Realistic Baroque Drawing Vol 1 - Art of Portraiture: Head & Bust Portrait

1. INTRODUCTION: Hi, my name is Sylvia bipeds. I was born in 16 85 when a fire away a line of the New World, when a mountain full of memories and stories. I became an artist because I didn't want to see my loved ones die anymore. So I learned to draw and paint until I was able to mobilize the memory of my beautiful wife. The portrait is like capturing the sense of his soul of the human being. It allows us to feel every single detail, every gesture, every feature on paper. Discovering the secrets behind the eyes. In this one rockets your own course. You will learn to revive people, literally mustering the technique of Rembrandt than ring himself. For the final project, it will develop a portrait of the person you love the most using only graphite paper, the light of a window in a couple of candles. We will begin to learn into most fundamental aspects of drawing perspective in how humans site really works. Then we will learn how to make quick sketches, quick drawings by using hatch into to it. We will learn a step-by-step to draw each phase feature when each part of the general constructions can. From there, we will learn how to make a self portrait. Then we will create an amazing portraits step by step up my beautiful wife. The most interesting thing is that I will help you to find your own style, your own voice, and it will help you to become an artist. Don't miss the chance to travel back in time and really learn the secrets from the masters of the bedrock here. My name is Fabio vapors, and I'll see you in the first lesson. 2. How to grab a Pencil- The Sword & The Pencil: Hello people, welcome to this course in Bartok. Draw with value one. I hope you have a great time whenever you are, since I know that you will listen to me from the future. So I know you are here because you want to learn and understand the whole weight of immortalized in people by drawing. So we must start at the beginning. How to use the only instrument you will have to make it to pencil. You wouldn't be surprised to know that for me, it depends on what's invented less than 100 years ago. I suppose set for you, it's 400 years ago or so. The most primitive form of debt pencil that you know today was created in the middle of the 17th century. In Cambria, England, the Navy turn soft area began to use graphite because it allowed them to write on the skin of the sheep. And thus market flocks. Shippers wrap their rudimentary pencils and trying or sheepskin. But for other refinements, what's required to make them a nimble tool. Italians ammonia in Louisiana, bottleneck cut D, inserted graphite into a hollowed-out be soaps Juniper would. The technique was perfected by dividing the wooden stick into 2 bar to drill a groove along its entire length and then place the graphite to bar right in the middle. But in any case, the most important thing at this moment for you is to learn to use this magnificent tool. To learn to grab it, to draw whatever you want in debt is exactly what we are going to see now, you would be surprised to know Harker why you'll learn to hold a pencil. How many children's were taught during the Iraq? Because sexually the secrets of the pencil came from the Asian ways of the soar. The secrets of how to hold a pencil for drawings or calligraphy didn't come from Europe, but actually came from Asia where the masters of the oldest martial arts were teaching the art of calligraphy in the way of the sword. At the same time, they discovered that in the same way as a soar is welded, the technique of calligraphy could be mastered by discovering the critical momentum of the pencil. Lines follow the will of the writer accurately. But let me explain this to you. A sword is made up of two fundamental parts. The blade in the hilt. The reason what you are supposed to grip the sore at this point, it's not because of the weight of the sword, but because it allows the plate swinging wider and longer. But it turns out that disorder was not always held like this. Sometimes it's inevitable. You had to face soldiers who are in our memory. And you need to be precise in the thrust to stop the places where they are merged could not protect the body. So to achieve this, you are supposed to grab the soar by the point like this, using your other hand in order to direct it to the correct sport and lead to soar in the arms articulations. But at the same time, you are supposed to keep all your strength. In the other hand, that hand that grabs the soar by the hilt in order to push it when necessary. So when it comes to drawing the same fundamental, it's necessary. We're going to grab that benzyl to draw precise lines. We're supposed to prep the pencil near the tip using only the necessary strength to hold the pencil. The rest of the strength must be in our arm. See if our arm and the hand we're together. A sword that is where you are supposed to grip the pencil near the tip with just two fingers to limit the amount of energy you arm and hand or it spends in grip independent cell, this type of grip will allow you to draw precise lines. But on the other hand, as your fingers move away from the tip, you will be able to draw a stronger lines with movements to fill larger spaces. Because the critical momentum will be in the middle of the pencil, preventing the fingers phalanges and the wrist from moving in the same way as they can the soar by the hilt. It allows us to make lung movements with the pencil. But pay attention to these grabbing the tip of the pencil with more than two fingers like this, e.g. in place to match a strength for the hand, thereby losing that realization. The **** needs to be moved by the arm. Additionally, moving the wrist too much will also lead to fatigue, lack of precision. But there was one last fundamental that old masters used to master the use of the pencil or pen to perfection. It was necessary to repeat exercises over and over again, just like in ancient fencing. So in this way, martial arts masters in Japan, in China assigned calligraphy exercises to their students. So they would master the necessary discipline temporary moments in patients that every single student must haves to achieve perfection. In the following lessons, I'm going to show you and teach you how we managed to make my hand goes wherever they want. And in this regard, we are going to do a series of exercises that are essential to achieve it. But at the same time, you're going to advance and more deeper content and lessons from the fundamentals of drawing. I see you in the next lesson. 3. Materials & Tools: In this class, I'm going to introduce you to the tools and materials that we are going to use in the three volumes of these cores in Baroque drawing. The first of them. And most important, it's gonna be graphite. Of course. This is the material in which these drawing course is a specialized In that can stop, mentioned in Britain still the same. This is my preferred brand of graphite pencils. Brazil designs graphite pencils have the ability to adhere to paper much better, showing this striking, shining gradients. But it's graphite is of high-quality. This allows you to bluer even the latest tongues for it this bay Italy, I highly recommend having a full set of pencils from the lightest to the darkest shade. It can be from the tone to age to six B. However, you've only, you can have a few of them. I recommend having a to H HB in Essex be. The reason why you may need a set of pencils is because if we tried to do all the tones with one single pencil tone, for instance, an HB, cheap the dark tones, we would have to apply too much force on the paper ruling in it. You will notice this to the extent that you have two arrays, incorrect. So there will be groups in the paper. On the other hand, if we press the good fight against the paper too much, the graphite will be embedded in the paper, and these will be detrimental to bluer it. Here you can see a whole range of a set of pencils. The most interesting thing is that I did apply the same force with each pencil to achieve these different types of tones. Even the lighter tone, which is harder, I'm not damaging the paper. Brune cell design stands out for having high blending capacity without losing quality, integral fight. But there are other kinds of complimentary graphite pencils that are much more intense. The pure graphite pencil, pencil made entirely of graphite. In other words, there isn't a wooden structure that contains graphite inside. On the other hand, there is a PA, which is a pure graphite mixed with a special oil made in France. We are going to see the difference between a traditional nine tone graphite pencil, purer graphite pencils in a beer, NWA benzyl. I'm going to start with a nine B graphite pencil. In each of these three examples, I'm going to apply exactly the same force on the paper. Now, I'm going to apply the pure graphite pencil. Pay attention very well to the tones. Now, I'm going to apply the PF benzyl. The difference between the tones is more than evident. But the most surprising thing is that the pencil is just a two tone. On the other hand, Bureau graphite is a six B tone, but each intensity is higher than the traditional nine big fight. There are three. Another important tools for accompany the graphite in the yard, the blending materials. The main one is the blending stump. This tool will allow us to bluer the glorified and spread it. I see if we were doing it with our fingers, but with much more precision. The most interesting thing is that the blending stumps are usually not that expensive, but it's a very useful tool to achieve great finishes in the gradients of our joints. Here in this example, you can see that even though I'm using my finger to smudge the fwrite, you can still see the hatch lines. We try to as much a darker shade like for being, the exact same thing will happen because the surface of the finger is not hard enough to fool this spread to go fight. During the three volumes of the bay. In Baroque drawing, we will use the blending stump in all possible ways. Another important tool is the sandpaper, because we are going to have to make the tip of our pencil sharp as possible. Traditional pencil sharpeners cannot achieve this effect because strain to do so would break the pencil tip. However, this sandpaper can do it. You can find this presentation specialized in draw it. But you can also use any very fine grain sand paper cosine, exactly the same effect. Now, we're going to talk about dry pastels, because in the three volumes, we are going to embellish our graphite drawings with this kind of parcels. However, it's going to be in volume two where we're going to take dry Busters to the next level. Using this technique, we can make realistic color trousers like this when there are different types of dry pastels. The first of them are the dry pastel pencils, of which brands sell design is also my preferred brand. Dry pastel pencils allow us to make color drones in small formats. It's variety of colors and definition allows us to make details as small as those made with any graphite pencil. Sandpaper is a must when use in pastel pencils. But there are also thrive busters in bars. In these two presentations. Hard dry pastels that are usually called corrupt vessels. In soft pastels that are much softer, hard dry pastels usually come in a square bars whose Hs allow us to make defined lines, especially for details and sketches. Soft pastels are perfect for amazing color mixing, but also to fill larger spaces with color easily. Here's an example of a work done with soft and hard drive Busters. Let's now see the difference between the bust of benzyl, the two kind of pasta bars. Let's start with the bustle pencil. The pastel pencil is a very delicate instrument. The tip of the pencil breaks easily, so it's best to use sandpaper to sharpen its tip. I'm going to apply next the hard drive, Buster Bar, Garcia pastel. Notice how hard it is to trace on the sheet, even though I'm drawing heart. It's quite a hard kind of pustule. Even lying flat on the paper is difficult to stain the paper. This parcel was made to mark lines in making sketches. Even the pastel pencil is much softer. Let's now move on to the soft pastel bar. Observe how smoothly the material expands. Placing it flat on the paper, we can feel larger spaces with color. Another difference is that obviously the different hardness S will allow different types of fluorine. Pastel pencils are soft to blend. Hard pastel bars are usually very difficult. On the other hand, the soft pastel is obviously the East is to blend, allowing an incredible mix with other colors. For dry it and hard pastels. There are many high-quality brands, but my preference is the Rembrandt brand as the reference artist of this course in Morocco drone. While the one. Of course, I should mention that you should have enough sheets of paper in different sizes to put into practice everything that we will learn in the three volumes of these scores in Baroque drawing. 