes in the same three different perspectives, frontal profile and three-quarters. And then we're going to do same thing with noses, frontal, profile and three-quarters. Then we're gonna do the same thing with mouse frontal profile and three-quarters. Then I'm gonna do an open mouth as well just to get some teeth in there. And then ears which are the hardest feature, frontal profile and three-quarters. Then we're going to do a portrait drawing. After you've done all that practice on black paper with white charcoal pencils and gray black and white chalk pastels as well as probably a black charcoal pencil to define. Then we're going to do a portrait on gray paper. You can do your own portraits with black and white charcoal pencils and black, white and gray chalk pastel. On the black paper. You're going to leave the black paper as the dark value on the gray paper. You're going to leave the gray paper as the middle value. These portraits are in a different perspective, so frontal profile and three-quarters. And then we're gonna do one on white paper with pencils and black, white and gray colored pencils. These portraits are from Renaissance artists, Raphael, Michelangelo and Andrea. Adults are TO. And you can use a person or you can use a photograph, or you can use these. Then the last one we're gonna do is, uh, different mediums. So it's going to be pen and ink wash first, then ink line, and then either charcoal pencils in grayscale chalk or black, white and gray colored pencils. So you're mixing media to create the portrait 2. Proportions Of The Human Face: Okay, so this is going to be in a kind of an introduction to the proportions of the head for portrait drawing. And there's going to be different perspectives. The perspectives that I am going to do are when you're face-to-face with someone. So when you're at eye level with them, if you're above them or below them, that's a whole different class. So I'm going to first do frontal. This isn't going to look like a portrait. This is just how I set up the proportion. So I'm going to make an oval. And that's gonna be like how I start my drawing. Of course this would be bigger if I was doing a portrait, but I'm just trying to fit a few on this page. Maybe only two. I'm starting with kind of an oval and this will be changed. I'm not pressing hard with the pencil. I'm going to divide here in half. And here in half. These lines will later be erased. I'm going to divide here in half. And then I'm gonna divide the whole picture in half. Then I'm gonna divide this bottom part in half. Sometimes they go a little bit above the half mark and I'm gonna divide this part in half. So right here is where the eyeballs would be. And I'm going to make an I right here. This is just to get the features in the right place. We'll do a separate video on features. I'm trying to make it the correct size. Okay. Now, here, here and here. So in-between the eyes. So why was I measuring so in-between the eyes fits the exact shape of an eye. This is pretty close, so I'm not going to change it. So that's a way to see if you put them the right distance apart. Okay. If you go down from here, the tear duct, you get to the side of the nose. Okay. That's where the nose fits in. Comes up here, Here's an eyebrow. Again, this is not really going to look like a person is just getting the proportions in the right place. Okay? Now, if you go down from the eyeball where this hits this line, that's going to be the side of the mouth. This kind of looks like an egg head right now, but we'll fix it. So I'm putting the top lip on, on top of the line and the bottom lip. Okay. Now here's the gin. I just lowered the chin a little bit. So what am I adding right now? I'm kind of adding the shape to the face and that's different for everybody. But usually you're seeing kind of a bone sticking out here. Comes in and you see kind of a chin. I elongated this circle a little bit. Then the neck is right here. Okay. So starting to look more like kind of like a head right? Then in-between these two lines is where you're going to see the ear. In-between these two lines is where you're going to see the ear. And it looks like the forehead is really big, but that's because we see hair. We either see a hair line or we'll see banks. So like say, this person had Baines, maybe some hair hanging down here Okay, So dance, I mean, I'm not really defining this face, but that's how you would get the things in the right place. It's important to have things in the right place. First before you work on drawing a portrait, e.g. a lot of people put the eyes too high. So I'm just going to define this a little bit. And it's not really like a finished portrait drawing or anything, but just to give you an idea, and we'll go more into detail on the features later. Putting in some hair. And I would erase these lines underneath. I'm not going to erase them now because this is just for practice. Okay. So I'm gonna put it in the eyes. Again, this is just a sketch. But just so you could see how the features would look and the nose. There's a lot more you could add like shading into features could be more detailed, but that's the general proportions of a frontal face. Now here I'm going to do profile. So I'm gonna make an oval. Again, same way, I'm starting in the same way. And then I'm going to actually let me change that. I'm going to again go half or a little bit above half, middle bit above the halfway mark there, and a little bit above here. So this is where the nose is gonna be. I'm gonna start with the nose. Profile is maybe a little bit easier. So the ovals going to disappear. Then here's the forehead. The lips are gonna go right here. And they looked different. We'll go over that more in the features. And that looks really weird. So I'm gonna pull in a chin. And then up here is where the eye goes. Remember it's hitting kinda like the end of the nose. So if there's not, we'll go over that a little bit more later. The eras between the same two lines and neck is coming out this way. This looks like so when someone's in profile, I started with an oval, but the back of their skull takes up a lot more space over here. So I'm going to put in some hair. Okay. And maybe a little bit more up here. And this is still just kind of a sketch. So there you're having a profile sketch. And again, you would erase all the lines underneath and then add whatever else you needed to add. Shading. Okay, so that's a profile sketch. And then I'm going to go into the next one, which is going to be three-quarters. I'm going to start with an oval. This is when a person is, it's in-between frontal and profile. So it's like you're kind of seeing the person in frontal and you're kind of seeing them in profile. So I'm making a line right here. So three-quarters is three-quarters over here and one-quarter over here. However, it'd be could be any different view. They could be looking this way. It could be 56, it could be two-thirds. It could be whatever fraction of the face you see here and here. And the dividing line is where the noses. Then I'm going to go about halfway, another halfway, and another halfway. I'm going to come. So the nose is like you're saying a profile right here. But then sometimes, depending on how the person is turned, you see a little bit of the nostril peeping out over here. Right. But it's on an angle. Okay. I start with the nose and then I put in an eyebrow. And then this eye over here is hidden by the nose. Then I'm going to use this mark again to start this. I still looks kinda like a sun right now but or a face on the moon. Okay? Now, what's different about the eyes? So I'm going to start the mouth. Okay. And okay, so let me just do something right here really quick. So if irregular, I see you make a regular ion and access like this. Well, if it's turned this way, you would see like it would be it a little different angle, right? So here's your central eyeball, right? But then the eyeball this way would seem smaller because the eye is turned and same thing with the lips. So for regular lips, if you made them on an axis, there would be like this. But then in this perspective and it could change, you could change this mark to the other side if they were looking to other way. The lips are gonna seem shorter on this side and longer on this side. I'm making this is the shape like so when someone's in three-quarter, you're seeing their bone structure. You're seeing there cheekbone come out and their chin. I'm going to erase some of this. This needs, this still needs a little bit of work. The ear is about right here. And then you're seeing there their face like their jaw bone come up here. And then there's more like area of skull over here as well. So neck is about here. And then Kinda looks a little weird. I'm just trying to see. Do I want to make this more at an angle? Let's take a look at the eyes. Doesn't look quite right. I'm going to bring it out a little bit more and have it only slightly hidden by the nose. How it looks but a bit better. Then I'm going to bring in an eyebrow for right now, I'm just going to punish hate it in What's looking weird to me. I'm just trying to see the mouth maybe a little off. So I'm just fixing everything that I think is off. So again, the edges of the mouth come to under the eyeball. I made the mouth too long. I think that was it. I was trying to make it three-quarters, but I kind of exaggerated go length of it. There we go. That looks a lot better. I'm not perfect at all, but a little bit better. And then usually you're seeing the line right here where the chin is sticking out. Okay. So that's my start and that would be three-quarters. Again. You could have her turning the other way. You could have seen for a man or a woman. You could have her at a different angle, two-thirds 56, I recommend practicing with a lot of different angles. 3. Drawing Eyes: Okay, so now we're going to work on feature. So I'm going to start with an AI. Will do features and then we'll do portrait drawing. So this is fine. So if you wanted to start, I'm gonna do so. The eyes are different in frontal profile and three-quarters. So I'm gonna start with a frontal eye. Do it in the middle. So if you, if you want to center it, you can use something like this. You don't have to. And you see the tear duct. And again, I'm pressing light in case I need to make changes. And everyone's I shade this is different. And that's not quite in the middle but close enough. And then for the eye ball, you're going to want to erase this. For the eyeball. Again, you, if I make something like this, the eyeball can be touching the bottom. But you're never seen it like this. You probably already know this. Or it can be slightly up from the bottom where you see some of the white below it. So i'm I'm happy with this eyeball. I'm just pressing a little bit harder. And I'm gonna make a circle in the middle. And then I make lines going out like the spokes of a bicycle wheel. Some eyes. In some ways you see this, in some ways you don't. And I use this for the shading. So sometimes you're seeing kind of like lines of color going in a direction. But here we're just using black and white. And I'm going to lighten it up right here and then go darker on the edge. Okay? Alright, That's just a basic start. This may be too big. I'm actually doing this I out of my head because we don't have a visual example. But since I've done so many eyes, I think it'll turn out okay. Alright. Then there's the eyelid You're seeing kind of a line right here. And some people put in the skin. So like right here, like your seat where the I 0 pins, you're seeing a little bit of skin that's coming out. And then I'm putting this under the eye. This is like an under I circle, I guess. And there's gonna be more shading, but this might be higher. It depends on the person's eye or how far open it is. And then the eyebrow is about here. Okay. Now, I don't know where I'm gonna go. I'm just I'm kinda scene where I'm gonna go with this. Okay. So let's go right here. So usually in under this crease, It's just like shooting an object but you're looking at the parts of the face. So like where things are going coming out in space, they're darker. I'm sorry. When they're going back in space, they're darker and when they're coming out towards you in space, they're lighter. I'm putting hairs in the eyebrow. Some people just shade it in and some people do here. Just like hatching and crosshatching lines in the direction that the hair is going. Okay. Now, what's missing? Eyelashes. But let me go under here so I'm gonna kinda shade this area first. There's usually, I mean, sometimes you see a dark circle, but this is right underneath the eye. Then underneath the cheek starts. So one common mistake that people make is that there is the Lisa I bought the, so here's the eyeball, but then the white of the eye, they leave it white but there's also shading on it. It's round, first of all, but then there's cast shadows from So it would be kind of darker over here. I'm putting some shading up here, so it kinda comes out. So I'm going to go right here and then I'm going to leave it white and then go light at the top because it's a bone that's sticking out. Okay. What is it missing? It's missing eyelashes. So this is just a sketch right here. So a lot of people just start making them like this, right? But like say, We're going there, they're curved but see, they were going out at an angle. They would be going like that, like the rays of the sun. So the angle of the curve is different. If that makes sense. And they get thinner as you go up. Some of them cross over each other. And you can do a lot. I'm just doing some to make it look somewhat realistic. Yeah. They get smaller over here. Okay. And there can be more, but there has to be some on the bottom as well. And they're kind of coming off of the edge of here. These are a lot smaller and they can cross as well. Okay? And I'm going to come in with a darker pencil to try to enhance some of the shading. I don't want to make this video too long. Just probably in the eyeball Maybe some more hair. I know I'm I start nitpicking and then I can do this for hours. Okay. So that's a frontal. What if you have an either Tim, I'm gonna do the other ones quicker in islets and three-quarters. You would have it like this and it would be at a different angle. So like to start it would seem longer on this side. Okay. And then you would have your tear duct. The eye is going to see the eyeball, excuse me, is going to seem narrower. See how this seems really round like a circle. Well, since this is turned an N perspective, it's going to seem more like an oval. And it can become more severe depending on how far the person is turned. I'm not using the right pencil. I want to get a thinner pencil to start. Then I'm gonna do these lines again. Whoops. So this one is frontal. This one is three fourths. I'm just changing the bottom. Not so doesn't look quite right. So the eyebrow as well. So say this is your eyebrow. I'm going to start out with a shape. Say it comes over here. It's going to seem like an a more severe angle right here. And then it's going to come down and it won't be as severe. Okay. And then I'm going to try to put in some shading. I if I want, I can put in that skin right there. I'm just trying to do this quite quickly. Since you already saw along one. And then here Okay, so remember there's also a little bit of shading in the white part of the eye. If you don't have that, it'll look quite odd. Or off. It just looks really white and something seems weird. It's just switching my pencil to a little bit darker. So just a really sketchy eyebrow. And then it needs eyelashes. Again, I'm kinda doing this out of my head. Okay, so there's that. And then if you want an eye that's in profile, you're going to have something like this, which I think is the easiest I, so you're going to start with like a triangle. And then sometimes it seems a little bit curved like that. If you want to see the skin on the bottom part, you can put that in there and then the eyeball I'm just lowering this. The eyeball is like an oval in that it's very at a very severe angle, so it's kind of a deeper oval than this one. And then you're seeing this come up here. This is the eyelid. This might be a little bit more curved. And the eyebrows up here drawing through that picture, but it's about there. And then you're going to see some shading here. I'm putting some shading and the white part. And then eyelashes. Maybe a few down here, tiny ones. And that could use more, but I'm going to stop it here. So this is a profile 4. Drawing Noses: Okay, so we're gonna do noses now. I'm using a light pencil. I'm gonna do frontal nose first. So I'm going to start with the circle. And then I'm going to kind of make a line right here. I'm kind of trying to break it up into shapes, but I'm not pressing hard. And then underneath. So this will be where the nostril is. This is the bulb of the nose, and this is the bone structure. So now I'm going to try to draw curvy lines around it to make it look more like a nose. And then a nose will look much better when it has shading. Okay. So I'm going to use the eraser to erase the circle. I don't want the circle to still be in there. So now this is where the bone sticks up at the top. So it's like usually there's a highlight on it. And then down here which is still part of the nose, how some light shading on it? I'm just shading. I'm using a B pencil right now, but I'll use a darker pencil later. This is kind of like the nostril, which is at an angle because you're looking at the person from eye level. I'm going to erase this line that I made. I'm going to bring this up a little bit more. And then there's kind of shading. I started with the circle because there's kind of shading around this because it sticks out and goes in like a sphere. And I'm going to do some shading in here. And then you're going to see the cast shadow. So I'm going to get a pencil that's a little bit harder