4. The First Steps: The Training - First Exercise - BEGINNER LESSON: For this first class, all you need is a large sheet of white paper in an HB or too big or fight benzyl. I've started this class by writing my name. You must be wondering why I did this. Why does this teacher started a drone class in this way? Perhaps you will not be surprised by the quality of my handwriting. But what may surprise you is that this is my handwriting since I was eight years old. And it must confess that this was what led me to draw, as I do today. I grew up in a very small family. We were just my mother and my two younger brothers. My mother's support your family by translating books from Latin into English. That many people did dad at that time. So she was paid enough for us to live comfortably. But one day, my mother began to suffer from a strange disease at her hands. She knew that one day she would not be able to write anymore in since I was the oldest, I had to learn to write like hair in order to continue with the business. She quickly told me her calligraphy, her handwriting. What I never imagined is that this would lead me to have a great advantage when I started drawing. Handwriting is all about controlling the wrist at will. It's based on our hand going where we want to. And it's based on having the ability to repeat lines quickly in a controlled way. The greatest challenge of an artist is that our lines go exactly where our mind wants, because it's normal. The hand is not made by nature to draw. We have two accustomed to this task. So that automatic connection between the brain and the muscles of the arm and hand is created. The first exercise we are going to do is learn to draw straight lines. We need our arm to go right where we want it. We must manage to draw the lines as straight as possible without the use of a ruler. A good way to start is to draw a first line with the help of a roller or a long bar. But then the following lines that we're going to draw my speech on, taking care that the distance between the lines is always the same. Well, we are drawing it by using only your hand. You should do this exercise in different formats. That is, you can use a large format like this to make long bottle aligns with enough separation. Or you can also use a much smaller format to make lines with much smaller distances. You must remember that this exercise takes a lot of time. You must make lines as straight as possible. Understanding the distance between each line. On the other hand, you can vary the distance between each line to add complexity. Once we have failed, lots of sheets and sheets of lines and lines, we're going to start getting the wrist. Use the shapes. We are going to use all the lines that we had drawn as a guide to do the exercise that we will do next. We're going to draw a novel in calligraphy. It was the letter 0, guided by the lines. We're going to make many ovals, one after another, trying to make them the same size and repeat the same distance between them. At the beginning, it's very difficult. It doesn't have to be perfect. It's simply an exercise of trying to be perfect. If the paper is wide enough. Try to fill the entire width of the paper with this exercise. You have done this many times, many separate ovals. We're going to do them again, but in a very fast, in continuous way. Notice that almost all the movement is in the arm. This exercise is essential for us to be able to connect the brain with what we want the hand to do. Notice that the shape of the ovals seems to look better when we dragged him fast. What's, I want to demonstrate with this is that the decision to draw a lines must be firm enough. What we're drawing, we must lose the fear of drawing brown lines. And it seems to be easier to control fear by drawing lines fast, then by drawing them slowly. Now, we're going to do exactly the same as in the first row, but this time making each of the ovals quickly. Now we're going to do the same exercise of the second row, but doing a gradient. That is to say, we will start by breasts and the benzyl gentle. And then as we advance, we will brass it harder. The more you do this exercise, the more control you will have of your arm and hand. Therefore, you're hatching and draw. It will be better. A firm wrist support or drawing art. You have to learn to block all his movement in muster his firmness. We're going to continue with this exercise by training and other way into calligraphy exercise. We had to make the letter I. But you didn't have to. Simply making this type of vertical arrow is enough. Let's try to do it and firmly in quickly, respecting certain distance between them. Now, we will do them in a row. Remember to do it in very quickly. In these next rule, we are going to make ovals, but much thinner like the first ones we did in a row and quickly, but this time thinner. Now we're going to do exactly the same, but making a gradient going from the lightest tone to the darkest. You must first breast if benzyl very gentle, then harder. You can see that all these forms and shapes that are here can be part of the construction of the drawing. That is why we must repeat this exercise a lot into different formats in form, assess largest this one, but also in the smaller ones to be able to master any challenge when it comes to drawing. Once you have finished the exercise, use in all the lands you build as a guide, you will try to do it without the lines you must follow and imaginary relaying that guides the direction of the arm. In the same way, you can use the gradients into different shapes as long as you respect the distance of the rows without the use and the guidelines. Every shadow and ln of this drawing is made by a small decisions that our brain is making in that our hand must obey. Every shadows we see in a drawing are related to the will of our mind. Try to put all this knowledge into practice. And I hope you have enjoyed this first-class of the delay in Baroque drama. 5. HUMAN SIGHT & Perspective: Hello people. I hope you are doing the exercises very well. Remember to do them grabbing the pencil like this, just sets I mentioned. The movement of the arm is very important. You are supposed to strengthen the arm in order to do this kind of exercises. There is a kind of physical training in walls and leering into two. In this lesson, we are going to address something but important regarding drawing. Most of the problems related to draw in hath nothing to do with how to master dependency. It mean how to make it go wherever we want. Conversely, most of the problems are related. Our way of seeing things around with our sense of sight. Everything comes down that we live in a three-dimensional world. And there are hundreds and thousands of years behind. Since we are leaving and surviving, they use insight to move from one place to another. But the problem is that we fail to understand that no matter what we're going to draw, it must be translated into a two-dimensional word. But don't worry, I'm going to explain this to you now. Here you can see these geometric shapes on the table. You can fill the shapes and the distance between them. It's because our sites contains a fundamental element that allows us to chip IT. Perspective. Perspective allows us to know how far or how close things are around this. And this allows us, of course, to survive in our environment. Obviously, it's something that we even share with animals. After all, we are also in animals. So we're used to seeing things like it is. But not only that, but we are used to measure in the size of things and the distance between them in a three-dimensional way. And I'm going to prove it to you in a three-dimensional world for me to reach the shape in the background, I simply have to reach it with my sore, e.g. my soar is quite long, almost a matter. And if you were here with me, you would perceive the same distance between one form and another from a three-dimensional point of view. But the truth is that from a two-dimensional point of view, the two forms are closer than we imagine. Let's try something by using one hand on the screen. You're going to torture one shape with one finger and then try to reach the other shape with another finger. Now, look at the distance between the two fingers. It's line on the screen that is flat. If the screen where your canvas line that joins your finger with the other would be the distance between one shape and the other. That is exactly the fundamental that we must understand when it comes to drawing. Look at this, I'm going to replicate these two shapes much closer from the three-dimensional point of view. They are closer. They are next to each other. But from the two-dimensional point of view with respect to what we're seeing at the moment. They are farther away. Try doing the same with your fingers, but must understand this way of seeing things when it comes to drawing. Because some paper, we can only draw a line SAP, or down or inclined to represent the three-dimensionality of our site. Of course, in this exercise it seems easy to understand because you are watching everything on the screen. But when we are going to draw something face-to-face, we must straight to interpret everything we see as if they were on the screen when a veil in front of us, where we can do exactly the same thing we did by touching the screen. So try to see everything around you putting into practice all this knowledge at the same time. I see you in the next lesson. 6. The First Steps: Second Exercise: In this second exercise, we are going to apply what we learned in the previous one. But dealing with irregular lines, we're going to make first I completely irregular line with the trajectory that we want. Then we're going to make a second line that follows the trajectory of that first line. But at some random points, we are going to break away from that trajectory. Next, we're going to make another line. Under the same principle. We are going to follow the previous line, but in some moments we disconnect from it. You can play with those lines to that is, you can make a line that completely follows the path of the previous one. You can make as many lines as fit on your sheet of paper. Everything will depend on the size of your sheet. Perfect. I suppose that at this moment, you must have practiced previous exercise a lot. Because what we're going to do now is apply the same exercise in the spaces that separate these irregular lines. The idea is that you deal with these irregular shape because the drawings are going to be completely irregular. So we're going to start with the ovals, but remember to trace them quickly. This arm adaptation process with greatly trained your ability to connect the brain with the hand. You can continue in the next space below with lines. Remember that these lines are ovals but smaller, thinner ovals. You face these irregular shapes. The exercise will become more difficult because you will have to adapt the movement of the arm to each irregular shape that you made before the training of the wrist is necessary to achieve this exercise successfully. Since the shapes are irregular, your wrist will get tired, but you should try to hold on to strengthen those arms muscles. The next line, you could try making circles farther apart. In the following space, you can use separate lines. In the next space. You can practice any of the previous forums, but with a gradient. In the last space, you can draw separate circles, remembering to do them quickly. Doing this exercise in the previous one, you will be able to greatly improve the strength of the arm and the wrist. This is strength will allow you to tackle more complex later exercises. Practice a large over and over again until you do it naturally. A. See you in the next class. 7. The Perspective & Drawing Grid (Special Class of the Third Volume in Advance).: So here we are on our Canvas to learn how to build a drone grid. The grid is a tool that will allow us to determine the nature of the surface on which the elements of our drawing we know are located. We need the surface to be able to correctly build a distance and sizes between each of the elements of art composition. The first thing we have to do is determine the point of view from which we are be in the composition. It doesn't matter. You visit a landscape, sin or anything. This point of view is going to be determined mainly by horizon in a ground line. What do we need a ground line? Because it's the place where we are standing. I'm going to start drawing this horizon. Oldies will start also from a vanishing point that this time will be in the middle, which is the place where everything fades into the distance. This point could be on either side of a Ryzen, but let's assume it's in the middle. From there, we're going to draw two very important lines that will start from the vanishing point to the ground line. In order to start building the grid, these lines must be drawn from the vanishing point. And if you had made a ground line low, they must be drawn to the right and left corner, respectively. If you still haven't mastered making straight lines, you can help yourself with a ruler, but I highly recommend you practice a large making straight lines. Here we already have the first line. Let's draw the other way. Notice how these two lines have joined the vanishing point with the lower right and lower left corners. You must remember that all this process is only to build a grid. You don't have to respect it completely normal, build it completely when making drawings. Simply begin to have this notion of a space. Every time we go to make it the layout for drawing. Remember that the most important thing is to have all this knowledge to be creative. The more knowledge we have, the more tools we will have to make all drawings, just the weight we want. We're going to make another line to continue building this grid. This line is going to travel from the upper left corner of a Ryzen to the lower right corner of our ground name. You should try to make it as straight as possible. As I mentioned before, you can help yourself with a ruler, at least the first few times. Note that my line is not perfect. I tried to make it perfect, but it's not. But that doesn't matter. At this point. We're going to proceed to draw the other one from the other side, exactly the same but from the other side. But in fact, pay attention to this will make it much easier because here we already have a reference point ready to build this grid without drawing that line. If I draw a line completely parallel to the horizon that crosses right through this meeting point of these two lines that we already made. We will have an excellent reference point. To build entire greed. Tracing this parallel line, we realized that the line we wanted to draw from the upper left corner had to grow through these meeting point. We can try to correct the vanishing point so that it's completely in the center. But that doesn't matter because these won't prevent us from making the drawing grid. So we can continue drawing parallel lines to continue built-in degree it step-by-step. Now notice how many meat and points there are. All these meeting points allow us to draw the rest of the lines of the grid. You can add these a square. We can make a gain of x to continue generating reference points. We can add vertical lines as well. We can draw another x in the box next to it, in the square next to it. Notice how this other parallel line is going to generate all their boxes. I wove. This is a mathematical process. From anywhere we could continue to build this grid. Demeaning of the grid is to be able to build an element at a certain point. In that same element can be built in another place with the same proportions, but with the precise deformation that it should have in the distance. Here we can see an example we could position or element in this box. I will highlight it for you. In this same box in the distance has another shape. So everything you build it within that box must also change shape in the distance. See the difference in the squares. I'm going to highlight the second one so you can see it better. You can practice as many times as you want. You could have absolutely the whole paper we degrade. The idea of this exercise is that when you see a reference landscapes, you can imagine it on a grid to be able to represent it in the layout of your drawing. Normally in a landscape, you don't need to fill the whole paper. But if you are doing this example, you could try yourself by extending the grid to the size. First. One of the most important things that this exercise teaches us. Finally understand the reference point. The reference point is the best center of a good drawing technique. You can follow this frame to build a second frame. You can follow the shadow of an object in this frame to be the closed shadow. The position than an object pass in this box could also be a reference point to build another element in the background. We can keep the Biden the squares to have many more squares. What allows us stairs? Now we're going to build a building or a box here in this square object we are going to make has an irregular shape decreases very useful, especially in urban landscapes because they're already know the extent of a building in the distance. And instead, you may notice that the effect of distance is automatic. If I want to build a building that is exactly the same size and the distance. We already know that if the first one takes two squares in size, mistake do squares and the distance to build the same building further in the background. See how this same boxes are building look even though they are positioned differently in the distance. The most important thing is that these grid not only allows me to see how objects deform with respect to the surface horizontally. But also vertically. To determine the vertical perspective, it works exactly the same. We can build vertical squares connected with the vanishing point to build the progression of the deformation vertically. Of course, the lines must travel upwards above the horizon that we had made. We can start from the same grid that we built below, but upwards. With this technique, you can build a NAT, anything in the landscape. Barack, this was widely used in your urban landscapes. Architects and urban engineers also use this technique. But what is the provenance of the drone grid? That natural landscapes don't always have the conditions of human perfection. Many natural landscapes are highly irregular. On the other hand, degree it is connected to the point of view of human vision of how the human ICs, but these laws are static and could affect the creative impact of your work. In the Renaissance in India, Iraq, they distort prospecting for aesthetic purposes. That deformation of objects in each painter was a spatial in gave the artists I special torch. The most interesting thing is that some Baroque artists on guns justly deformed degree it in such a way that their work seems to be seeing throughout 20th century is cinematographic lens. That is why you should use this as a tool, but not as aesthetic rule to make your creative works. Right here is where perfection lies within imperfection. In that is one of the secrets of art itself. You can continue playing with degree it on the right side for further practice. In this little exercise, I used to drawing grid from one side of the horizon to show you how it can work to generate a different point of view of our landscape that will not always be straight on. This castle is supposed to have a reflection over lake. So the castle itself is evolved a drawing with rice. The reflection is below the horizon. This gain of exercise allows us to practice drone the same element near and far in the distance as syndicates of the windows and towers of the castle that are the same size, but that art form in the distance. Now you know the grid technique, try to practice. But for now, let's move on to our creative works. 8. The Hatching: The reason why I prepared the previous exercise for you is because they wanted to dedicate this class to what I call the drawing fingerprint. This is the hatching. If there is something that is going to identify us as artists and give us that non transferable personal touch. It's going to be hatching. But what is the region of hatching? What is it so important in drawing? The best hatching techniques were not developed into down dog draw it. In the beginning, most of the drawers had a composite hatching and blurring. The artists experimented with the materials. They realized that the lines themselves could show details about lights and shadows. But it was not until the invention of the printing press that the best hatching techniques were developed. The purpose of the grievance was to reproduce ranges in images. In order to achieve this, a piece of metal had to be carved with a set of lines that represented that painting or drawing. The nature of the material prevented to draw one of highly composed or complex shadows. What resulted in the development of a better technique of progressive lines. Those lines we're supposed to represent all the lines and shadows that constitute the drawing. Once hundreds of ingredients began to be reproduced with excellence, beauty, and quality, this result was transforming and drawing and painting Hutchinson Stan, I said of lines ordered in a specific way that represent a light or shadow in a drawer. There are basically two main types of hatching. The first one is the regular or traditional hatching, which is composed of progressive lines that never cross. These lines can be curved or straight. They can have a single direction in the whole drawing or different directions. The other hand, there is compound or crosshatching, which is formed by lines that intersect to represent lights and shadows. I personally use the compound or crosshatching because that way I feel more comfortable withdrawing. Look at destroying of