now. So I'm going to use my two beats. So I'm kinda making a dark right here where the bone is turning. But I'm I'm kind of where the dark is right here. I'm making a light right next to it. And I don't want this line here. It's kind of, it's too obvious. So if I wanted like because it kinda comes in and then sticks out, so if I wanted to have it, I will put up some light shading right here to kinda show that And you're still seeing the shading from the side come down on this side of the bowl. But I guess I'll call it sometimes your seat. Like if I drew a line right here, sometimes you are seeing shading. Like this part will seem white because it's lighter because not white because it's turning under. That's a very light one. It could have some darker shading. I'm gonna get my darker pencil. This is a six. So that was a to-be. The first one was a B. And then the nose is when you see a nose like on a face, There's all it's always casting a shadow because it's sticking out. So that makes it look like it's sticking out even more. And it's pretty dark on the face. It could be to the side depending on where the light is coming from. I'm just going to put it right under for this nose. And then this is a frontal nose. I'm just going to darken some areas. And then everyone's nose shape is different. So you're going to have some variation when you're doing noses. You can work from photographs are from real people. Real people will be harder because it's in three-dimensions and then a photograph is flat. And I recommend doing both. And what don't I like about this? This needs a little bit more shading here. And in here. Now I feel like I shaded it too much. Just what part of the process of drawing. So again, you can work on this for a couple of hours, but I'm trying to do kind of a quick one just to give you the basics. I think that looks decent. So now we're gonna do a profile nose, which is the easiest knows to do. I'm starting out in a B, and you can start out with a triangle kind of shades. Maybe a little bit more like that. And then every news is different again. So I'm going to shape the edge of this nose. I'm looking at a photograph to do these. But I can also do some time. I can sometimes do them off of my head because I mean, we do portraits. Okay. So there's kind of a, maybe I'm going to move this out a little bit. There's kind of a side contour of a nose. And I want to put in a nostril, and then I'll put in some shading. So a nostril will be right here. Okay? So this is the dark, really dark is the darkest part of the news. In terms of shading. I'll go over that with a darker pencil. And then like here, this is where the lips will be right here. But you're seeing, so where this touches the skin, you're going to see a dark outside of it. And then it's going to cast a shadow on the face as well. Because it's sticky. It's protruding out so much from the surface of the face. I'm making a line for a shadow here. I'm just kind of outlining my shadow. There's a shadow on this part because it's turning under. It's going like this part is out, but then this part is turning under, so it's gonna be in shadow depending how like on this one it was in late. So depending on how the light is, it will be different for each knows, but it's a different surface because it's bending. And there's gonna be shading outside of here and a little inside. I'm going darker over the contour with the same pencil. And now I'm going to get the to-be because I want this to be really dark. And then like say, you're wondering like where would the lips b, this is like, sorry, I'm going all over the place, but this is like where the forehead starts. And you probably see like an eyebrow right here. Maybe coming and touching the forehead. I'm not going to do the whole eyebrow. We'll do that later. It's just a sketch of kind of giving you an idea and then the lips. And then you'd see an eye about here. Okay, So now I'm gonna do the three-quarters nose. So it's a mixed profile. And this is three quarters. And this nose is a mixture between a frontal enter profile. So I'm starting out with a shape like this. Here's the bulb, but it's, it's kind of in perspective. And This is like the no, the bone of the nose goes into the eyebrows. So this Okay. So here you're seeing a bit under here, right? And then you're seeing a non-sterile right here? One right here. So this nostril here is, is hidden by the point of, I guess I'll call this the point of the nose, right? So depending on how far you're turning, you may see it peeping out a little bit or maybe not that much. I'm putting in some shading. And here's the nostril, that's the darkest part again. And this one is kind of like your nose. You're kind of a little bit under the nose so you are seeing more of what's underneath. That's just like eye level of the person that's looking at the nose. And you're seeing more of this nostril because the person who is turned this way, that may be a little too much. So this is like this part of the skin that's kinda going under the nose. Which here we're not seeing because we're a little bit above and here we're a little bit below. But it's still pretty similar to eye level. Just depending on where, you know, your height is in relation to the person that you're drawing or the picture that you're looking at. I'm just putting in some shading. And I'm going to erase this line right here. And then I'm going to put it into cache shadow because it's casting a shadow on the face. And then I'm gonna get my darker pencil, which is the six B. And I'm just going to darken certain areas. This pencil is much smoother. It glides easier because it's softer. That's why I really prefer the darker pencils. And I'm just making a few little corrections in my blending. This would probably all be in shadow in this area. Okay, and I'm going to stop here. And you should just practice those noses or noses and frontal profile and three-quarters views. With shading. You can also do like two-thirds and seven-eighths and all that. 5. Drawing Ears: Okay, so now we're going to do ears. Okay? So if you're looking, I usually do a box to start. So this would be when you're seeing someone in profile, but then the ear, you're seeing the ear, I guess. I don't know how to explain it from it looks like a frontal view. So I'm just going to say profile. The person is in profile. Okay? So I just use this to help me get started. So it just helps me kind of place it. It's not even really fitting into the box, but you could make it fit into the box. So I'm just getting kind of the main lines and I'm sketching them in with a light pencil. I'm not pressing hard. This is like the innermost part. Alright, I'm just seeing if I'm happy with that sketch. And I'm gonna get a little bit of a darker pencil. And I'm going to make these lines more curved and darker. Just getting a nice contour here for this. Instead of a sketchy kind of gesture line. You can look at people's ears or you can get pictures of ears from the Internet. Again, drawing from photograph or a flat image is easier than drawing in real life. I recommend you try both. And if you want to get good, you need to practice, practice, practice. What's going on here? This comes out and then goes in. And then I'm going to try to erase some of these sketching lines. Some people like to leave them in the drawing sub t. This is just a practice. So this is going to come alive when I add shading. So I'm just trying to figure out what I kinda wanna make this a little bit higher. This is the darkest part because it's the most interior. That's a little too dark. I'm going to fix that in a minute. Actually all tried to that just got really dark. I don t know. You didn't mean for it to be that dark. And what happened here? Okay. Let me just look at this part so there's some light shading because this is curved, so it's going down here, coming up and going back down. I kind of have to move some things around down here, but let me get some of this shading in first. So I want to bring this in more. I feel like it's I didn't make it. I made it too far out. And I'm going to bring this in as well. There we go. I'm always moving stuff when I'm drawing. Even though I've been drawing for a long time. It's just a part of the process of drawing. It's highly unlikely that anyone gets like it fits perfect on the first try. I'm going to bring this thing out a little bit more too. I mean, let me get my darker pencil because I'm going to show you three years. So I'm just outlining with the 6 ft. Just trying to kind of giving it a little bit more of a contour, of a darker contour to define it. Okay? Now, if you're looking at someone from the front of the ear is going to be in a different perspective. So this is the perspective of the head. Okay, so like for the frontal ear, I'm gonna make a narrower box because it's, this is like when you're seeing someone in profile and it looks like you're looking right into the ear. If you're looking at it from the front, this ear is angled back within this box longer. So this is like the head, right? And then you're seeing that you're like this, if you're looking at someone from the front and then you're seeing this part come out and kinda slightly come over this line that you had here, this edge. And then come back in. And this still needs in Miami need to move some stuff around. Then this is the inner the real inner part Let me just kind of correct. And I'm going to press harder and try to do more of a contour line. I'm gonna bring this up and know that looks that was right to begin with. Hold on. And then there we go. And I'm going to erase some of these sketching lines. That looks kind of okay. And then I'm going to start shooting. I'm still using the Tooby. I used it to be for the whole thing. For this one, I should have started out with a B, but I'm going to curve this a little bit more. I'm actually going to bring this right here and lighten up the shading right here. Okay, so there's the frontal. And then I'm going to do the the three-quarters, which would be an angle in between this and this. So it would just seem like this, but like a little more compressed. Try not to take too long. The ears are a little bit hard. I mean, they may be the hardest feature to do. I'm making a line because it's kind of on a diagonal. That's just helping me get the shape in. I'm still kind of sketching because I'm, I'm kinda figuring out where everything goes and I may move stuff around. So I'm not pressing hard with the pencil. And I'm not quite, this needs to be narrower. So I'm going to define and define the shape is still sketchy My contour line. No. I'm just saying if I like the way this is looking, This needs a lot of erasing. All right, now I'm going into the outer part and here's the face. Okay. So what does that need? So that's kind of in-between. It's an angle in-between this angle and this angle. And I'm gonna come in here and shade. Again, you get better by practicing, practicing, practicing, practicing, practicing practicing. Now I'm coming over here and putting in, I'm gonna be putting in some of the shading. You did. I'm just adding some darks. Okay. I'm coming in with this six B to add a darker and more defined contour. Just coming into the darker areas. That looks too obvious. Alright, that's, I don't know if I'm happy with that, but there you go. I'm going to stop it here 6. Drawing Lips: Okay, So here we're going to look at Mel's or lips. So for the first one, I'm going to do frontal lips. So I'm starting with a B. So I'm gonna make something like this to help me get started. Okay? And then I usually start out with a shape and then I make it curvy because the lips are not Angular. But some n, Each person that you're looking at is going to have different lips, but this is just like a generalized pair of lips. Okay? Now, I'm curving them and I'm still not pressing hard because I am not quite sure of how I want them to be. Okay, so now I'm going to erase this line right here because I don't want that in there. And I when I do lips, I do shading mixed with cross contour lines. So I'm making cross contour lines here because the cross contour lines At are automatically showing you how the lips are curving. They're in here, they're coming out and they're going in, right? And I use that as a starting point. And also lips have lines on them like this as well. I mean, everyone's lips are different, but most lips, you can see some fine lines on the surface of the lips that are cross contour lines. Now I'm going to put in some shading and I'm going to emphasize the cross contour lines. And this is just my first layer of shading. Closed lips are somewhat easy. Open mouths with teeth and tones are a little bit harder. And I'll do another video on that. I'm just gonna do the closed ones on this video. I'm going to get a darker pencil, so I'm not gonna go, I'm gonna go into my tube. It's darker. The lips are darker right here because there's they're going into a, I guess a deeper, more interior space. And let me darken this contour. So this curve right here is kind of what that doesn't look very good. It's kind of an imitation of this curve, but it's not as deep. I'm just trying to like adjust the shape a little bit and then I want, I mean, you can kind of see the cross contour lines and the shading, but I kinda wanna make them a little bit more. I mean, I don't want to make them too obvious because that'll kinda look weird, but I need more shading care. It's not gonna be white, maybe at the top. But maybe like a couple, you know, I mean, you decide if you like that. It's just the way I usually do it because it helps me kinda see the contour of the lips. It can look a little like if you're, if you're doing it with shading. So like when you shade, you can shave, like see how I'm shading in the direction of the cross contour lines. So it's already, the shading is giving it a cross contour look, right? Then in here I'm kind of like trying to add in some of the lines. But it may look, if you think that looks too like fake or exaggerated, then you can just do it in the shading. If that makes sense. I usually like to add in a few. People usually have these lines. I mean, they're not this pronounced, right? So I'm exaggerating in the drawing, but I just do that to kind of give it a little extra. This is a six B. Now a little extra volume. That could use a lot more shading, but I'm going to leave it like that. And then so Profile, profile lips. Like if you start on a line right? They kind of look like this. It's like a heart, but the bottom part is it's a heart turned on its side. But the bottom part is like more indented than the top part. Right? And then this one will usually come over that may be a little too high. All right. So those are like kind of how you would draw it in profile. And I'm going to get a different pencil and darken in this contour line that I made. And then like say this person is like sometimes if the person is a little turn towards you, you might see that. Like you're seeing the indentation. I don't want to put that in this drawing, but you well, maybe I'll need it there. So this is this indentation, but it's in a different perspective. So you see that in the profile. And then if you want to start with some cross contour lines, just to give it again the curved volume. You can do that And I'm putting in some shading. Again, shading will be different depending on what I'm kinda doing this out of the top of my head because I've done a lot of lips before, but shading will be different depending on what you're looking at. Okay. That needs she needs a little bit of work. And here I'm going to have it darker at the bottom. So like since this part is sticking out, like on this one too, like this part is stick is starting to come out again, so it's lighter, usually later at this part and then darker on the top lip down here. And that was kind of a quick one. But I don't want to mess it up that much. So maybe I'm going to make some of these lines. All right. And then three-quarters. Let me get her lighter pencil to start. So say here, you're doing this and the person is turning this way, you would divide it right here. So this is gonna be, uh, like, uh, well that may be too much. This is gonna be a deeper angle. And then here it's gonna be a shallower angle, right? So it's going to seem like this side of the lips is bigger, longer then this side of the lips because the person is turned, right? So it's more like you're seeing this at the regular length, but since they're turned, you know, slightly then this is shortened because it's in perspective. If that makes sense. And again, this line is kind of an imitation of this line, but it is not as if the curves are shallower. And here we go. So again, it's not, I use angular lines to start it, but lips are curved, not angular. So then you would want to curve them. And I'm going to erase this line that's in the middle. Okay? And if the person is turning the other way, so this would be like their nose is kinda like this. Their nose would be this way, right? So if the person is turning the other way, then it would be the ellipse would be shorter on this side. And if they were turning more than these would be even shorter. So I mean, it's not like people are at different angles, so you have to look at them and I would practice quite a few just if you want to improve your drawing. Okay, So that was my cross contour lines that I'm getting started with. And I'm putting in some shading. And this is a, a b. So I'm going to get a darker pencil in a minute. I'm just going to put some of this then. So now I'm gonna get the to-be. And I just need to work on the shading a little bit. So it's also going to be dark coming from this because this is going, this is inwards, coming, outwards, going inwards. And I'm going light with my pencil here. And then I'm gonna make this side a little bit darker. And I'll leave it at that. That could use it like more work, but I'm going to stop there and I'll do