this shape into distance. However, these two types of hatching can be combined to provide the drawing more originality in a true fingerprint that identifies us. A few days ago, I dream about the sheep, sheep from the future. She was not driven by wind. She was a strange. I got up quickly and I did nothing but draw it using crosshatching. I'm going to complete the shadows gradients. If a woman drawing, you've seen his throne hatching, I'm going to mix actually the traditional hatch in with the cross hatching. I'm going to apply some of the lines we saw in the exercise we did earlier. So you can see how useful they are. Here. I'm applying crosshatching. Look how I cross lines over others in different directions as if they were graphite layers. In this part, I'm going to apply the kind of traditional hatching. Although they are not separate legs, they do follow the same direction here and applying exactly the same, but with a darker tone, benzyl. Notice how, even for small details, I also use a one way Hutcheon. Look how it has started to apply separate lines. To make the shadow soft leg. See how interesting the leg is looking. Notice how I combine crossed in separate lanes. This area of the table. When the lines of the entire drawing seems to have the same directions degenerate a very pleasant visual effect. But don't forget that you can combine directions to thereby generating an amazing finish. We used to this kind of hatching. You wouldn't even need the stump blender to diffuse. You can do it gently with your own fingers, generating a beautiful effect. It's important not to feel pressure to when trying to hatch, to feel free, and how to represent the lights and shadows through alliance in drawings in the works that we will do in the three volumes of the beat at the end drawing, I'm going to apply my personal TO of Hattin. But anything bites you to develop yours by experiencing and observe in the works of the Baroque masters. See you next class. 9. Perspective in Irregular Objects: Hello people. In this lesson we are going to see the perspective in a regular objects. It's important to know this before approaching more complex details on the construction of this phase, e.g. in the head, because the hair itself is an irregular object. But let's pay attention to these. In a regular object, this cube. It seems easy to understand the cubes perspective because all its sides are equal. We are aware of that. We have reference points. We note that in the front side, e.g. if that side has a specific size, in order to be able to draw the same side in the distance. I mean the backside, e.g. it's supposed to look smaller in the distance, is smarter than you perceive the front side. In a cube. It seems easy to understand perspective because it's a completely regular objects. But what would happen if we used an object like this? It's evidenced that the base of this pyramid, which is at the bottom, is larger than the tip. But the problem is that from our point of view, the vase that is in the background looks a smarter than eat release. When it comes to finding out the precise size of something. That is not easy to understand because we know that debase is bigger than the tip. But notice that we can mark the size of the base from the two-dimensional point of view and compare it to what it would look like if it were the other way around. So you can see that if the vase was in front, it would look even bigger. So when it comes to drawing, the problem arises when we are in front of a Snapchat that is not a geometric shape at all. Such as the hair. Look at this head. It doesn't look like a regular shape at all. It's not a geometric shape. Even if we tried to break it down into geometric shapes. And exosphere is hard to fill perspective because the head is not a sphere at all. So if you can notice it, the back of the head is figured than the face. So you have pay close attention to this because in a perfect sphere, It's difficult to represent those details observed this fair, regardless of the angle in which you see it, the sphere will always seem a perfect circle from the two-dimensional point of view. When many scholars suggest us to break the head down and it's fairer is to understand that all phase features rests on a shape that resembles as fair. In fact, you can use any geometric shape as a reference to build a face. For instance, any shape that you detect, e.g. integer of the face into neck. There are all kinds of triangles, polygons of different shapes that help us perceive, relates, and discovered the correct proportions of the head. The idea is that you can get to draw anything in parameter view by using only observation. Until the next lesson. 10. Sketching: When it comes to drawing, sketches, always seems to be something beautiful. Because as this drawing technique is refracted or Magic erasers in the artists, that makes us think that we have a kind of power to create great works quickly. It's important to understand that the sketch itself shouldn't be taken as the previous step to our detailed drawing. Many people and even scholars, academics think that the previous stage to our final drawing you saw was a sketch. In this is not always the case. It's not always necessary to create a sketch as initial stage of a complex doorway. Most of the great painters used to sketch, to make studies on a work that would begin shortly after that. The sketch for Dann wird, like the script in a play, the sketch allow them to capture everyday characters. It allowed them towards your characters in a space in understand the general shapes of some complex objects before drawing it in a large format. What to make? Rembrandt's sketches really interesting is that they combine brevity would suggest you in that beauty was the result of simple selection. Emphasizing the significant features of objects there re stimulating the viewer's imagination. All the friend brands or sketches or preferences. But as far as we're concerned, we're going to try to approach a sketch in discovering the general shapes of human head. Let's get started. We're going to use a coarse-grained paper to make the sketches. This old paper requires us to make more precision in the lines. This is a great training when it comes to drawing. But before drawing the first line, we have to know what is the sketch. Sketches are not finished drawings. They are quick impressions of the most significant aspects of an image. An image synthesized in a drawing that only highlights the general characteristics. Taking this into account, we must learn to differentiate what would be a quick drawing from what would be a sketch, because they are two different styles, which you see on the screen is a quick drawing of Rembrandt. Although it may have been created quickly, is not a sketch. But on the other hand, let's now see a real sketch of Rembrandt. Notice how the lines work to represent the most general aspects. Pointing out to the place of the elements in the composition and the relationship of their forms. But before drawing the human head, we will begin to understand the sketch through these geometric shapes. We're going to concentrate only on shapes, that relationship that exist between them. And the most general aspects between lights and shades. We're going to use the closest edge of the table to have a reference line to build the rest of the composition. From there, we will just start building the base of the parallel pipette. Notice how I draw kind of triangle trying to discover the size of the vase. But not only this, but I tried to measure the distance between the parallel pipette spaced the age of the table to determine its exact position. B, attention to the diagonal line I'm drawing. This line allows me to know the approximate height and width of the geometric shape. All these by only using the angle produce between the lower corner and the opposite upper one. The human eye is extremely sensitive to angles. As we use angles to determine the size and shape of objects, we will be able to draw them are currently not only updates are important, the shape of the shadows are just as important in your reference points. Notice how by tracing an angle, I tried to discover the position of the cube. Turn not to pay too much attention to currency in the sketches is not necessary to be exact. The most important thing is to dare and approximate what could be the size and the distance between the objects. It's important to know that if we were again to draw something in the distance that is the same size as something that is in France. In decomposition, it will always be smaller in the two-dimensional representation. This is easy to notice in a geometric shape like a cube, since it has all the equal sides, it's necessary that from time-to-time was stopped drawing to see the image reflecting deeply on its forms. These will improve our technique significantly. On the other hand, you must stress the other side of the table in the background to take it as a reference point. Now, we're going to put into practice that technique we learned by tracing the ovals over and over again. In this way, we will draw that circle that makes up this fear. In the case of the pyramid that is on the cube, it should be easier because IT pyramid itself contains defining precise angles. Try to pay attention that the base of the pyramid. It's not perfectly aligned with the top side of the cube. If there is something that should be in a sketch, is to Hatch. Hatching can help us even build shapes, and we're free to apply it in all the ways we saw in the Hattin lesson. This is Sketchers and that's only work to relate to the forums, but also to discover the different shades of shadows that objects have, especially since they are all the same way at color. Each of the sides of these geometric shapes have a specific tone that should be represented in the drawing. In the sketch. It should not be completely precise, but it should approximate the tone. It's also important to find similarities between the tones to have reference points. On the other hand, notice how I build the shapes of the shadows cast on the table. By using hatching. You can use cross hatching or compound hatching, whichever you find a more suitable for Detroit. Remember that not only should you apply the hatch to the objects, the dark background should also be represented in the sketch because it's a great reference point. You can use your fingers if you want to blue or the graphite even more. As we move forward with the light and dark tones, we can correct him perfect gradient between them. It's important to remember that the light and shade must also be represented in lines, e.g. the outlines of the geometric shapes that may contact with the dark background. That should be represented with darker lines. To make it these sketches, you can use one or two pencils. It doesn't matter if it's a quick sketch. You must remember that the only way to give volume to a shape like the sphere is by using the gradient and the lights and the shadows is very useful to know this because the face itself contains shapes and volumes that can sometimes only be represented with light and shadow. Here we have our first sketch finished. Noticed that even the lights and darks are not that precise. It's a general idea of the shapes in different shades of light and shadow. I'm going to leave the EU several images so that you can practice the construction of these geometric shapes by creating sketches. You can try it like this example with that cylindrical shape that is in the background. Or you can make it much simpler with just these two geometric shapes. But if you want to take this exercise to the next