a different one on open mouth 7. Drawing An Open Mouth: Okay, so here I'm going to do an open mouth. And this is a lot harder than the closed mouth. So I'm going to see teeth and part of the tongue. So I'm using a picture from the internet that I printed out. And I'm trying to do an open mouth. Teeth are kind of hard. They don't seem like they would be hard but they are. So I'm sketching my way, like I'm kind of finding how it goes with the lines. I'm sketching my way. I want it lower. And I'm gonna get my eraser and erase some of this sketchiness that I have here. And what did I do wrong here? I'm gonna make this higher. So it's a process when you're drawing, I mean, you're always moving stuff around and trying to get it right. If you're doing that, you know, you're at least paying attention when you're drawing. But that, I mean, every artist does that, even really experienced artists. And that's why we have light pencils. I'm gonna move this tooth over. So here's a tooth. Then here's a smaller tooth that's I made this curve line because the teeth are going along the curve. Okay. And then there's a line right here. So this is the tongue. And then this is like the back of the mouth right here, which is a dark. So now I'm going to get a darker pencil. And because I don't like that, it's hard to shade with that pencil. And again, just like the whites of the eyes, the teeth also have shading on them. Like they're not. A lot of people, like they make them just pure white and they have shading on them as well. So I'm just putting some shading. The shading needs work, but I'm just trying to get in some areas of dark and light. Now I'm going to darken my contour lines, my outlines of different things because it's too sketchy. Just to give it more definition. I'm kind of changing some of the outlines if I think they're not really quite correct. Whoops. Went over that tooth. I'm putting some shading on the teeth. Again, teeth have shading just like the whites of the eyes. The mouth, this top lip would be casting a shadow on the teeth and then the curve under at the bottom. So that's another area that would be kinda shaded. I'm gonna get a different pencil. I'm gonna get this XB. It's just smoother. It's easier to shade with, but sometimes it can get a little bit dark, so I'm not pressing that hard. About might've been a little too dark on that tooth. Can always erase if you go too dark. I'm gonna come back in here and make this really nice and dark. So again, really nice drawings are using a lot of layering. I'm going to erase right here a little bit. Okay? And I'm looking at this area, the shaded part of the tongue because the tongue is darker than the teeth, but also the teeth and the roof of the mouth are casting a shadow on the tongue. My gosh. I had the pencil is kind of coming off of my hand. And it's gonna be dark coming down from this edge because it's curving in. And this is actually a pretty simple open mouth. There's where you see the bottom and the top teeth. That can be something you want to practice. And I'm gonna come up from the bottom and I'm trying not to press that hard because the six B pencil is like kind of a little bit. It's very dark, but it's easy to shade with. That's why I'm using it. But sometimes it can go too dark if you if you press too hard. I want to go darker right in here. But not too dark. I'm just defining that contour, but that was a little too dark. And looking at the top lip, again, this part is going under so it's gonna be dark. I'm trying to shade on this upper lip, but I'm trying to shade in kind of a cross contour direction without making all those cross contour lines see them. So then you can kind of get that occur. The cross contour curve with the shadings. And I'm gonna come down from the top with it, just some light shading. Okay. I'm going to leave it at that. I could do a lot more, but I think you get the idea. And I want to erase that little tiny bit. That's too much. Okay. Sorry 8. Portrait Drawing on Black Paper- Part 1: For the portrait drawing on black paper, I'm gonna do a full portrait drawing was shading. I'm going to start in a white charcoal pencil, since I don't have a model with me, I'm just going to use old masters for my guides. You can use any photographs since we're in black and white still, the photograph should be in black and white. But I'm going to use this for my guide. It's by Michelangelo. So I'm going to try to do a portrait drawing with shading. And I'm just going to start in, start by blocking in the proportions of the face. So I'm doing the same thing that I was doing before in the proportions of head sketch. But now since we know how to draw features, I'm going to add features and try to be able to do it with correct features, correct proportions, and shading. But it's going to take me awhile. This may well, depending on how long it takes me, it may take me two videos to do this. But I'm just trying to get I'm blocking in the oval, but I'm also trying to get the shape of the face or the head. I may not have all of the material on top on here. So some of the head is above this because she's wearing a turban. So I'm going to make the eye is about right here. This line will be erased. And I'm gonna go right down the middle. And then here again. Remember these lines from before here again. Here. Remember this varies from person to person slightly. Okay. So I'm going to start with the eyes. And they're about here. I'm looking at the shape of the eyes on the picture and I'm trying to get the shape correct, but I know this is going to need adjusting. So I'm just sketching it in right now. And to check for size, I'm going to check if I can fit an eye in the middle. How off I am. It's actually pretty close to bring this one out a little bit more. This again, I'm not going to put in detail, I'm going around, so I'm going to start putting in the features. This is about where the nose is. I'm going to make it a little lower because it seems to look a little bit lower on her face. Remember everyone's faces different? And I'm trying to get the nose to be under about under this line. And this is just a sketch in her mouth. What's weird about her mouth is that it's kind of it doesn't seem to come all the way out here. It seems smaller than that. It kind of comes out like right outside of the nose. It's a little small compared to the usual mouse on your usual face. But remember this is a painting that I'm copying from. This is the Delphic Sibyl from the Sistine Chapel. And I chose it because it has dramatic lighting on the shading on the face. And her mouth is open, but I'm still in Sketching mode. Just trying to see if this looks like kinda correct or not, you know, and eyebrows. I'm just outlining shapes right now So it needs to be a little bit the eye needs to be lower probably. Okay. So I mean, I'm okay with that. It's not perfect, but I'm going to refine it. But as a starting point, I think that looks okay. You don't have to like right now we're not totally doing figure. So I mean, you're doing any portrait you want, you don't have to copy this, but this is just an example. So you don't have to put in like the other stuff if you don't want like the neck, I'm just trying to get it in and she's wearing a turban, which is kind of hard. But I'm going to try to put it in or part of it and probably not all of it because it's not going to fit on my paper. Just so you can see how to do maybe some folds of fabric. I'm just trying to get the mean folds and then I'll refine it later. But again, you're always moving stuff around when you're drawing. This. This is not really like this is still in the sketching phase, okay, so it's not perfect at all. Just kinda trying to block things in, in the right place. And remember, when we're doing it on the black paper, we're leaving the black as the dark. Just trying to get the major lines of the turbine. Which is, it's not really a portrait drawing, but just an added element to this picture. This takes a lot of time. So I mean, I'm trying to make the video as fast as I can. But these things actually take a lot of time. Like you could spend 6 h on this. And hopefully in the future, all learn how to make a six-hour video that is bed up in certain parts. But I start with a kind of contour and trying to get everything in the right place. I'm just still moving stuff around. And I move it around once and then I move it around again. That's just the way it goes. I tried to see how one thing relates to another and then I realized that I may have to move something. Okay. So that's my start. And if I want to go on the bottom, she's wearing a toga I'm just making an outline for her hair. Okay. That's my starting point. Okay. Now I'm still going to come in and kind of that was like a sketchy outline. And now I'm going to try to do an outline that's a little bit more realistic. So I'm looking at her features and I'm seeing where I'm going in with a darker line which we need to be changed because it's white, but it's going to help me get started. And she's looking over here. So her eyeballs are like this. And I don't know. I'm thinking to myself, did I make the i2 big? You can draw along with this video or you can do your own on black paper. No. That's too. I'm moving the CEO over. And not perfect. I'm going to put in all the features and then see if I'm happy with the way it looks. You want to get your outline in first before you start doing any shading because you might have to move stuff around. I don't know, but I wish I was actually I train. I'm doing it on a small piece of paper, but I wish I was actually doing it on a bigger piece of paper, but I don't have a large black piece of paper right now. Just making it more firm and defined and trying to correct any mistakes that I've made. And then I'm going to look at the shape of the head, of the face and her, her There's a line right here so her chin isn't gonna come come down lower. And then once you change that, then you have to change other things like the neck, but that's the way it goes. I don't know if I'm happy with this. I'm just I'm just trying to get it on the paper. She has some under ice circles. So I'm kind of putting those in And I'm just taking I'm sitting back for a second and I'm trying to take a look at it and I'm trying to see what I don't like. This looks a little too to find. I'm just thinking right now, just trying to figure out if it's going to look really bad if I shade it or if I should start shooting. I think it looks not really great, but okay, so I'm going to start shading. It's not too far off, so any changes I want to make, I can make late. So I am going to get white piece of chalk and I'm going to start putting in the light. Do I want to erase these lines? No, because it's going to be covered. I'm just looking for the lightest areas. So I'm using a piece of chalk for like big areas and then for smaller areas, I'll use the charcoal pencil. I have a white and a black charcoal pencil, but I'm just trying to block in large areas that are in the light. So in this picture, this half of her face is enlight. In this half of her face is in shadow. I should have used the charcoal pencil for that because that's like a kind of a defined line. I'm actually going to come back to my white charcoal pencil because I'm going into some smaller areas. So I'm just looking for areas of light right now. Trying to block in the areas that are lightest. It's going to take me quite a bit of time to do this. Okay, so now that's a little bit, and that looks horrible as a drawing, but it can be refined. I'm getting a gray because this whole side of the face is mostly in gray. And I'm just going to put in I'm probably going to just put the whole thing or big parts of it in in gray and then I'll refine it This is probably going to take two videos. Tree. I'm just trying to see if I have a lighter gray. I'm just comparing those two. And I want something a bit lighter. This one is a little bit big toe, but it's a lighter gray than white. I'm just blending a little bit with my finger. I'll do more blending later. And this looks like a horrible portrait, but it's not done. I have these two grades that I'm using right now. I'm blocking in areas of different value. I want to go and tell those ions with the gray eyebrows would be a darker gray. I'll leave that for later. Under ice circle. This looks horrible, but it's not done. As you can see what I'm doing, I'm actually probably going to stop the video, fill in some areas, and then come back and show you the video with me refining the details. 9. Portrait Drawing On Black Paper- Part 2: Okay. So I bought in most of the shading and I got some paint brushes. I'm going to use the paintbrushes to blend right now. And then I'm going to add detail with charcoal pencils. You kinda pull some of it off just like a Q tip. And then I blow on it just to get some of the powder off. Doesn't look that bad. It doesn't look as bad as I thought once I filled it in. I'm going to really fix it up with the charcoal pencils, but I'm just trying to get a smooth coat of value with chalk on here. Just smoothing it out, getting some of the black, the black paper from showing. And I guess the reason we use black paper is to let the dark show through, but there's not really that many darks on the face. More so on some of the fabric. But you're adding a different you're adding the lights instead of adding the dark, which is what you're doing on the white paper. Okay, that's a start. I'm going to maybe work on the other part later. So let me move the arrow. Okay, so I'm gonna kinda come in with a black charcoal pencil. I also have a weight one, but I'm going to work with black first. And I'm going to start working in the eyes. This is not gonna be perfect. And it will need correcting, but I'm just getting started with the detail work. Let me get my paintbrush. That's plenty. Not pencil nicely. I'm just using the charcoal pencil for this because the pieces of charcoal are too thick. I'm trying to do outlines and I'm also trying to do areas of value within the main values that I put on the face. So it kinda put it in like a gray and a y, a medium gray, dark gray, and white, but there's areas that are darker and lighter. Within the face. I'm making eyebrow a little bit darker than the skin. It's starting to look not great, but okay? Right, It's not as bad as I thought it would be. Okay, so now I'm kinda get my white charcoal pencil because on this side of the face there's like a little bit of a light on the edge. You could call it reflected light if you wanted to. But I'm Glenn, do with the paintbrush. You can use a blender, a Q-tip, or a paintbrush. I do really like the paintbrush. Okay. Now I'm gonna come up here. And there's middle areas that are lighter above the eyebrow. Try not to put your hand right in the chalk because it can really mess up the whole thing. Then it's going to also be under the eyebrow. And I'm gonna use the paintbrush. And I'm going to use it right here as well. Bringing in a highlight. I'm starting to be, I'm not happy, really, really gleeful about the ways that it looks, but it's starting to look kind of okay to me. Kind of more like a portrait than a messy charcoal shading thing. There's a little bit of a highlight right here. I don't want it to be white. I want it to blend into the gray value underneath it. Doesn't look so bad. All right, so now I'm going to move to the nose, which looks like a mess right now. So there's a middle decide is really light, and then there's a middle kind of medium. I'm going over here, it gets darker. I'm trying to make that like a medium not totally white. You're seeing like a real highlight right here where it gets later on this side. I still don't have my hand in any chalk. This needs to be a little bit lighter compared to that. So this is a very time-consuming process. There's a bit of a highlight coming in here. And here it's a little bit darker, so I'm not pressing this hard with the white. Alrighty. So doesn't look quite perfect, but let me come back to the nose. Let me go to let me actually, right here it gets darker Okay. And I'm going to kind of mix with the brush. If you do this with a brush or a Q tip, you could have a brush for lights and a brush for darks, or a Q-tip for lights and a Q-tip for darks. Okay. Let me take a look at the next. Some areas are dark and some areas are like, I'm just looking for values. I'm happy with the outline, but the values need adjusting. Who should go up here with the dark? And the bottom you see in dark? Again, I am doing as much as I can. I could take me six 7 h to do this. Now I'm going to get the white. Not perfect at all. I'm going to leave that alone for a minute. Okay, so right here, I'm gonna go I want to bring this in Austral a little farther out. It seems lopsided for some reason. Okay. So now I'm gonna come I'm just looking at the area around the lips. And there are some areas that are really late. So I'm trying to block this in. I'm gonna get my paintbrush. That one is too hard. Starting to look okay. I mean, it certainly doesn't look great, but it's starting to look kind of okay. I'm going to bring this before I go onto that other eye, I'm going to try to drag this gray over to the outline with the paintbrush. There we go. And I'm gonna get my white because there's some areas that are really highlighted over here. Yeah, no, I'm gonna go up to the edge of the eyebrow. Or white mixed with gray. Alright, so I'm gonna get my black charcoal pencil and work on the eye. And I'm going to darken this eyebrow. Try to make it match the other one. K is starting to kinda look like a portrait. Let's take a look at this. There's this under our circle. There are certain areas. I mean, this really needs to be adjusted. I'm just kinda getting into basics. And the adjustments could take a couple of hours. There's like two under ice circles here. I'm just looking I'm stopping and I'm looking at it. I'm trying to figure out what needs to be adjusted, which is something you should always do. And oftentimes, you should stand a little bit far away from it. And that'll help you figure out what needs to be adjusted. Do a little bit of blending right here with the paintbrush. Okay, Just thinking to myself, what do I see? What do I need to add to this? What's missing? What's not really correct. And actually, I mean, it looks decent for for how much time I'm going to lighten this gray. It's too dark. So you need to adjust like values, like you can put in a value and say, well that's wider and that's darker, but it will need adjustment. This is too dark, this circle. And the adjustment like I'm doing a little bit of adjustment, but I could spend a long time working on this, right? I'm just doing as much as I can for a video. And what's going on right here? It's kind of a medium to light. Right here. We're going to try to mix this with white. Starting to look okay. I mean, it doesn't look perfect. I mean, It means it has a long way to go, but it's starting to look alright. Now, the face needs a lot more work, but just so you can kinda see some of the things around the face. This is actually still the face, but there's a real dark kind of cache shadow from the turbines. Kind of pulling it around the face. Just right under the turbine. I'm looking at the turbine as well, but I'm getting my paintbrush. So each step improves the drawing. A little bit. Just takes time and you have to be patient while you're doing this. You have to learn to be patient and to constantly change things that need to be changed. I'm going to take a look. I'm, I'm gonna come back to the turban. I'm going to take a look at the neck for a second. And then this part, I shouldn't be putting my handout. So what you wanna do, so like since I'm putting my hand over here, what you wanna do is put a piece of paper under your hand so it doesn't mess up. The charcoal gets all over your hand, moves all over the picture. So I'm just putting this picture under my hand. I'm darkening this edge. So the other side had a light edge and this side has a dark image. Okay. Now I'm getting the white charcoal pencil to bring in this side of the neck. Okay. I'm using the paintbrush. This neck needs more work, but I'm just kinda wondering what I have so far. Not perfect. It needs more work Okay, I'm gonna take a look at the herb and actually I'm going to put in well, no, let me look at the turbine first. I'm probably not. I'm gonna do as much as I can, but this nose needs more work. Okay. So let's see. Let me blend. Oh, so I'm gonna get the white charcoal pencil. Yeah. And I'm gonna put the picture this over. It's not this way, but I'm kind of making it a little bit lighter to exaggerate the form. Stuff out. A piece of fabric that's folded with highlights. Yeah, I'm gonna get the paintbrush trying to blend this edge in. Trying to leave some of, I'm trying to use the brush to spread some of the gray to the darker areas. Again, this turbine could take a couple hours, so just doing as much as I can. And as partners char. Some people leave like e.g. see how this bottom is like this. Some people will do some parts of n. This is kind of sketchy. Some people will do some parts detailed and some parts sketchy and leave that as drawing. It's a form of variety of like some loose drawings and some detail drawing. I do want to kind of I don't like see like all that powder gets over here. So I'm going to try to erase it. I don't want to spend too much time on the turbine because you're here for a portrait, but that gave you a little, I mean, that's totally not done, but I gave you a little idea about it. And I'm going to look at the hair. Now in this picture. The background is light, but I don't want to put, I want to leave the background black, so I'm going to get a so this is my grays. I'm looking for a darker gray for the hair. So I'm gonna make the hair probably a little lighter than it is. And that's using creative license. Anytime you use a picture for reference, you can change it as much as you want. That's probably too light. But I'm gonna get the paintbrush and start blending it. This is a direct I mean, it's pretty much almost a direct copy to demonstrate skills, which means it's not an original piece of artwork. But we're just looking at skills right here. But if you if you wanted to, like, I mean, like e.g. if I showed this in a gallery, I would have to say this was a copy of the Delphic Sibyl by Michelangelo. But we're just looking at skills right now. I'm not going to show this in the gallery, but but you can use photo reference. And if you change it enough, like if, if you, if you want to do a portrait and you print out a face and you print out a bunch of noses and you change it enough than it would be considered. And original. Which is a lot of what I do in my paintings if I don't have a model. Now, the hair is a little bit different because I didn't want to make it dark. I'm just going to make a few lines in there. The hair in the painting doesn't really look like real hair. Okay. I may go darker right here. That would need a lot of work. And it totally, I'm kind of veering off from the example. Just trying to put in some light and dark line work to make it look somewhat like hair. But again, the reason I kinda veered off was because the the background is light and my background is dark. I'm going to leave that alone. Okay? So I'm coming back to the portrait and I'm see if I see if there's anything I need to refine. I'm going to bring this down a little bit because it looks lopsided. And I'm just looking at the picture. Let me look at the eye as though I'm gonna make some areas lighter and leave some areas as they are in the white part of the eye. And that's adding a highlight. Then I'm going to look back and try to correct any shading I need to correct on the face. Kind of like I feel like I've done like half of the shading, right. At least it needs a lot more detail work. And I'm just making a few adjustments because I don't want to make this video too long. You can leave line work. Like you don't always have to have it perfectly blended. It's up to you, like what your personal preferences like. I think that looks okay as some line work, I made Linda liter. The lips don't look quite right to me. I don't know. This nostril doesn't look right. I'm probably messing it up more often happens when you're drawing. I'm just looking for kind of areas of shading that I missed. And you want it. So basically what I'm showing you now is like developing skills by, by kind of copying it. You can do some of this and then you can do some with a model that would be really good. But then later you want to be you want to do original work. In the beginning. I mean, do as much coughing as you need to to develop your skills. What do I need to adjust? I'm just looking at it and thinking. Some of it looks quite sketchy, which it's fine. It's just practicing. It's okay to have line work on it if you want to, or you can really blend it smoothly. This might be may have gone a little too dark with this. Lightening it up a little. Trying to blend this. I'm gonna go darker on this lip right here. And I'm just studying in a bit. It's totally not perfect if particularly a couple more hours to finish this. I'm going a little light around the dark into lip, but very faint as a form of contrast, right? In contrast to the dark, there's usually light and her mouth is open. I didn't make it open because I was just that would take another couple of hours. So let me just don't this nostril, I don't like It's a lot of work, but I mean, the charcoal can actually give you a really nice drawing. It's just it can be a little messy, especially at the beginning. And I'm going to stop here. You can refine this for a couple more hours. 10. Portrait Drawing on Gray Paper- Part 1: Okay, so now I'm going to be doing a portrait drawing on a gray, gray-scale piece of paper. I'm using, I'm going to use, excuse me, charcoal pencil. But I'm starting out with pencils. And the picture I chose is this another Renaissance artists portrait? It's three-quarters since we did a frontal. So I'm going to try to do a frontal profile and a three-quarters in different media and on different papers. So I'm going to start with a B pencil. And I'm just getting the proportions of the head in on the piece of paper. I'm starting with my oval. Again. I'm just starting trying to get everything in the right place. Okay. There's my oval and since this is three-quarters or maybe even a little bit more than that, Maybe like more like 56. The person is looking this way. So the line that I'm putting to divide the face is about here. We're seeing very little of the face on this side. Then I'm gonna go a little bit above half. For the eyes. Sometimes it's a little bit above half, sometimes a tough. Again, it varies from person to person. And then I'm gonna go divide this in half and divide this in half. And I'm for these, I'm not, I'm trying to do finished drawings instead of sketches. So now I'm going to try to put in the nose and you know what this line is actually maybe even a little bit more this way. Remember, for this, for the three-quarters, we usually start with the nose instead of the eyes because it's at a weird angle. I'm trying to put in the nose or just basic shape and I'll refine it later, but just trying to get stuff in the right place to start. The eyebrow. Those are the two lines above the lips. The lips. And these are not curved or defined. I'm just trying to get kind of things in a general area. And then I'll see if I'm happy with it. Okay, now I'm going to go, this looks like a face on a moon, so I wanted to try to give it the shape of her face, which is where in three-quarters or those types of views, 5678, we see kind of like the bone structure right here of the eye because the person is turned. This I'm going to bring this over a little bit. Then you are seeing her cheek come out here. Then it indents. And we're seeing her chin right here. And that's starting to look more like a face. I'm going to come in with the charcoal pencil in a minute, but I'm just still trying to get stuff in the right place. So this noStroke about out here and it comes up in the eyebrow, starts after it. Or from this line is touching this line, this end is touching this beginning. So I'm trying to put in the shape of the eye. And I may be even a little bit closer. I'm not pressing hard because I may move stuff around, still trying to get things in the right area. This I overhear is slightly hidden By the nose, by also it's not really, we're kind of not seeing it close because it's it's closing on the other side of the face. That's my starting point and I'll define that more later. Then I'm looking at the shape of this Jin. How it, what angle is it coming up over here? And then you see an ear right here. I'm just trying to see kind of where it is. Okay. Nick is coming down here and coming down from the ear. Okay. Now I'm doing this. She has a lot of hair, so I'm just trying to figure out where I'm going to put it. She's wearing a head band. So there's a big space right here. I'm just making a big shape for a chunk of hair and then I'll fill in the detail later. But I'm just kind of I'm trying to break it up into big shapes and then I'll try to add what the hair looks like later. Okay. So she has kinda bangs and headband. And the hair on this side is coming over the eye. This may need to be adjusted a little bit, but I'm just trying to get something in there to start. And over here, There's an area. Then she actually has a head band up here. So I'm just making a shape for the head band. And this comes, The her hair comes out on this side outside of the ear. I'm starting in pencil because the charcoal pencil would be too messy to like erase and move around. And you can see it on the gray. And some right here. And some of it is coming out over on this side like that. And then she has hair on top of her head bend as well. So I'm going to try to make a shape for that. You can draw this or you can use a photo or a person. I'm not using a person because I don't have a person here with me to do. But it's a good exercise to start with photographs and then move into peop. People like get kinda good at doing a couple of photographs or drawings and then move into people. Okay, so there we go. Now, I am I mean, that doesn't look exactly like her, but, you know, I'm pretty happy with the way I'm pretty happy with the sketch as a starting point. So I'm going to erase some of the lines That were, that are not gonna be seen through that work guidelines. Alright, so now I feel yes, I'm ready to start. So I'm going to start with a black charcoal pencil, but I'm going to make a line right here just to see if it's how thin it is. I sharpened it but I want to see, okay, that looks okay. So now I'm just thinking, bear with me. Again on the gray paper. You're trying to leave some of the gray as a middle value. And the lights and the darks. I'm just what something seems off to me and I'm trying to figure out what it is. And I did figure out what it is. So I think that the eyes need to be a little bit lower because there's more space between the eyes and the eyebrows. You could do that in either way. Maybe it lower and smaller. So they could be you could raise their eyebrows or you could lower the eyes. But in this case I'm lowering the eyes. It's kinda looks exactly the same but let me just check out this. I yeah, I'm I lowered it a little tiny bit. I feel like it was a little too high, meaning there's more space right here in between the I and the eyebrow. And remember in drawing you're always moving things. So this is going to be lower as well. So this IS kinda being cut off. You're not really seeing the edge of it because it's because of the bone structure of the face. I think that looks a little bit better. And I'm going to raise this eyebrow a little bit as well. Okay. I'm just trying to make the shape of the lips. I'm kind of outlining again so that it, you see how long this process takes. It was one or two contours and pencil and I'm kind of doing the same thing in a charcoal pencil, but I'm still moving stuff around, trying to get it a little bit more refined and a little bit more in the right place. So each layer of contour I'm doing, I'm kind of adjusting things or correcting things And that's natural. You have to be patient and you have to take your time when you're doing this. You have to be willing to make changes. And I'm kinda thoughts, okay, not great, but okay. I have to figure out what's going on on this side of the face. Looks a little odd. It's not quite right. It was too big over there. Still not looking quite right to me, but I'm gonna keep going. I'm changing the contour. I'm doing the hair shapes again, but I'm changing the contour a little bit. This is quite a little bit. I mean, it's time-consuming. If you have time, then you can practice quite a bit. And this hair is coming over the eye. Let me just kind of trying to get the contour right. It's not going to look exactly like the picture. If it looks like a person, then, you know, that's a good start. I'm in the process of learning how to speed up video. So I, but I haven't learned it quite yet. So the first ones are going to be slow. But if you're drawing along, that may help. Okay. It's starting to look kind of, okay. Let me try to put in the shape of the ear as how it looks on her. So little bit higher than I had it. So again, I'm always you're always making changes when you're drawing. Maybe a little too high. And I'm going to take a look at the headband contour. This is not including any of the shading. This is just getting the basic outline on the paper. Before I put in the shading, some people would put in shading before that. But when you're beginning, you kinda wanna get this down first because the shading will be like You're going to have to erase it if you move something and that can make Quite a bit of a mess on your piece of paper. So if you're just starting out, I recommend getting your contour down first. Okay. This neck is how here. So I'm still changing a little bit more and even a little bit further out here. I'm just trying to see just that neck look to wide to me, but I'm gonna keep it here. And that's a creative adjustment. When you draw. It's best to drawing from a photograph or a drawing that you print it out, which is what I'm doing. Is the it's easier than drawing from an actual person, again, because it's in two dimensions instead of three dimensions. And but it's a really good way to practice. So I highly recommend it to start. You're learning skills. When you actually want to put something in a gallery. Again, of course you have to do something original, Right? You can't say I copied it, Michelangelo and put that in an art gallery. But when you start out, it's a really good way to learn skills and to practice. Okay, so shading, I'm just thinking, I'm sorry. I'm thinking, do I want to start with a dark or light? And I want to leave the gray paper here as the middle. So I'm actually going to get my white charcoal pencil. When you do a little bit more erasing before I put in some lights. And I'm gonna look for areas on the face that are really light. And I'm going to start putting them in with the white charcoal pencil. And I'm going to start right here. The last drawing that I did, the one on the black paper was very heavy and meaning that there was a lot of chocolate piled on it, right? I'm going to try to make this one litre. So you can see kind of a different technique, right? Less chalk with the heavy means it's like loaded and unloaded and loaded with lingers of chalk. I'm going to try to make this one a little bit more delicate. And you can try that too. And then you can see which technique that you like. So that there's not a lot of, I mean, I may do more than that. I'm starting to like it. There's a lighter striped like right here, unlike the bone of the nose. So I'm putting that in. Then