level, you can try draw on my sword as you see it on the screen. Now by doing this same exercise, we're going to try to make a sketch of this female biased together with the other objects, we simply have to see the bust as if it were one more object in space. We're not going to concentrate on the features of the face. We simply have to fill degenerate shape of the bust. We must manage to draw the bust in the correct place in with the correct size with respect to the other objects. We're going to store again, tracing the edge of the table to have it as a guide. And from there we're going to build the base up the burst. If you will realize the basis of geometric shape, that shape is essential to discover the size of the bust in its relationship with the other geometric shapes. Notice how I apply the same technique of angles to build that little geometric shape. Just building the front side will suffice. Once we build that geometric shape, we must start thinking where are the other objects could be an intern, those same objects will serve as a reference points to build the bust in the correct size. To know exactly where the cylinder is, we must know how many times the base of the bus feeds into distance between the vast in the cylinder. To know the height of the cylinder, we can draw an inclined line from the base of the cylinder. It stop. To know also the height and width of the cylinder. We can draw a diagonal line from the base to one of the corners at the top. Or the channelling from the base of the bust, I can discover what exact point is fair, is trying to figure out how many times the base, which fits in the distance between the base and despair. Remember to draw the sphere with the same technique that you use to draw the ovals in the previous lessons. Those repetitive exercises that need to be done for a long time. Whenever you make a sketch, you are supposed to start representing the light and shadows directly on the lines in the image. We can see that from the point of view that we are watching the conversation, the burst is higher than the older element. So if we have already built the other object, we then have important reference points. Let's try to build a harp first to get more reference points. Pay attention to these. Either need to trace the general shape of the vast from a scratch. Just by creating each part of the bust step-by-step, we can build it perfectly. That is, the shape of the bust will grow from one part to the other. Notice the angle from the top of the head to the top of the cylinder. This allows us to know the final height of the burst. Do not concentrate on the face features simply mark its most general characteristics. One of the most important aspect is to try to position the features of the face, eyes, nose, mouth in the right place. But I insist on this. The detailed portrait with all its features will be addressed in several later lessons. We can start to fill the background with hatching to have a good reference points in terms of tones. Since the background is the darkest part of the composition. The psychological factor is important. Now winter diversed is not a geometric shape. Immediately, our brain is blocked, but we must try to take it as if it were another object to find its shape. The sketches are a great exercise to train hatching. From the hatch, we can even build all the shapes of the composition. Notice how the face features are sympathize to a few simple lines. They simply indicate where the main elements of the face are located. There are not too many details, but there is a general representation of the most significant aspects of the composition so far this lesson, but we will continue making bust sketches in the next lesson. 11. Sketching & Quick Drawing: We're going to apply the same exercise of the sketch with the same female bust, but in an isolated way. This time, we're going to start directly built into base of surpassed. From there, we will grow to bust in its entirety. Pay attention that even though we can see the front of the base, I'm trying to build a vase completely to try to feel the surface were divorced is placed that in this case, that surface is a table. Since I only have the base of the past as a reference, I'm going to start tracing the shadow of the bust and the table with hatching to have more reference points. From there. Notice how I draw a diagonal line that allows me to discover the dimensions of the table. Remember that we are sensitive to angles. By using the same strategy, we can discover the size if the biased by drawing diagonals to build polygons that lead me to draw the vast, completely. Pay attention to the geometric shape that constitutes the woman's torso. I'm not synthetase and the total shape of the bust in a geometric shape. The country and making geometric shapes to discover the general shape of divorced from their own, we can know what the size of the heart is to use it as a reference points. Also, in order to create the rest of the vast, do not forget to represent the lights and shadows through the construction lines. By relating the geometric construction shapes with the contour of the burst, we can know exactly what the contour is like. Remember also that in this sketching exercise, the features of the face does not matter, only build the shape it correctly. Remember that in the sketches, it's more important to determine where the mouth, eyes, and nose are located, then to build each of the features accurately. Later, when we see the face of theory, we will understand how important it is to correctly locate the elements of the face. Do not forget to use hatching to draw the shadows and inner shapes. Remember that a syntax sample of this fair, there are shapes and volumes that can only be represented 3D gradient. One of the main characteristics of the sketch is that the eraser is not usually used. Erasing is avoided it because the sketch is supposed to be created quickly. In dad is precisely the charm of to sketch. In the same way as in the previous exercise. We can start to fill the background to have it as a reference point. Gradients are important. Not only do we need to reference points to feel the shapes, but also to create a proper gray scale. The most interesting thing about these sketches is that all the exercises that you did at the beginning to master the pencil in the hand are applied in the construction of these catches. It's the proof of the importance of repeating them. Many times. A foreign advances in any drawing doesn't matter if it's a sketch or notch. New ideas arise to improve gradients and shapes. One of the most important benefits of the sketch is that it allows us to eliminate the fear of the line. That fear of the wrong line is one of the most important limitations when it comes to drawing. You should do this exercise constantly. That is, on a daily basis. Perhaps when you are using some means of transportation and waiting for someone in any square. There's nothing more interesting than finding people in everyday life to draw them in their own nature. Here we have our sketch. Pay attention that the most important thing is the relationship of the general shapes. It's a quick impression. The purpose of the sketch is to try to represent the position and shape of things. But let's take the next exercise to the next level. Now, we're gonna do a quick drawing. The quick drawing, unlike the sketch, requires the ability of detailed drawing. But summarizing the process of the synthesized version of what a detailed drawing with me. We're going to use these vast with classic baroque lighting, a subject that we will address later. Do not worry about the minute details of this drawing because we will learn everything in this first volume of Iraq drawing. At the beginning, the construction process is very similar to the sketch, only with much more patients in detail. We're going to take more time to do this type of drawing. But with enough training, practice of lines, detailed observation, we can do this kind of drawn quickly anytime we want. In this kind of drawers, we have to use our imagination a lot. That is sometimes a meeting construction lines. But at the same time trying to imagine them on paper to create the drawing as if those lines were there. We will understand this process in detail when we move on to the theory in construction of the face later on. But it's important to see this kind of exercise so that you lose your fear of trauma and lines drawing contours, and trying to face the challenges of drawing. B attention to this stage, it's crucial to determine where the eyes, mouth, and nose will be located. Those are the main features of the face. We must do this process the same as in the sketch, but this time with more detail in using fewer construction lines. Pay attention to how I'm using the hatching to mark all the shadows of the bust. It's necessary to do it to have a map of where the gradients will be. Once we have marked all the shadows with hatching, we missed the start adding graphite in all the marks in all the hatching as if we were blending it and turning it into a solid color. At this stage, we must concentrate on filling each of the shadows that are on the phase. By n, the shapes, the shadows and gradients are generating volumes that we must represent by drawing. Don't worry about the small details. You straight to put the shadows in place. As we do the shading, the brain will automatically have more reference points to finish building the exact shape. The eyes are one of the most difficult parts of drawing. And it's something that we will cover later in detail. But trade to see the shadows that are inside the eye. In order to understand the shape itself, we can start to fill the background to have more reference points. Dark background will make us feel the best gradients much better. Notice how I'm already at this stage. We can feel the shape of the bust. Be attention that the area of the mouth has practically no lines. It's a set of shadows and lights that give rise to the shape of the mouth. Unlike the sketch in a quick drawing, we can erase and even use the eraser as a mechanism to generate lights in the drawing. A peculiarity that the quick drawing and the Sketch have is that they then have to be exactly the same as the reference or model they must capture descends and the main characteristics of the model that we are portraying. And very, you are a quick drawing of Michelangelo's David. You can try this exercise at once, especially using the images that we will see in the lighting class. But if you don't feel confidence to do it, don't worry because we will see the theory of the construction of the face is step-by-step. Later on. Idea's that you can use the sketch as a preliminary study for your drawings. I personally do it this way. Rembrandt also did so. But if you want to make a sketch that evolves into a fully detailed drawing, you are free to do so because there is no one single official way to draw until the next lesson. 