this kinda comes up into the forehead. It's going to need more than that, but I'm just trying to get big areas of light. I'm blocking in, again, big areas of value. And that'll, it'll help me when I want to refine later, like having the big areas in the drawing is going to help me refine. I'm just looking for highlights. I'm trying to Lock those and I'm trying not to go too fast. I'm taking my time. Okay. I may make this into two videos, but I'm gonna try to go another few minutes. I'm going to go into the white area of the eye. All right. I'm now changing to the black charcoal pencil. And I'm going to look for areas of dark, again, shadows. So I'm looking for major areas of shadow and I'm trying to block those in. Now. The eyes I need to work on the eyeballs, but also I didn't put in the the lid. The only thing that I don't like about, There's a lot of things I do like about the chocolate and charcoal pencil drawings, but the only thing I don't like is that sometimes it's hard to get a really defined line with the charcoal pencil. Like it's kind of like it rubs off and it gets a little sketchy. So it's hard to get a really detailed drawing, but there's some other things that are really positive about it, like it's blending qualities. So I mean, I recommend trying out each the different mediums that different papers and seeing what you like and what you don't like. I'm just making the eyebrows a little thicker. So there's a light here or medium here and a dark urine. It gets light again on the end. I'm trying not to press too hard. It needs blending as well. And I didn't put Okay. So I did the top of the eye. Sorry, I'm going all over the place, but sometimes that's how I work. And then the under I circle. I wanted to put that in as well. And here, right here, you're seeing that was a literal, sorry, I'm going all over the place. This is a shadow right here that the hair is casting on the face and also the eye. But we'll worry about the eye later. I'm just going to get that shadow in there. Still needs a lot of work. I'm going to the hair is a big part of this drawing. So I'm going to try to put in some of the line work in the hair, like strands, but I don't want to be too like anal about it or it'll take me like 5 h. I'm just making lines and they're actually suppose it's supposed to be strands of hair. But there also, I mean, I can't get it exactly like the picture. So they're they're also just going in the same direction as the chunk of hair. Like cross contour lines. That'll be refined. I'm just trying to get some line work in just so we know that it's hair. There's also lights in it, but let's just try to get some of the linework in which will be refined later. Just trying to get the curves kinda correct. And of course, I mean, to get the hair exactly like her hair, that's not gonna be possible, but as correct as it can be. This is kind of an under sketch for the hair getting started. And it's, I mean, in a way a very detailed cross contour. And then later it will have some highlights. I'm just trying to get the correct direction right now. Okay. And now there's a little bit more right here. I'm probably going to stop this in a few minutes and start another video, but let me try to do as much as the of the hair as I can. There's another chunk right here. Hair can be as detailed or as messy as you want it to be. Detailed hair is going to take a long time. Just getting the direction. I know I moved there, but I wanted to get this in first before I pulled any more down here. Because it's her hair is like flipping over right here. Again, mine is not exactly like the picture. I'm just doing my best and the time that I have it, this is I'm trying to do something that could take like five or 6 h and, you know, 20, 30 min or an hour or so. In your own drawings, you would take a lot more time refining these, right? Then it's just something that you have to get used to that it takes it can take like four or 5 h to do a drawing. I'm going I'm having the hair come around the ear. I don't know if that looks It's not exactly like the picture, but it's close enough. Okay, up here. So they're strands in the hair. There's cross contour directions in the hair and then there's also highlights which I haven't put in yet. Okay. So I'm gonna keep going with the hair, but I'm going to stop the video here and then restart because I can't record for that long. And I'll put in some hair in-between 11. Portrait Drawing on Gray Paper- Part 2: Okay. So I added a little, I finished the lines and the hair, and I added a little bit of shading to the neck just to speed things along. I'm going to go into the hair for a minute and I'm looking for areas. So the heritage does not look like this. That was just I mean, it kind of looks like this, but there's more to it than this. That was a starting point for me too. Get some hair, get the lines and the directional lines of the hair was going. But some areas of the hair are darker. Just like it's it's like an object. So if it was like a sphere right where the light is hitting it, there's highlights in the hair right there where the light isn't hitting hitting it. There's darker areas and it's it's kind of challenging because there's also areas in-between that are strands that are picking up areas of light and dark when they rise and fall or areas in between the strands. And this is, I mean, I'm not going to get it perfect, but I'm gonna get a little bit better than it looks right now. I have my weight. So like right here, there's a highlight in our Harris not later, it's just like light is hitting right here. So there's a highlight coming across the strands of hair right here. And it's kind of getting a little bit bigger. So the cross contour strands of the hair or the actual strands of the hair, which are right now made in cross contour lines are showing us the shape of the head. And the shading which is like highlights on the hair is also showing us the shape of that. Okay. So now I'm going to come back down here where the strands are kind of getting darker. And I'm darkening, this drowns. But I'm still I don't want to make them so dark that there's no gray paper showing. So I'm still trying to show the gray paper. And then, you know how you're doing areas that are light and dark. Well, there's also like some strands of hair, depending on the person that are lighter and darker. So that adds another level of complexity. And then the hair strands are in chunks like Here's a chunk, Here's a chunk, Here's a chunk. I'm not showing that in the best way right now, but just another thing to keep in mind, and mine is definitely not perfect by any means, but this is a way to get started. You have to decide how much detail you want to do. It's kind of, it's a little bit challenging with the charcoal pencil, but I'm gonna do as much as I can. There's one chunk. And then here's another chunk. I'm trying to, so since it's light right here, I tried to leave a little bit of gray area because it would be a light gray and then darker. If that makes sense. Then this one comes a little bit over the ear. Okay? Trying to get a little bit darker right near this edge. But I'll probably work on that later. And then before I go any further, I'm gonna take a little bit of a look at the headband, just trying to get it a little bit more blocked in. And then we'll add to the detail later. But since I'm drawing around it, I just wanted to get that contour cemented in there. There's like a fold in the middle which I'm trying to put in. And it kinda curves along this edge. Okay. Now I'm going to, that still needs work, but everything in layers, but the way I draw everyone is different, but I do layer after layer after layer and I work around the drawing. That way. Like you're kind of seeing how everything is in relation to each other. Here's a chunk right here. And there's another chunk right here. If you try to get it, like if you're looking at someone or you're looking at a picture and you try to get it exactly the same, you'll drive yourself crazy. So you just do the best that you can do. And I'm trying to feel I'm trying to I feel like this. What did I do wrong? I feel I'm noticing a mistake right now if you'll like this comes out more. Okay? So I'm gonna come back up here and just put in some more strings. There's many different artists that do hair in many different ways. Some of it is very detailed and some of it is a very sketchy, gestural or loose. And some of it is mixed. So some artists will do like some of it in detail, in some of it sketchy or gestural or loose. This, so this part of the hair is kind of weird because it's up here. So I'm actually going to it, it has an area of light and dark on it. Like it's like an object with a highlight on it. So I'm going to put that in and then maybe put some strands in. So this is the part that's kind of darker. I have my paintbrush again to just to blend. Okay. And then up here, I'm getting the white charcoal pencil because there's definite highlights on it. And then it gets a little bit darker. And this is not the hair strands. It's just like a hot, like if it was a sheep or a circle dance The strands that you're seeing or that I'm not the strands. I'm sorry. It's the areas of light. So the strands will be over this, but I'm trying to get the value in first. Okay. So that was kind of like the shading on the top of the head that's coming out over the head band. And that needs more work. Again, layer, layer, layer. And I need to put in some stuff here. I'll come back to the head band. I'm trying not to make I'm trying to do this. I show you as much as I can, but it's a long process. And I'm trying to shorten the long process and the video. There's another area of highlight on the hair right here. And then it's darker right here. And there's a little tiny bit of light right here. So, so far, we've been showing the areas of light and dark on the hair with line mostly instead of blending except for right here, but this is just showing it with line. There's a curl right there. Just when we erase this. The charcoal pencil erases, by the way, k. And this is a chunk or a group of strands that's grouped together. And There's some more right here. And then there's another curl coming out over here. And it's a little different. I'm doing it slightly differently than the sketches that I made because the sketches were on his sketches, right? So I'm just noticing, where does it need to be changed? And changing it. And I'm going to erase some of this under here. Okay? And this is not exactly, it's hard to get it exactly the same as what you're looking at. So it's a little tiny bit different, but I'm okay with that. Alrighty. Now, there's hair hanging out under here, the strands, but it looks like shading. And it's pretty dark right here, but it's getting lighter as you go down I'm just adding some dark and I may add some light to this as well. I'm trying to add some dark leaves, some gray showing, and then I'm going to add some light. Okay. I'm going to I wanted to do more on the face, but I just wanted to I haven't done any hair demonstrations for you, so I wanted to get that in. I still need to do a bit more. Down here. This hair couldn't use one or two more layers. I'm trying to do as much as I can. I'm making this line a little bit darker because it flips over right here. That's like a chunk. Then we're seeing another chunk right here. And then I'm looking over on this side. And these, this is this area of Harris a little bit not, it's not as, it's a little bit more sketchy. It's not as defined. Make this line higher for the neck. Okay. Let's leave it at that for now for the hair because I wanted to show you some shading on the face and maybe we'll come back to the hair, will see. Okay. So I just want to, I'm just going to sharpen these pencils a little bit. Okay? That one came out really nice. Okay, So now I'm gonna go back to the face and the IRR is the first thing that pops out to me. That's really not finished. This is, this is why we did the ears because they're kind of challenging. And you may have to do them in a portrait. So I'm just trying to put in some of the shading. It's not gonna be perfect. Again, the ear can take a really long time. So that's a start and I'm going to put in some lights. And remember all ears are different. So there's no I mean, there's kind of a generalized type of ear, but I'm trying to make this white so it doesn't look just like a line of white, so it blends into the gray. Then there's this there was this dark area and there's also a light area right here on the edge. So I'm looking again for values. Note comes down right here. Okay, I'm gonna look at the eyes, the nose and the mouth need to be more defined and then maybe the skin. So I'm going to start with the nose. So I'm putting the nostril n as a dark. And then right here, you're seeing this light area, right? But then here it gets a little bit darker. So I'm trying to add, I'm trying to define the features by adding shading. And this white is going to come more over here. And this is going to come down like that. It needs a little bit more blending, but I'm just trying to get this in first. So I'm just looking for areas of light and dark because I couldn't kinda some big chunks at first, but I wasn't looking at detail, which is going to define it even more. So right here. There's a light on this eyelid in there. You can kinda see it through the hair. And then it's getting kind of lighter right here because it's sticking out. And then I'm not really like I'm trying to, this is a lighter drawing again, the other one was really drenched in charcoal. I'm trying to make those kinds of lines that go around the eye. But it's a little bit hard with the charcoal pencil. Just defining these lines a little bit more because they get kind of erased or diminished when you're shading. That looks exactly like an I, but well, and there's kind of a light. This highlight comes right here. It actually goes over this lack. So again, you're seeing that this is a lot of time consuming layering. It's, it's actually to me, I know I'm getting on a little tangent here, but it is, I think that it is quite relaxing, but it does take a lot of time and a lot of layering to kinda get it right. And you have to be kinda patient to do it You have to kinda redefine a lot of stuff. It can really literally take hours like I could spend a whole day working on this just so you have the kind of a timeframe of white you might spend doing this. Now. This shadow, I'm going to move over from the hair. So remember this is a kind of a cast shadow from the hair, but I moving it over. So you're constantly moving stuff, just a part of it. And some people got frustrated. But if you just do it with patients, it's not. It can be very meditative and relaxing. But it's a lot of doing and redoing, layering and layering. Okay. Now this part here is dark as well because it's because of the bone structure. And it's a little bit darker above the eye lid. I'm getting the paintbrush. Okay. And then I'm going to redefine this line here. If you have, you know, the patients to to practice, you will definitely get better. It's a practice thing, you know. So but some people, they start getting frustrated when they practice. So just I mean, if you practice, you're gonna get better at. It often takes a lot of drawings where you're doing some and then you're throwing them away and then you're starting again. But that's how you get better. I'm just seeing what I need to do right now. So I'm going to come here to find this area. And right here there's a highlight. So I'm just looking for areas of lights and darks. Right here. There's a kind of a really bright highlight on the ball or bulb of the nose. And there's some light in here. And I need to take a look. I mean, this area around the features needs more work to in terms of shading, but I'm still lend me the features. I mean, that's one that's one other layer, but I mean, of course they need more. But I'm going to show you sorry, I'm going to show you as much as I can as I think that you would need to get started. And so I wouldn't have to make like a 1015 our video, but does the cast shadow of the nose. And then above the lips. I'm gonna make this dark come in a little bit and make this come out a little bit. And then above the lips, well actually I'm going to go back into the lips. They need a little bit more shading. It's pretty dark right here along this crease. And in this lip, it's dark on the bottom. But there's areas of highlights. So I'm going to try to get this part on the bottom dark. And then I'm going to try to get the areas of highlight right here. I'm, I'm going back and forth between areas of highlight on the face and areas of highlight on the lips. Just because I see something that needs to be changed and I want to change it right away. I'm blending with the paintbrush. And okay, so the features still may need another layer, but let's take a look at the shading on my face. That's another thing that needs a little bit more work. I'm going to define this line, this contour line on the outside of the face. Just making it darker and more clear. Then I'm gonna look for the shading on the face. Let me do, let me do that some more defining of lines. Okay? Now the shading on the thesis needs a lot of work. So I'm going to start right here. And there's white right here. I'm just looking for things that I need to correct or define. Lighten or darken or the land. That's what I'm looking for right now. Scott, nice. This is kind of in shadow, so I'm just emphasizing that. And there's more dark areas down here. Again, this is not perfect. I'm just looking for areas of light and dark that need to be corrected. I just I made this line too long. I don't want that line there. Okay. And it's kinda dark right here and it comes up right here. Then here, the dark, there's a white highlight right here, but the darkness comes up above it. And right now when I'm shading, I'm trying to shade with the contour of the cheap. They're not cross contour lines, but you can still see the direction of the shading. So it's giving a cross contour feeling to the shading. And it's helping define the curve of the face. You don't have to do that, but I recommend trying it when you're shading. Because like say if I was just going up and down, it's not going to give you that curved feel. And I haven't done that everywhere, that God didn't do it right there, but just something to keep in mind and something I recommend Okay, so right here, this darkness kinda comes out here a little bit, but it's not as dark, it's kind of lighter. Right here. You're kind of seeing this darkness come down here where there's like a smile creeps me. That's kind of a smile creased to, but you can't really, it's hard to tell. And there's more white up here. A little bit of grayish area right here. I'm starting to I mean, it doesn't look perfect by any means, but it's starting to look kinda okay. I mean, I could spend a couple of more hours on this. So in the neck I'm putting in the lines, but I'm also doing or shading lines, but I'm trying to do them in a cross contour direction. Okay? Now, I mean, I could do a lot more work on this. I don't want to make the video too long. I'm gonna do a little bit more on the hair though. It's probably too 45-minute videos and that's kind of a long time. So I'm gonna define some areas of hair. I'm kind of trying to define chunks and maybe put in some dark right here. Whoops, I forgot about the headband as well. That makes it look a little bit better. And I'm not doing that much. I'm just defining chunky areas, I guess chunks of hair. Just pulling in, just kinda doing the contour around the chunk and pulling in a little bit of dark at the top and at the bottom of the chunk. I could do way more, but that's just what I'm doing right now. Okay? And that's making a big difference. So each little step that you do makes a difference, it just takes quite a bit of time. But if you're at home, you can do it too. You can do this one or a different one and you could do it to the video. Or you can turn on to music and listen to some music or a lecture while you're doing this. And that kinda takes out some of the tedious work. I mean, it doesn't seem so boring. If you have like a lecture you're listening to, or video you're watching, or some music you're listening to. And that's not perfect by any means, but it's looking a lot better. So I mean, it's just layer after layer After layer step, I'm gonna make this part a little bit lighter right here. And that's shown in the picture. I mean, this doesn't look exactly like the picture, but I was thinking that since this is sticking out, it might be late layer lighter. So I mean, when you're using a picture, you're using it for reference. But I mean, if you go in another direction, that's fine too, right? I'm gonna put some lights over here as well. And since I have my white out, I'm just going to read, redefine fine, nice highlights. And then I'm gonna come over to this side and look at this hair. And I'm going to redefine the chunks as well, are read contour the chunks. And I want to go a little bit darker on the bottom. I want to leave that one actually later because it's dark gray here. So in contrast, Let's pull this one in the jar. And nuts. I'm going on a little bit off of the picture right now. I'm just kinda putting in what I think looks good, but a little bit more definition in the ear. Okay, So now I need to look at this headband because it's not done. And again, you know, some artists leave certain areas undone and it's on purpose, right? So when you go light right here, so they're shading on the headband and folds, but I'm just gonna do a little bit of the shading. And so there's the light. And then I'm going to add some dark. So this right here is a fold, so there's a little bit of dark coming up from the floor, not that much. And a little bit of light underneath the fold. Okay. And then I didn't ever put any strands up here. So I'm gonna come up here and try to put in some strands within the shading. I'm going to go dark gray hair. Then have some of them carry through. Again. You don't have to draw every single strand of hair. I mean, you can if you want to, but and then I'm going to have a few over here. Okay. So I mean, I don't want to make this video too long because I feel like it's already been almost 50 min, so I'm going to leave it. Well, actually I'm going to get me paintbrush and try to do a little tiny bit of blending. And I can start messing with it and then it's a little darker under this lines. So I'm going to start seeing things and start trying to fix them, but I don't want to make this too long. So I mean, there's my drawing and it came from this photo. It's definitely not exactly the same like this. Already. I can see that this part of the face is too big, like it's smaller on this one. But I mean, it's still looks like a portrait and it's close enough. If I wanted, I could perfect this for a couple more hours than I could also do it again to try to make it look more like the picture that I used. Actually, I'm seeing one more thing that I need to do. Put in some white right here. Just to, that looks horrible. Just to get some of that shading and the shading lines. If this was more delicate than the first one, again, it doesn't have as much chalk on it. I'm really trying to let the paper show through, but that looks really bad. That needs more work. But I don't want to make this video too long, so I'm going to stop it here. And I would work more on this for a couple more hours. 12. Portrait Drawing on White Paper- Part 1: Okay, So today I'm going to do a portrait drawing in pencil and colored pencil. And I'm using Rafael and the picture that I'm working from a joint by Raphael and also the last drawing on gray paper was also by Raphael. This is the picture that I'm using. So I did a frontal or profile and now I'm doing a three-quarters. So I'm using different media. So the head is on a diagonal. So I'm drawing a diagonal here. Write it because it's not straight. So that adds another level of complexity to the drawing. Actually, I want to make it a little bit more over here. I'm not pressing hard with the pencil again because I'm gonna move it around. I'm starting in pencil, but then I'm gonna go in with some colored pencil. I may combine pencil and colored pencil for my drawing. So I'm making my oval, but it's going to be a diagonal. So that's something we haven't seen before. Okay? The oval is a diagonal. Okay? And now I'm going to make a line halfway through or a little above halfway. And same here, and same here. So halfway, divide it in half, divide it in half. I'm blocking in the nose. Okay. And then I'm looking at the lips. I'm just making shapes for right now. I'm going to bring the neck out so it doesn't look like a face on the moon. I mean the chin out, sorry, the channel. You can draw along with this or you can do your own drawing. So that's a good start. And remember there's gonna be more area over here with the skull. And I'm going to try to start putting in some chunks of hair just to give me a basic idea of where his Harris and this, I'm really not pressing hard because I know I'm going to have to adjust this. I already getting my eraser and moving something. So I'm starting out in kind of a sketchy light form and then I'll go into more detail. In the pencil drawing. You can get more detail than you can get with the pencil and colored pencil, you can get a lot more detail than with the charcoal and charcoal pencil. But with the charcoal and charcoal pencil, you can get much nicer blending effects. That needs to be adjusted, but I'm gonna keep going just so I can get some some stuff in the ear is about here. I'm still really light because I'm not sure of where. If I need to move stuff No, I mean, I'm happy with that as a starting point. It does need a lot of adjusting. And there's some coming out over here. And then there's the part. So we're also seeing hair on the other side. Yeah. I mean, that's an okay Start. It's going to need adjusting. I'm sure of that, but I'm trying to figure out where the I is. Hi, I'm asking myself, is that too close to the nose? Where does the nose need to be pulled out more? I'm pulling the forehead out a little bit more. I'm just looking for slight errors in proportion that I may have made. Okay, so now I'm going to come back in and try to, I'm using an HB pencil will just still really light and I'm going to try to do a darker outline, a more defined outline, but it's still may need adjusting. That's why I'm still using a light pencil. Again, I would recommend starting out with photographs or drawings and then moving into models. Again, I'm not doing model right now because they don't have one. I'm just adjusting shapes, seeing little things I may not have seen when I was trying to get everything into the right place. And I need to I'm just maybe the seats to come up a little bit more over here. So I'm both drawing and looking and trying to see what needs to be adjusted. And there's the ear may be a little bit lower. I'm still not sure about the ear, so I'm keeping it light for right now. I think if I may need to move it. So now I'm gonna go back to the hair. And I'm going to try to maybe define these clumps of hair a little bit more to see if this is kinda, I'm trying to figure out if this is kinda in the right place. And I'm going to move this, I'm already moving it. I'm moving this little piece back a little bit. Heroes, pretty it's a little bit time-consuming. No. I think a little bit more front. I'm kind of going in-between. All right. It's still needs adjusting as always. And again, it's probably not going to look exactly like the picture. The picture is kind of a starting point for you. Again, copying pictures are just to learn skills, right? And eventually you're going to want to draw from a model, or if you're using a picture, changed the picture so much that it does not look like the picture that you started copy. You want to be creative, but first you want to learn your skills. Sorry, there's sirens in the background. And the hair comes over the ear. And I'm going to move the ear back. I knew I was going to have to move the ear even a little bit more. There we go. It's not quite in the right place. And so now that means I have to adjust all of this. This hair comes over here. And I may have to adjust more. Just I'm just adjusting one thing at a time. But you can see that I'm kinda moving the sketch lines around. It's still very light. But it takes awhile to get there. This may be lower. So see how much moving on having to do just to get this in the right place. And the moving is based on relating one thing to another. Like, where does this clump of hair relate to the ear? I'm happy with that as a starting point, but I'm not done with my sketch. I'm going to erase some of these under guidelines that are used to store it. That's just some of the kind of under I circle in the face. Now, what is weird about this drawing is that if this person, it's not exactly, it's almost profile, but not exactly. So the person is slightly turned this way. So you're seeing a little piece of the IEP being out over here, which is a little bit challenging. I'm just seeing if I think that looks correct or not. And I'm going to enhance this. I okay. So now I'm looking at the hair above here. Okay? And I'm gonna come in and do one more. Since I is to set round of contour just to define it a little bit more before I come in and shaped. Okay. Now, I just need to check it to see if there is anything that I need to change. And I already see quite a bit. So this is going to be, since I moved the ear back, now I have to move the hair. Again. This is time-consuming. It can be frustrating. I'm kind of making it a bit longer as well. I'm just feeling like maybe I don't know. I'm just thinking to myself, do I need to move the ear forward again? But let me just there's a side burn right here. Okay. I'm going to stop the video, kind of clean it up a little bit, do another area of contour. And then I'll come back and do a shading video 13. Portrait Drawing on White Paper- Part 2: Okay, So I just did a little bit more refining on this. And now I'm going to come in with the colored pencil and add some shading. So I have these three, there are different grades and I have a white to graze, a black and white. So I'm going to start with a light gray. So I'm going to want to blocking I just I'm sorry. I just see another kind of mistake. So you're always correcting mistakes. Just bringing this piece of hair up a little bit. So you can see more area, forehead. Sorry about that. I'm always noticing little things and fixing them. So I'm going to come in with this white gray. You can also do this in regular pencil, but I wanted to do it in colored pencil. And I'm putting in some of the medium values. This will be refined, but this is a starting point. So I'm just looking for values right now and unblocking in. It's just much neater than it is with charcoal, charcoal pencil, but it's going to end up taking longer. It's not as messy. So I want you to see what you like and don't like. And I'm just again, looking for areas that are darker and I'm not really like blending or anything. I'm just blocking in areas that are slightly darker right now. There's kind of a bone structure showing I'm adjusting these two lines because I realize they're slightly off. So there's a kind of a bone structure in here that's shaded in. So I mean, it's in-between the bones, so the bones that are sticking out or lighter and the area that's kind of in-between the bones is darker. I'm going to go down here because this area is a little bit darker as well. I'm going to add a darker gray in a minute. But I'm just looking for areas that are that are not like in high light or light there in shadow. And I'm just starting out with this light gray. And this is not detailed shading, but it's a starting point. And you believe that little top area of that light. So I'm gonna get my darker gray. And I'm going to come in and d phi and maybe try to blend a little bit You can erase colored pencils as well. It's a little bit harder than the regular pencil I'm defining and correcting at the same time. And I'm already noticing I feel like this is well, let me come up here. I feel like I made a mistake that I need to correct on the bottom. And as I'm defining, I'm making little adjustments and I'm becoming more confident in my contouring. And I'm looking for areas that are darker than the light gray that I put down. I'm just doing some shading of the eye, but it will need more like good black leader. I'm kinda moving. Oh, I see what I did wrong. I'm moving this line. I really, this is too far out. So as again, as you're drawing, you're always going to be noticing things that you need to move. And you'll be surprised. It's like I'm surprised that I got that line as office I did. But what matters is that you're noticing where you need to make the changes. Alright. I'm just, I'm just kind of figuring out where I want to go next. I'm getting the light gray because this hold on. Just a line right here. Remember everyone's face is different, so you're going to have a lot of variations and your drawings. People have different lines, shapes, bone structures. And I feel like I need to go into the hair because hair is like big chunks, not strands. And I feel like I need to get started on that before I move into any other parts of the drawing. And I'm actually going to well, I'm just thinking, do I want to sort it in pencil? Or I'm going to start with light gray. And then I'm probably going to enhance with graphite. So I'm going to start looking. So there's a lot of areas of light on the hair. I highlight. There are some areas that are kind of sketched in and there's some areas that are left blank and there's definitely highlights. The hair is going to be time-consuming as always. But I mean, I need to define it a little bit more than it's defined right here. Again, hair might be one of the most, depending on how much time you want to put into it. One of the most time-consuming things that you do in a drawing. Okay? That's one part of it. It's got a lot of economists have kind of a chunk of gray That already looks better. But I'm going to come in with a I'm going to take the to-be. So I'm going to try to define some strands in here. And I'm actually probably doing it slower than how the artists that it looks like he did it fast. And again, it's not going to look exactly the same, but it's gonna be slightly different. And you just, even if you're working with a model, it's not going to look exactly the same model or photograph, but you just do your best. You know, when you practice, practice, practice. I'm going to leave that alone. I'm going to come to this and I'm going to go in with a light gray because this whole thing is darker. Now I'm going to find this piece of hair which is not, I'm changing it as I'm defining it, I'm correcting it because you're always noticing things that you need to move. That's why people sometimes spent hour or so I'm trying to her paintings. They're just they're getting it in there, but then they're defining and correcting it. And right now, I mean, we're looking at realism. Later we may look at some abstraction, which is a whole different thing. But I'm just looking at this shape, trying to see I'm facing this now. I'm sorry, I move around. If I see something that like I feel like it needs fixing right away, I'll go right over there. So I'm going to well, maybe I shouldn't be out there. Kinda looks like a strand of hair. So again, like, you know, when you make mistakes, sometimes they turn into parts of the drawing. But I mean, sometimes I'll turn into like if you make a mistake or it's an accident. Sometimes those things will turn into parts of the drawing and sometimes those will be things that you like or things that you're