12. Baroque illumination - Techniques: Hello again. In this lesson, we're going to address one of the most important elements of the Baroque, the lighting. But let me mention that this is not the only lesson we will address aspects of lighting because it's something that we will address it throughout the course. So let's talk about latent. Latent was one of the fundamentals elements to convey emotions in drawing and painting during the Iraq. I have seen some things that happen in many realistic drawings of your time to future. Many people concentrate on faithfully drawing something. But even though they manage to do it very well, the drawings lacks appeal because the reference image they used west of poor visual quality. Lighting is essential to check this. You didn't need to work to be completed real for it to be beautiful. If your work has great lighting, it will be beautiful. So the purpose of these lessons is to teach you the tools so you can design good lighting for that portrait you want to create so much. This time, I'm going to use my window as a main light source. I will use also capitalize. So you can use any light sources you want as long as you follow these instructions, that's a star, then we're going to start lighting that head that we have already seen. This is David of Michelangelo. At this moment, it has a general lights from my window that comes from behind generating a shadow on the table. But let's say that it's kind of random. Just to show you what we're going to work with. Iraq, it was necessary to create an environment embellished with light that would help us tell something beyond simply portray. And someone started with the classic rock lighting. Iraq lighting used to be set up this way. A main light from the side and a slightly from above. This allowed to capture a better three-dimensionality of the face without distorting its nature and beauty. But this lighting had to be strong enough to reach the shadowed bar two of the face as well. The light source could be of any nature as soon as it came from that direction, from one side and slightly from above. This slide could also be artificial, using fire tortures in Chantal ears. Or there are times it could be natural light like this one that filters through my window. Natural light was used in order portraits. But at that time most of the portraits were in studios because it took a long time to do them. So they used to light filter through a window, just like this example. But even using this natural light, they use to combine that light with some artificial source in this way. As you can see on the screen, is slightly from side and from behind to generate an outlined that in Kansas, the shape of the head generating depth and three-dimensionality in the portrait. In addition, from a pictorial point of view, it generates a new dimension of lights. Another color in nature that rises from the shadow side of the face, as you can see it. But some painters were even more dramatic. And when they wanted to create a darker portrait as if it were in the sunset or Twilight. They use to further filter the main source of light with a cloth or some kind of stained glass. And it looked just like this. Personally, this is my favorite type of flight tin because it gives an atmosphere of mystery to the portrait. Notice how important that bakelite is generate so much spaciality into place. An interface, we could almost imagine a person sitting by the window next to a fireplace watching the sunset. But artificial light was also used as a main lighting. That is with no natural light at all. This allowed them to play even more with the direction of the main light. Notice how, if I leave the main light in front of the face loses its charm and the light is telling nothing. We can change the place of the light as long as it's mainly from either side. Here, I'm setting it from the same side as the background light. You can play with it to the point that seems most attractive to you. Try to generate your own lights in touch. You must be careful that delighting you choose doesn't generate two strong shadows under dyes like that effect of midday light, that is the worst lighting of all. Look at this example from this angle with natural light have filtered from one of the blue squares in my stained glass window. The idea is that you can experiment with lighting while selecting the person you are going to portray. You should try to be romantic with this. It's not about drawing and it's still image. It's about drone, something truly valuable for you and attractive. Therefore, by using Lightroom Barbara Lee, you will really be able to take your drawing to the next level to leave Iraq level of scores until the next lesson. 13. General Scheme: Hello people. When it comes to drawing the human head, it's necessary that we pay close attention that the elements that constitute the face in itself are in the correct position and have the correct size. But why is it so important that the elements of the face are in the right place? It happens that in reality, despite what we believe, human beings are not so different from each other than we believe, then a few millimeters of error in the location or size of the facial features can produce a change in the nature of the phase itself. That is, these small changes can generate a completely different phase. It's important to take these into account in biggest much attention as possible when it comes to throw in the face. It's a process that requires attention. Patients in quality, observation time. When drawing a portrait, we had to pay attention to the general structure of the hair and give a value to the head with respect to each more general characteristics. The similarity to the model that we're using will depend on that correct notion of the general figure. Although the details of the face are breakfast fully drawn, if they are plays in an imprecise context, portrait will not be that good. It will only be a big approximation. That is to say that you could have drawn the nose and mouth very well, but if they are not located correctly and the precise point of the skull or dry wound will not resemble the model. Here in this image, you can see some very simple in basic fundamentals which allow us to determine the proportion The head. Of course, in this example, we are looking at the head from the front and front side. But it's just an example to learn a tool that will work in whichever direction the head is facing. Idea is that you can compare these schemes with the position of the model you are using. Obviously, it will differ in one way or another because not all models are the same in more than anything, the position will never be as exact. But it can serve as a great tool to establish the proportions of this call. We must be very careful with the proportions. If we see here in the image this phase that is divided into squares, the first phase on the left. In this first example, we can focus on the box that contains the nose, for instance. We can see that it's not only the nodes but the eye. We realized that it's a space as a whole. If we know that the box on the right has the same dimensions, we can then determine the distance between the nose, the eyes, and the ear area. This relationship of shapes is not only useful to build the face, but anything that we want to draw. We could do this same exercise with the other boxes in the figure. Take a look at this image for a moment and try to understand it. Was we had this notion of the general construction. We must go to understand the technique of the angles in the face. We can build a triangle from the outer edge of the eyes and the mouth. This triangle, we allow us to know the exact distance between those eyes and the mouth. In general terms, it's assumed that one fits between each I, in that the width of the nose is distance between the eyes. Obviously, this is not always the case. But what is important is that the triangle that we build from the union of the eyes and the mouth varies depending on the position and direction of the hat. That is the reason why the technique of angles is so important. Because we can practically seed withdrawing anything is set ability. We have to see the inclination of things that allow us to determine its correct size withdrawing. So, you know, remember this triangle from now on, because we are going to put into practice, especially in the light portraits that we will do later. Continue looking at these examples for a moment, a make node affinity. The perspective is another fundamental sediments to be able to feel the head, we must solve this. Try to see the head a sacred where on a flat surface. So we must straight to remember at least at the moment in which we are contemplating and observe in the model. Let's try to remember everything was so concerned in perspective in the previous lessons. Because at the end of it, all the heads is just an irregular shape. So we must straight to translate, is Brighton mentioned on nature into the two-dimensional language that we saw in the first lessons. Here. In this examples, we can see how important perspective is for the construction of the head. Notice how important the horizontal lines are. Two vanishing points and the different mission it will have are extremely important. We must imagine the head inside a kind of three-dimensional figure. Of course, from my point of view, this is more useful to build a face from the imagination. Look at these examples for a moment and take note of everything important. We can understand head in a geometric way from the beginning. From the beginning of its construction in a general notion, the head hand and avoid shame. It's as if it were to avoid figures together. This figure is important in terms of light. It's important to know how the light is going to affect these geometric figure. On the other hand, the phase is composed of different surfaces with specific characteristics. And in each of these surfaces are the elements of the phase. That is the nose, mouth, and the eyes. Look for a moment and take note for important. You can practice with a static image photograph from your time in 2022, where you see the head in different positions and tried to relate it to all the content you are seen at this moment. Anything that's useful to be the portrait correctly, as long as we have the best tools. I highly recommend memorizing what it mentioned before about the triangle formed by the eyes and the mouth. Why? Because the inclination of the head can fail. Even the precision of the forehead can fail. But the distance between the nose, the eyes, and the mouth key now it's fail. In the next exercises, this triangle will be our best friend, only to build the face, but any element in Detroit. A very important aspect when it comes to drawing the head is to take into account the muscles after school. The muscles of the forehead, e.g. the muscles of the neck, of the jaw, the cheekbones. Although each of us is different in terms of appearance, we all share the same muscles. So by understanding the nature of muscles, we can enhance a, a specific facial expression. Try to observe people around you. There's no more valuable source of inspiration than everything that surrounds us until the next lesson. 