adopted to your drawing style. If that makes any sense. I'm getting a little on a tangent there. But if you make a mistake, you can do something and adopted into a drawing style. If you really like it. When you're, I mean, right now we're learning realism and skills. But eventually you're going to want to develop your own style. If you ever want to do this for a living, that style could be realism or it could be something else. And that will be something that they talk about later. Okay, It's starting to look a little bit more like hair. It's maybe a little too dark, but I'm going to leave it alone. I'm not going to mess around with that. Okay. I'm now looking at this part. Again. This is taking a bit longer than it would take in charcoal. Because your, your materials are more precise, thinner, and more defined So you're gonna be spending a little bit more time on this drawing. I still don't like, I like something is bothering me about the shape of this curl. And as an artist, you can start changing things and changing things. And it can become like, you know, a little bit of an addiction or an obsession to like get it how you want it to look. But that's the nature of art. Just seeing if I liked that. I want it to be a little bit more like come out a little bit more over here. Anyway, the goal is not to get it exactly. I know I've said this a couple of times, but the goal is to make the drawing that you like. And it's not to get it exactly like the picture, although that can be a good skill building exercise. But the goal is to, so I mean, to get something original, you need to have skills, and that's why we're doing this first. So you need to have the technical skills and then you can more work on being creative and doing things that maybe I don't like this either. A little bit different. But if this is not exactly like the drawing and your your style takes over certain areas like the hair, then you know what, that's fine. When you want to make a really good portrait. I mean, right now, we're just focusing on getting features like in the right place, right butt, and getting the shading correct, and stuff like that, which is what you need to get started, right? You need to have those skills. But a really good portrait will kind of show the emotion or the mind, how the person is thinking or feeling. And if you can do that as an artist than you, you know, you've done a good portrait. And the heroes, again, pretty time-consuming. So I'm going to erase that. So I kinda, I made this a little shorter. And then that means this one is going to be a little fatter. And you know what? Before I start shading, I'm going to look at the shape. So doesn't look quite right. So I'm kinda changing it because I'm not I mean, it's similar. No, that's too much. But I'm moving it a little and it's not exactly like the picture. I'm like starting to see things about the hair and like where its place. That's not exactly like the picture, but I'm just going to keep going. It still looks like a portrait. Okay, so let's start with that. You know, I'm just making a few changes. I also feel like I need to move the lips up. That's another there's a whole nother thing that I noticed. No. That's too I don't want it to be down. So it's a silly little trial and error. Moving, moving, moving, going light. When you don't feel like you have something exactly right. And this is totally off from the picture. The hair is a bit different, but you know what? I couldn't get it perfect. Close enough, I believe And meeting that close enough to be like if someone would be able to recognize what drawing this came from. Now sometimes you want that and sometimes you don't want that. So that's a whole nother story. But I'm going to take before I keep going with the hair, since the hair is right around the ear, I'm going to take a look at the year. Still using pencil because I don't feel like I had the contour. Why? Right. So in here, I'm going to start with a light gray. That's the darkest part. And then I'm gonna come in with a darker gray. That's the innermost part. I'm going to erase some of these hair lines that are over the ear. And I'm kinda go with the darker gray on the edge. I'm kinda bringing that shading line in, blending it into the white. I'm gonna go light gray up here. And probably looks like an ear, but There's like a crease in here. And some shading right here. It's still slightly off, but close enough. Okay. I need to take a look at this hair over here. So I'm going to keep going with there. There's like a side burn right here. Let's just not look quite right. I'm going to do, am I gonna do, I'm gonna do this. It looks a bit better. But still, I can tell it's kinda veering off how it looks in the picture, but I'm still I'm okay with that. I mean, it's not it's not too far off, but it's definitely like if my goal was to make it exactly the same, it is not. I just want to do this as quickly as I can. I mean, if I want it, I'm not a type of person. Not I don't I'm not always like trying to make something Exactly exactly the same. So if I wanted to, I would have to do a lot more erasing and moving of stuff. And I'm going to have to leave that alone that I'm going to keep going. I'm going to push through. So now right here, oh, I need to move this. This piece comes around all the way around. There's a piece, there's a kind of a strand right here that I'm going to start it with light gray. And it's a kind of a little bit darker. I don't know why. And it goes right over the ear and travels not a strand, a clump of hair all the way over here. And I mean, I feel like this should be higher and it should be showing more ear, but you know what? Well, let's see if I actually I can do it. Just bringing that you're up a little bit more I can sometimes when I work with colored pencil, I mix in some graphite because it has a kind of a different gray than the colored pencil. And I just blend it right on in. Like I'm using it in the hair to kinda do line or that's kind of a little bit harder to get with the colored pencil and and get kind of a darker gray. Now, I'm going to take a look at these sideburns. So I guess I'm going to I'm gonna put in a little bit of a light gray hair because it's a little bit of a darker area. No. I'm actually seeing strands of hair right here that are a bit darker and the ears casting a shadow right here on the jaw line. I guess. Those I firms are not perfect. But let me do a little bit more line work. I'm going to erase. I want this actually come down a little bit more. Okay? And right here it gets lighter as it goes down, but right here it's darker. So I'm using the pencil, just like the other Colombo Harris casting a shadow on this clump of hair. Just reshaping that a little bit. Getting the link right. You'll see like how you want to work with the pencils and colored pencils together. It does come down a little bit more. Sorry if my eye is moving around, I just if I see something that needs changing, I'll just move to that part. Okay. Now, I'm going to there's still quite a bit of hair, so I'm going to use my pencil again because I'm still adjusting certain areas. And I'm going to come around here and change this. I want this to be bigger. I'm just changing the shape of some of these Okay, so now I'm gonna go back to the face. I am going to come to the back of the head in a little bit while in a little while, Excuse me. But I wanted to get that blocked in. And something is really bothering me about the lips. So I'm going to erase here. I mean, I usually don't go that far, but they seem like they're a lot closer to the nose. I feel like I made them too low. Now not for a regular person, right, but for the proportion of this picture, like they seemed way, they still, well, that kinda looks alright. I can't believe I just erased that much of the drawing, but I mean, that's where you have to do to become a good artist. If you're painting, you'll be moving stuff. You'll be painting over probably. And let's take a look at her. Yeah, that looks a little bit more like the image. And there's something else that I'm seeing. I mean, I will move stuff like way deep into the drawing process. I mean, don't be afraid to do that. That means that you're seeing things correctly. That means that you're knowing when things need to be moved. I'm actually moving the chin out a little bit more to that means that you're, you're actually doing well. No one gets it perfect on the first time. I'm raising this, I feel like this was also too low. And is it still too low? I'm just asking that question to myself. Lips don't look perfect, but they look a little bit better. I think that's okay. So I'm going to erase this line underneath and I'm looking at two lips and just trying to make a few adjustments. They don't look quite right to me. Well, I'm going to leave, you know, I'm gonna just be like, I mean, I can change them 500 times but I mean, that's not I don't know. That's too much. So I'm looking for darks and here I'm using the regular pencil because the darks are a bit darker. But I mean, if you have time, I mean, spend 5 h on a drawing like this and change it and change it and change it and change it. Okay. I'm looking for areas that are darker and I'm still using the regular pencil. Whoops, sorry, because it's giving me a deeper, darker gray than the darker gray colored pencil that I have. So you can combine. I'm doing I'm gonna do a portion, not proportion of this in pencil. Too much. Yeah, This is too much. There's a value there, but I made it too exaggerated. So it looks weird. I'm going to put in some of the shading on the face. And you're going to, you're going to find that happen often that you do, like you put in a dark, but it's too dark. And it's just basically something that you have to. It's another thing like where you're moving lines, you're also going to be changing values. You want the value to be as correct as possible. Because like if you get the value of something is too dark or something is too light or not light enough, then the whole thing is going to seem off. So it's something you need to correct too Those lines may be too exaggerated. And so it's gonna be as frustrating to you as moving lines around where you start kind of trying to correct and mess with the value. I'm just looking at. The nose is casting a shadow right here. Probably responsible for this dark right here. I'm gonna come in here with graphite and enhance the darks that I have, but I'm probably gonna later come in here with black. I'm gonna come back over here to this line and kinda enhance it and define it. I need to, since I moved this, uh, kinda need to erase this. And come back to this I, which is a little bit challenging because it's not often that you see on it's like this. And the bottom. And the I is in here. So it's not totally in, exactly in profile. It's a little bit off from a profile view. But I mean, you can see that by the lips as well, right? Because the lips are like you're seeing this indentation which you usually don't see if it's totally in profile. So that's another clue. And it's another thing that's a bit challenging to draw. You know what, I'm going to stop and restart because the videos will they can't get too long. 14. Pen And Ink Wash Portrait 1: Okay, So I'm going to start this drawing. It's going to be in pen and ink. And the first video is just going to be a wash. And so I'm looking at, again, I'm just focusing on Renaissance portraits right now. If I had a model, I would use a model, but I'm just using this texture by Andrea adults are TO, it's a steady for the head of John the Baptist. And I kinda blocked it in right now. I'm just going to block in lights and darks, so I'm using the ink wash. So here I created a couple of different values of black and I'm using a brush in this second video, are enhanced with pen and wine. So I'm using a piece of watercolor paper. That's why the drawing is kind of small. And because it can hold the water and then I'm blocking in the darker areas. Sorry, it looks like there's some sediment there. So I'm just starting to block in some values that I see. When you do something like this, you, the only bad thing is that you won't be able to fix it unless you use chalk. So you have to be careful about getting too dark. So I'm just looking for areas that are dark. And I'm trying to be careful because I don't want to mess up. There's some areas that are darker. I'm just kinda blocking in a generalized dark area where I see values that are darker for right now. Then if it needs adjusting, all adjusts. So this is the shadow area. I'm using the watercolor paper because it holds the water coat, the water-based media more. If you have done watercolor, this is the light watercolor in black and white. And you can also use blackwater color for this if you don't have ink. I'm just slowly building up areas of value. I'm going to add detail with a pen and maybe some chalk later. But I want to get, I mean, you can do, when you do like an ink line drawing, you can do As much ink as you want, as much light as you want. Just looking for the areas of the lips that are darker. So you could stop here and do the rest in line. But I want a little bit more a value on here before I use other materials. I'm right now I'm blocking in what I see as clumps of hair. And there'll be more detail added to this later. Again. Your goal doesn't have to be for it to be exactly like the picture. Unless you want it to be. But I'm using the picture as a reference since I don't have a model here. When you're very advanced, you could probably do it without a picture. When you do wash your line drawing, you could do line first as well and then do watch. Or you could do wash line and then more wash over it or just wash unlike whichever way you want to do it. But I find that putting in some value helps me get started. I'm just looking to kinda see what I need to. So I'm gonna go back into the face and tried to put in some lighter values that like see right there, there's a line that I may not be like if I wanted it to be more blended, I could go back into the darker value and try to blend that in. People like working wet into wet and some people like doing dry layer over dry layer. So I'm getting some dark. And I'm going into that, that was just pure black. I'm going to add some water to it. And I'm going to the areas that are really dark. There we go. There went the water. So again, when you go really dark, like if you get too dark, there's no way to lighten it. So that's the thing you have to watch out for. Wonderful when this, so I kinda, I rubbed my brush on the paper towel and now I'm drying it. And you could use your finger a Q-tip. I'm trying to kind of blend it in like this. Or a paper towel or a cotton ball. I'm just trying to I think that looks a little too it's a little too messy. So if you work on a regular piece of drawing paper, it's not going to hold it like the watercolor paper. If you don't have the watercolor paper, you can use a piece of charcoal paper that'll holds at least a little bit more water I'm putting in the dark for the nostril. So I'm going to try to do as much as I can in washed for this and then I'm going to let it dry and then make another video. When you change from one thing to another, like wash to line, you want to let it dry unless you want that bleeding effect of the line bleeding into the wet area. Make 1 s. I'm just getting a Q-tip. You can kinda blot with a Q-tip if you want. And just looking for more areas that are dark, trying to pick out different values as fast as I can because this could take a couple hours, right? Because it's so it's it's it's gonna take you longer than working with a pen or a pencil or a piece of charcoal, or even just a pen. And kinda starting to look like a portrait. On this side, there's some shading, but it's a lighter. So I'm just testing out my ink on my piece of paper I want to use I don't want it to get too dark. That's why I didn't start over here. I want to make sure that this shading over here is a very late. And you can do as much or as little washes you want. Does hollow nice effect though in drawing, a lot of people do this in a brown or a sepia color for figure. I'm just thinking to myself, like do I want to add more wash to it? Or let's keep going. I'm doing kind of, I mean, this could take a couple hours to get it like really perfected. I'm doing I mean, I'm trying to make a fast video, you know, so I'm not doing as much as I normally would. And I'm gonna go back to the hair. I need more clumps in the air. I'm gonna do a lot of work with, with line and maybe shading with pencil and charcoal pencil I'll see I may combine. But this was my initial value work. I'm trying to keep this white So you can be a perfectionist about the pen and ink or oh, that pot darker or a bit sketchy about it. Right? Whichever or both in certain areas of the drawing. Whichever. You feel like you like some more hair over here. And I'm just, I'm just taking a look at it and I'm thinking to myself, do I want to keep messing around with it? And I'm gonna make this a light gray right here in pen and ink or do I want to and I'm sorry, in wash excuse me. It's still pending, but it's the watch part of it or do I want to let continue with just the pen and in some other stuff. I'm just, I'm trying to figure that out right now. I'm gonna come in with a dark. I feel like there are some areas that are not dark enough. That's bleeding right there. So that's what happens when you don't let areas dry. You see if you like that or if you don't like it. Some people like it, some people like the effect that it gives, but you can't always control what it does. So that's just something to think about. People like that and work with it. And some people don't. I'm using the Q-tip here to blot it and blend it. Even though it's watercolor paper now it's starting to bend because there's a lot of water on it. So you can decide how much wash. You want to put on it because I'm going to