14. FACE'S FEATURES: Once we have already analyzed the interrogative structure of the head, It's time to focus on the elements that make up the face itself. Because the precision that we have when it comes to build in each of these features, inevitable war, placing them in the correct place, will resort in a verbal portrait. Right there lies the realism and the truth behind a portrait. Where we're going to start, we're going to start with the eye. The eyes aren't that fundamental feature interface that's conveys the greatest amount of emotion. And despite the fact that there are different ethnic groups with different characteristics looks nice. There aren't constant elements in their eyes that if we recognize them well, will help us build any type of file when it comes to trauma. In general lines, we have to practice drawing the eyes in different positions. But this cannot be done in isolation without that context. We could use a model in different positions to make it. Only then we could have different points of view. As you can see in the image. The female lie, in particular, has much thicker and longer. Lashes. In the eyebrows are also much more outlined and thinner. In children, the eyes are rounder than the eyelids. Try to compare them with the female lies. But let's focus on the image below the old man, us, there are numerous deep wrinkles that extend from the sides. This type of eyes have bags in, eyebrows are, are much more irregular. It's also important to know what the bars of the eyes are in general. The eyebrows, eyelashes, the upper eyelid, the lower eyelid, and also the tear duct. All these elements will make arise look really attractive. Let's try to see the image for a moment to understand it. There's Eris can be one of those elements that list attract attention and a portrait because they are almost always covered by hair, head dresses or hots, e.g. but I think that there is a characteristic that stands out when it comes to drawing the errors. And in fact, I think it's almost an expressive characteristic, is the position that these ears may have with respect to this goal. That is the head at which those ears are with respect to have a believed that this would be the main characteristic. Because the viewer is not going to focus too much in his same, but rather on the relationship that deposition of the ear has with respect to the face elements. The nose is one of the most difficult elements to represent because there are many types of noses in few theories that help us draw different types of stenosis. In fact, you will find many theories that we'll speak of the Greek prototype of nodes, which in fact is not any Greek prototype. It's a completely symmetrical type of Greek knows. But when it comes to trauma and other types of noses, these theories are completely useless in this sense. There is no other solution, but try to draw as many different phases as possible so that we can understand the patterns and different types of features that can be presented in our model. One of the biggest difficulties when drawing the nose is that it protrudes from the face. And that is why it seems to have different shapes depending on the point from which the head is been observed. In general, the nose has a pyramidal shape, but this shape in some cases can be wider or higher depending on the particularities of the model. This bipyramidal shape is made up of two nasal bones of the septum and also by cartilage. These details are easy to see him faces. Look at this example. We're diagnosis in different positions. And depending on the angle in which we are seeing the nose, the depth looks different. The sites lean towards the cheeks. And this is essential to understand the subject of the nose. Node that is based is triangular in shape. In that is where the oval shaped no streets open. It's important to always try to recognize the highlights and the most significant shadows that help us see the real shape of the nose. The next most important feature on the list that help us to represent human expression. It's the lips. On the nibs lives the smile, which is a mechanism expression itself. So it's as important as the eyes to be precise in the construction of the lips. Because each stroke, each line that we make will change the expression of the face. The idea is that we can get all the secrets that are hidden in the expression of a human being. When we are drawing leaves, we must pay attention to draw the line that separates the leaps very well, in that it's managed to fit into the semi cylindrical surface of the maxillary bones. In that they also follow the rules of perspective that we had mentioned in the previous classes. In this example, we can see the leaps from different angles and even from different ages. But more than anything, the angle that obviously changes their shapes. Let's pay careful attention to these examples for a moment. One of the fundamentals principles when it comes to drawing a portrait is to take into account the direction, quality, and the type of light that will cover our model. The nature of that light will help us to highlight some elements, some features of the face more than others. Not to mention that the type of light and will help us add emotion to our model in portrait. So take into account the use of light. We will be able to make a higher-quality portrait or one that represents a specific emotion. So let's try to take exquisite care of the light and even experiment with it to achieve a really attractive portraits. In general, most artists prefer artificial light to natural light, mainly because drawing or making painting requires a lot of time. Therefore, natural light is not constant. It varies over time. The other hand, artists can experiment with light in artificial conditions. The main light objective is shown with clarity and aesthetics. The main characteristics of the model to strong light sources that bearing the face should be a void. Instead, a slightly diffused and softened like sars is preferable. We must strive to dislike, doesn't generate a strong shadows under the nose, under the eyes, or any of the features that make up the face. Lightened, angled slightly from above and from the side is often used because it conveniently a centrist the feature of the face and need to rebuild this more effectively, the aesthetics of the face, which is the most important thing. In the image. You can see the directions, barriers a bit, but it's the same type of lighting. Let's carefully look at this random portraits and move on to the next classes. 15. Construction Process: We're ready to start the first work of debate, at least in Barak drawing bottom one, a self portrait. You can also try to find a sense of yourself through throwing. Let's start by looking at the details that are canvas, which in this case is this old paper. Why have I chosen this drawing paper? For three main reasons. First, we can use the color itself as a part of the drawing. E.g. the skin could be of the histone in our drawing. See the difference with this other paper with which we will work later. Secondly, it's up paper with a very coarse-grained. Therefore, we will now be able to do very small details. This is great because we had to be very precise and, or drawing, or at least try. This is another more traditional, finer grained vapor. You can use whatever you feel comfortable with. The third reason, it's a very thin paper. That is that it breaks very quickly, so we will now be able to erase too much. It's also a very good for an airline. You can try to free your imagination, find your own customs for your own personality. Remembering that the lighting should come from this side in the slightly from above or below. Let's start and let's take a good look at the image of our model. To understand the composition in its most general view, we had to choose just the part that we are going to portray, which would be the upper part of the torso including the hat. Most barrack portrait include part of the torture. This was done to give the portrait more personality. Once we have chosen our image, we must proceed to divide it in our mind in three equal parts. Three equal parts the size of the head. How many hertz fits in the distance I want to take for the torso. In this case, it is up to the strap, but you can do it to the exact point you want. Everything will depends on your own taste and style. We already have our three equal parts on the paper. This allow us to work in a more orderly way and have overhaul to make a drawing fill the space that we want in our Canvas. Let's start with the top word hat will be. To find out the proportion of the head. We must draw a next that allows us to fill the angle of its dimensions. From that acts, we can begin to build a controller that contains the most general board of the head. We must create a geometric figure that represents most general shape of the contour of the head. Let's try to relate each of the details and shapes was recreate a part of the head. We must use that same board as a reference point to build the next detail. Let's try to see the big triangle that makes up the cape he's wearing. This great triangle has some specific angles. That is a reference point to build it exactly. We can try to do some small details, but without being too stressed. Just to locate this, it seems on the torso. Remember that everything is a reference point. Locates in the details. We had a better overview of the torso. The drawing is an observation exercise. We'll look carefully at our modal, see the dimensions of the features and do exact for secion on the face. We're going to start to place the elements of the face in the correct position. If we can make the contour of the eyes even better, we must remember that in general, the eyes are always on the same line. Although it's not a constant rule, it's something that works for us as a good starting point. We are going to proceed to build a different surfaces that constitute the different volumes of the face. We must also begin to represent the shadows as if they were solids. We must do it by building geometric figures that represent each of those shadows. We must be patient because it's a long process. As you make more portraits, you will know how to do these n-type brushes here because you will be able to do it in your mind and apply the shadows directly. Look at the close it tails off the paper. Those thin lines and little hairs are part of the material of the paper. Into distance. It looks beautiful, but the paper has grooves that make it difficult to deal with details of the eyes. We must be precise for ceviche. In the same way as we mark the shadows and shapes as the face with geometric figures. We must do it with the shadows of desert. It doesn't matter if it doesn't seem to make sense at first. They are just our reference points. As we progress, those features will be gone to different tones and we will change them for a specific gradients. Let's try to fill the movements of the cars. If we're using a life model, we should zoom in on the marvelous to see the closest structure of the hair. It's not always possible to capture this in the distance. And even if our portrait is not completely close, if we do, those details, look much better in general. Take a look at how the general structure of ourself portrayed keener. Read, if you've seen, the drawing, is perfectly located in the center of our canvas because we've made the correct measurement at the Kenyan. On the other hand, it's important to understand that the Aldo we are making general structure with lines. These lines should begin to give us information about the lighting of the drawing. We already know that the light comes from left to right. So all the lines that are in contact with the light should be lighter. In the case of hair, it's more evident. But if we can do it from the beginning, it would be much better. We must begin to imagine how each of those tones that are going to form the face are alike. We must enough information about the structure of the shadows that we should have no problem finding the gradient. An important detail of the eyes. Instead, to find exact size of the pupil, we must be aware of the shape of the sclera, the white part of the eye. That bar will help us find the size of the pupil better than the pupil itself. We are ready to continue advancing in our drawing. See you in the next class. 