add more to it. And I want this side to be darker. You know what? I think I'm going to leave it and do the rest with like line and chalk and charcoal. Just going to blend that. It's just getting a little too wet, but you could do a lot more in wash. I mean, what you wanna do and wash, It's up to you. I'm gonna stop this and let it dry 15. Pen And Ink Portrait Line Part 2: So I'm going to add some lines to this. And I'm using the pen. So I'm just this is the pen that I'm using and I'm just dipping the pen straight into black. I want a thicker tip for some of these outer lines. But since I have this really thin tip, I'm gonna go into the eye and try to do some of the line work. So this is like when you do a wash drawing, you can't get this with a brush. So that's why people do wash M line to add some of the detail. And it's still a little bit way you can see a little bit of bleeding, but I'm going to keep going. That's a little too wet. I'm going to try to, let's go over to this eye. Now that I look smaller and then that's the only problem with the ink is that like I can't erase this right? So it looks it looks smaller and it looks lower. Let me leave that for a minute. He doesn't look horrible, but it looks a little asymmetrical. So I'm going to look at the nose, just trying to get an outline on it and the lips. So you have to keep redefining the pen into the ink if it runs out. I have another class on how to use this. So that's kinda like the precursor to this PC. Like if you're thinking like what, what, what's going on here, right? So when like if you don't have the ink, you can just dip the pen into the black watercolor and gio black watercolor. Okay. Now I am going to come up here and put in the eyelid. So you have to be a little careful and slow when you're doing this unless you want it to be sketchy and you're not going to really be bothered by any sketchy mistake. So like some people do kind of like a gesture type drawing with pen and ink. I'm just outlining the eye. And I'm putting in the pupil. And I'm going to bring this up and I'll see, maybe I can correct it later with a white piece of charcoal. I'm just trying to make this eye a little bit taller. So you can see how easily you can make a mistake, right? Okay, so now I'm going to change the tip. Wait, I just wanted to do one more line right down here with this tiny tip. Okay, So I'm going to get another tip. This is a fatter tip. And I'm going to do some of the fat or outlines like where I want. So see how much better that tip is. I'm going to outline some of the things that seem like they have thicker lines. It moves faster because it's fatter. So that kinda bled right there, that black guard into the other block, and then That's going to create a block. So if you, again, if you don't want that, you can let areas dry and it takes a long time. But I'm working into some of the lines of the hair because the hair has a lot of line work in it. I'm going to enhance this with pencil or charcoal pencil. I'm just getting started here. So here we're mixing different media. So I mean, this looks very like perfect lines like that's not what hair looks like, but that's just my starting point. So I'll probably have another set of lines and charcoal pencil later when this dries. I'm just trying to find the direction of the strands of hair right now. In this kind of looks very stylized. But I'm going to enhance it later. I'm just getting some generalized direction of lines. I mean, hair doesn't look like this, but it's looking more like hair than, than just the clumps of value, right? So I'm working into the drawing. And I'm gonna come over here. I don't want to sit. So i'm I'm being careful because like what if I put my hand right here and that's all what I'm going to totally mess it up. So I want to make I'm raising my hand If you make a mistake, you have to work with it. That's the good and the bad of Penn. Any, whoops, that was too much ink. So you just can see how it's really hard to control. A lot of things in this. I'm going to probably leave it at that I'm finished the line work with something else for the hair. But I'm gonna come down here. Actually, I'm going to go into the eyebrows because I was going to make the eyebrows with a thinner pen, but I thought it would be better with this pen or with this tip, excuse me. Know, if I use a thinner pen, I could put in every hair, but I just kinda wanted to make a shape. And over here it's gonna be lighter. So what I'm doing is I'm dipping my pen into That's too late into the ink, but then I'm dipping it into the wash. That's too dark as well to try to get a lighter value of black. There we go. Well, the problem is, is that, whoops, that was, that I'd robot too big, right? Let's see if I can fix it with a Q-tip. I just made it worse. So later on when it dries, I'll try to fix it with the charcoal pencil, but I am going to put it in some of the line work down here. So like if you're using a lighter color value, excuse me, when you test it out. But you can't tell how long it's going to stay on the paper. When you might need more. Each batch of color looks or a value, sorry, in color, it's color in black and white, it's value. Each batch of value looks different. And then you can't control how long it's going to last on the pen. So just a lot of variables that you can't control. All right, I'm just trying to think to myself, is that enough with the pen? And I'm going to say yes for that. And I'm gonna come back in and correct with either colored pencil or charcoal pencil and add a final layer 16. Pen And Ink Portrait Part 3: Okay, so now I'm going to enhance some parts of it are still a little bit wet, but I'm going to work into the areas that are not wet first. So I'm going to use a gray colored pencil to start. And I, again, I don't want to sit my hand on it because that's going to turn into a mess. So I'm going to come over to this side and enhance some of the shading. And I'm also actually going to make this contour line. I didn't want to do it with the pen because I didn't want it to be that dark. Okay. So I'm gonna come up here and try to enhance areas of gray and do some blending. You can also use chalk for this. I was trying to use colored pencil to make it a little bit more delicate. I'm just seeing if I liked the way it looks. I'm going to go for a dark. That's meant to go for the black charcoal pencil right now. I'm just having trouble with the light. So I'm going along this edge where it's dark. And I'm blending the charcoal pencil into the darker wash. You can also use a piece of chalk. I'm just looking for areas that are darker among the wash. Areas among the wash or within the wash that I made that are darker. I'm going to take a look at actually this side of the neck first. You're in, you're able to enhance the shading with the chalk, charcoal pencil or colored pencil in a way that you probably wouldn't have been able to do with the pen or the brush. Okay. So I'm gonna come take a look at this. I when I'm just looking for areas of dark. This is not perfect by any means. I'm just kind of looking around the picture and looking for areas of junk that I didn't get with the wash. And that looks a little sketchy, but I'm okay with that. You can actually do a lot of blending, but I'm okay with the way it looks for right now. You can do line work like those are Alliance. You could also do that with the pen which would be hatching, crosshatching or contour hatching. And the eye is a little darker around the edge. So I'm going to try to put that in And I'm undercut the gray colored pencil because the white of the eye is not all white. It has a bit of a dark in it, so I'm going to try to shade that in, but I don't want to use the black because I think it's gonna be a little too dark. I'm going to come up here with the black charcoal pencil. And I need to get into the hair. But let me just look at the eyes first. I'm using I don't want this to be as dark because it's in a highlight on the face. So I'm using the gray colored pencil. And again, there's a little bit of shading in the eye and the white of the eye, excuse me. I'm going to get the gray black sorry, the black charcoal pencil for this area. And just trying to do a little bit of shading with the gray colored pencil, trying to get the circles under the eye. You can actually get quite a rich texture in your drawing by using mixed media. I'm trying to make it a little darker right here and have it blends into the lighter gray wash. And right here it's a little bit darker in-between. Sorry if I'm moving around, I just kinda noticed different things at different times. I'm just looking. If I said the correction before I go into the hair would be like say, remember I thought I made this eyebrow to Slack. So this is a white charcoal pencil. So that's the way that you can correct it. I made it too fat at certain points. So you can go in there and like kind of it's not an eraser but it can get rid of areas that you made too dark. Right? Just can go right over it with white. And maybe right here a little bit. It seems like it might be a little too far out and not actually made a big difference. So I'm going to go into the hair and I just have the black charcoal pencil. And I'm going to add here but also add hair in different directions, right? Because it's not all the hair is not all stylized, going in one direction. Like it looks like it is with these clumps that I made. I can also make thinner lines, lines that are over crossing. So it just doesn't look like a stylized mess. So like if I'm going in this direction, it could be like the wall. There's hair in this direction and this direction, which is what you often see with here because the strands aren't always staying together. I'll also put some more in here. Starting to look a little bit better, not perfect. I'm not even right now. I'm actually just trying to make these clumps look a little bit more realistic. I'm not really actually even looking at the picture. I'm just trying to get some line work in there and then I'll go back in and refine. So I'm coming up here and adding what happened right here. I'm going to put in some shadings here. It's actually starting. I mean, it doesn't, I don't think it looks great, but it's starting to look a little bit more. Little bit more better. I'm gonna come down here and add some right here. Some shading, some addition to this line work right here. I'm just looking for things I need to change. You can go on and on and on with this. Like for a really long time. I don't know how long I want to make this video, but, um, so again, I'm not, I'm trying to make the videos. Not too long. So if there's areas of light and the hair, you can come in with the white charcoal pencil. And if you like, I'm starting to think that the lines that I made with the black ink or a little extreme, like they're kind of distracting me from the rest of the drawing. So I'm trying to break them up with the white charcoal pencil. Maybe leave a few in, but maybe kind of subdue. Or like Joel down a few of them with this white line having a white line, go in to the charcoal pencil drawing. I don't want to take all of them outright or otherwise what was appointed me putting them in there. But sometimes that's what you have to do. Some of the like, I'm still not really happy with the hair. Like it's just too uniform. So some of the areas are full areas of dark. So I'm just going to come in here and try to get some of like a highlight or shadow within the hair, right? Which makes it more dynamic. And remember, you can go back into the drawing with a wash over what you've already done? In pen, charcoal pencil or colored pencils. Right. So I'm just trying to darken some of the areas. I think that looks better. Like kind of darker area of the hair that's kinda coming out from under other areas of hair and then having it light up and let the line work shows through. Instead of having it look all that like, kinda similar and the same. This is by no means perfect hair. I'm just trying to get it to look somewhat normal. Again, people do some, some artists do areas of hair really sketchy, and some people do it like super realistic. Some people do it stylized, and some people do it a mixture of all of them or two of them. Okay, that's starting to look a little bit better. Let me do some over here. I'm trying to go dark near the face to emphasize that this side of the face is light. There we go. That looks much better. And I need to look at this area right here. This is a little too much here. Maybe it's just some chalk or charcoal pencil lines out side of all that heavy here. Okay, That's looking better. And some line work right here. So when you're doing Penn, Washington ink or Washington another medium, you're mixing both line and value. So you get a really, really interesting drawing with a lot of different properties. I'm just going to darken a few things in the face that I see need a little bit of adjusting like that line right there. This area right here. It's okay if the lines on the face are like these lines out that I put on the face are sketchy and they're not perfectly blended. You can do them either way depending on what you want in your drawings. But I mean, I think it looks okay with the kind of sketchy lines. I don t think that takes away from the drawing it. In some cases it can make it look more interesting. I'm just looking for what I need to change here. And I want to dark. So this is yeah, I do need some more dark right here. So there's a kind of a, a stripe of dark right here in this portrait. Straight but a little value area that's a bit darker. So you just go right over the wash, maybe allow some of the wash to show through, blended into the wash. And I'm gonna come up here and make this area a little bit darker as well as this. So I'm adjusting values. It's almost impossible that you get the values right on the first time. And these are not even probably like perfectly correct. But you want to start putting in like, Well, here's a light, Here's a medium, Here's a dark, right? And then you'll say, well, this needs to be changed. This needs to be a little bit lighter in comparison to that. That needs to be a little bit darker in comparison to something else. So it's a process where you're working on your drawing. Just taking a look at it again, You see what I may need to change. I wanna go dark right here. I mean, I could have left it light, but I just darkening this circle a little bit. And what about right here? The side, they mean this light may be a little bit too light. And right here, again, not maybe a little too light, starting to look okay, and then I'm going to get the gray colored pencil and dark in this gray area, a little bit dark in this area. Put in some line work here that's a little bit lighter because it's with a gray. Like, I mean, I can leave this like this as, you know, having some variety in the drawing. I'm going to come right under here and kind of have a shadow being cast by the hair in gray. And this is totally not perfect. I'm going to come here and correct. I'm going to make this kind of a little bit darker gray. But you can see how it's sort of like slowly kind of coming into a portrait. This is too light, darkening this. And I'm seeing more things I need to adjust so they're shading here. This is not just pure white. I'm coming here and just adding a little bit of dark. Bringing this up a little bit. Like I want to leave some of the wash showing right, like right there. I think that looks really good as in terms of relation of wash to line or colored pencil, right? Like I I mean, there's no point in doing a wash and then drowning it out. And so you can't see any of it, right? Just like I wanted to see some leaves, some of the lines that the fat lines that I made with the pen and the hair, right? Otherwise, why do it? Right? But like if you can have something that shows a little bit of all the layers and media that you made, then you're creating like a really rich and dynamic drawing. If that makes any sense. Some people would have more wash, some people would have more line. It just depends on your preference. I'm gonna come in here with the query and kind of dark in this area a little bit. Okay, and I'm going to leave this alone before I mess it up, right. There's a weight. As you can tell, I can always see something that I need to change, but there's a time when you like a big mistake that you can make in drawing as messing with it too much, right? Until it, until you overdo it and you can't fix it. But as you can see, I can start seeing things I need to fix and coming in here and fixing them. And one more thing. There's a little highlight right here, so I'm bringing in the white charcoal pencil and putting that in there. You can blend it or leave it. And I'm putting some white charcoal pencil right here. Okay. I'm gonna leave it alone before I totally mess it up. But it could use more work. I also don't want to make the video too long 17. Portrait Drawing Outro Project: Okay, so for your project gallery, you're going to do for portrait drawings. After you practice the proportions and the features. You can do these or you can do your own. So we're gonna do one on black paper with black and white charcoal pencils and black, white and gray chalk pastel. Then we're gonna do one on gray paper with black and white charcoal pencils and black, white and gray chalk pastel. Then we're gonna do one on white paper with black, white and gray colored pencils and regular pencil. Those three portraits were in three different perspectives, frontal profile, and three-quarters. So that would be great if you included in your project as well. Then we're going to try one with pen and ink. So an ink wash first line with the pen, and then black, white and gray charcoal pencils or colored pencils. And so your project gallery should consist of those drawings in those four combinations, you can do your own people or you can do the same once. It's up to you.