16. Shadows : Perfect. Let's start drawing the shadows. The MR. Star from the darkest to lightest. We're going to fill the darkest areas we were fired first. And then we will give details to the transition between those dark areas, the most illuminated wounds. The direction of the hatching is important to. If you can see, I'm applying the graphite on the head in one direction only in order to generate consistency in the shadow. You can do the same with old shadows in the drawing. It all depends on the style. I highly recommend that you start by doing it in one direction and then experiment with different directions. Notice how the hatching lines are cross this time. This also allows for consistency. Crossing the lines that lost you to fill in those little spaces that are created by the size of the pencil tip. To fill larger spaces, we should always use the softest Penzias, those whose stones dark hair from phi B29, e.g. depends that I'm using at the moment is a six be pure graphite pencil. Now, we can begin to draw the intermediate songs to generate more tones. It's evidenced that we must shade more dark zones, but we're doing it this way to maintain an order ecostructure of the drawing. Although the lines are practically made in the same tone this time, you must remember that as you practice, you can include differentiate of the shadows within the same lines. It's advisable to use different tones of pencils where we are going to approach the most delicate areas such as the face. On the other hand, observe how I had kept direction of the hatching in large parts of the drawing to give consistency to the shadows of this work. Notice how important the line is in this detail. It creates the depth of the cape, the difference between the different unfolds you've seen in the cave over the shoulder. However, it's not a nice lighter line. So nine that must match the shadows ingredient that it's pressing in this area. See how each of the folds has a different tones. You have to represent it very well to generate dispensation of them. Practice it a lot because sometimes the difference between one told me and another is very small. Look how our characters costumer, ready, Luke's. It's incredible to see how outlined in the shadows in the beginning is so useful. Starting with dessert, allow us to have a great reference point to address the tones of the face later. Csf phase is the most difficult bar of course, but we will take a lead from now. Remember that the final shape of our drawing will not be complete until all the shadows are finished. The shadows themselves shaved the drawing itself. It's not just aligned theme. Let's take a good look at the detail of our drawing to then move on to the shading in the face. It's possible that while we are starting to draw the shadows on the face, we feel the sensation that we are moving away from the original shape of the model. This sensation is common, but it's not until the end of the drawing that we will now define a aberrations. Remember that when we are adding the shadows, we must highlight all the details of each part of the eyes. Sometimes if we are seeing the model in person without approaching, or if it is an image from a surgeon distance. We can see the details of the eyes, but those details of each bar of the eye are there. We must draw them to generate a sensation in the distance. Each of the small reflections and lights inside the eyes are very important. We must be aware of them. On the other hand, understanding that, for instance, the I on the left must be more illuminated than the one on the right is also very important. The eyelids itself, sometimes gas shadows, That's shade half of the inside of the eye. Learning to have that sensitivity to detect all those details will make us better drawers. We already have a first approximation towards the shadows of the face. We are still far from the final result, but it's a good start. Tried to stop and separate from the drawing for a moment. Reflect on the stalls to correct things in a vocal folds to improve the quality of our hexane. E.g. see how I haven't added details to the Harrier jet. You only Mark highlights. On the other hand, we must continue to suffer in highlights and the shadows of the face to generate more volume. For now, before moving on to more face details, Let's move on to building an element that will help us enhance the shadows of the face. Bigram, building background with a specific tone will help us to re-interpreting turns off the face. In a different way of cars. We're going to use a white shark or white pastels. You could also use another color that you choose to improve the quality of the graphite in the cape in generate a creative difference between the turn off the face. They turn off that background in data of the search. If we create this difference, we can maintain the same type of lighting in different parts of the drawing, but we differentiate that provide to generate different Dexter's. It was something very common in the barrack, especially to generate more creative drones and explore possible tones in future paintings. But we will see all these in the next class. 17. Shadows & Shading: Perfect. Let's start filling our bag. Bring your graphite. First. We're going to do it in one direction and then in another direction to really cover the paper. Remember to use a dark tone benzyl, a soft pencil to cover much more in not damage the paper so much. You can also use liquid or powered graphite to fill these larger spaces. In the case of liquid graph it, you just have to mix it with some water. The powder or graphite should simply be spread on the paper. After filling the background in different directions, you should find a napkin where small ketones are spread all the graphite and achieve a much smoother look. This will generate a difference between the textures of the character and the background. You can also do it with the blender. It may take more time. Now, we're going to apply the white Boston chalk. We're going to apply as much as we want without destroying the shadows that we have a ready-made. Many times people wonder what is the difference between a shock in the traditional drawing bustle, there is no difference. The only thing is that the shock is usually harder and sepia colors and ranges. We're going to mix the Busters shock be dignified so it looks like a single color. We must do it with the blender and do it carefully and pay close attention to the shadows we have ready-made. If you need to add more amplified, you can do it. A very important detail they have added towards drawings up to be Italian Baroque drawn. It's the fabrics. Fabrics are a surprise and exercise because they're forms allow us to make different types of tones in shapes. In most of those stones are outlined by lines. Observe in detail how they are built in, how to create their effect. So you can apply it in your own work. In the hair, you must have enough patients. If you look closely at the paper, you can see how the grain of the paper GameScene, even from distance, e.g. in the head area. That is what I mentioned to you at the beginning of the drawing, that green prevents making very small details, but nevertheless, we can try to make them to build an effect that E and the distance feels like every strand of hair is there. We must strive to trace each strand of beard hair and try to see it also as a whole unit. Although the beer is dark. We must also try to represent that delight also affects the hair. Therefore, the left side of the face in the urine it must be more illuminated. The age of the cheeks, that age, that is vision contact with the hair should be cleaned to add precision to the contour of the face. If you look carefully at the drawing, it seems that there is not so much precision in the details as if they were small brush strokes. Look at the hair to cheeks, but they are not innocent graphite stains. As I told you before, the effect of realism will be noticeable in the distance. This is the magic of Jordan in hatching into something more than just a photograph. Rembrandt's last works had this technique. After spending a couple more hours given details, take a look at the results. Look how the light is projected near the nose. See how the eye cavity darkens due to the effect produced by the light. You get defect of the hair in the distance. Even the skin folds on the neck can also be seen. Notice the drop of the cape over the shoulder and shadow gas by each fall of the fabric. We're going to continue with strengthening the dark part of the face. However, we don't need to darken dot bar too much. If we add a bit of white shock to the lightest part of the face, we can create the fact that the dark bar is darker than it released. And this will add more resolution to the drawing. There it is. My portrait. If you noticed, unlike the reference image, I'm not looking at doing my reflection. I'm looking at somewhere or someone maybe someone very important to me. It doesn't matter how you make your reflection. The important thing is that it can be true. That it reflects how you would like to see yourself, how you feel, and perhaps how you see yourself from the inside out. 18. BIO REMBRANDT : Rembrandt harnesses, bomb bring West warrant in laden Netherland in 1606. His father was submitter, come fortunately off, enabled to send a Rembrandt to the towns late in school. At the age of 14, Rembrandt began to study in the famous University of labor, initial for a mailer sun. But academic life did not suit him at all. A few months, he left to begin an apprenticeship. A subpoena. Laden did not offer much in the way of artistic talent. And 16, 24. After three years, we'd have local painter, Rembrandt went to Amsterdam, just showed you briefly with Peter. He then moved back to Laden, is set up as independent painter, sharing a workshop with Jim lives. It was not an easy claim with which to work. Following the Protestant Reformation, local churches, no logarithm provide artists with any commission as the Catholic Church did in other countries. As a consequence, artists had to concentrate on commissions from private individuals. Rembrandt quickly began to make a name for himself as a painter of historical subjects. Initially, remembrance did not follow the advice that was given to junk painters, namely to travel to Italy to show the Italian office hand. Instead, he left that he could learn everything he needed to form the art available in his native country. Around 16, 31, Rembrandt move to Amsterdam, the most prosperous port, another year in crowd. But Moroccans, every corner of nation. It offered a junk and successful foreign more opportunities than the sleep later. Rembrandt luck in the house of an art dealer, coal Hendrik bank holiday. While there, he met his lenders, John calcium Saskia. They were married in 16, 34. Numerous paintings and dry winds and suggest the two were very happily. In 16, Sarah to Sikhs, It's a skit, gave birth. Dare fast song from Barton. After only two weeks, over the next four years to more children's were born but died within a couple of minutes. Professionally, Rembrandt went from strength to strength. The most important familism organizations in the city commission it paints as well as sport traits. He produced by rock story paintings such as Belshazzar, fast. Cash flow was sometimes a prominent remembrance gas full route and freely. He was a composite buyer of odd and a collector of all manners of anti quietest prompts and weapons to be used in paintings. Saskia, his family, accuse him of his wondering his fortune. But Ramblin was the most famous artists in the city. What could go wrong? In 16, 39, remembering Saskia, move into an a grander house next to solve friend Fung island Varga. He is sketch animals. The people on the street, beggar sacrifices, women and children. And obviously, Saskia. This painting was influenced by new developments in Italian art which reach the Netherlands by a prince and by his more travel colleagues, many of his contemporaries as a storage to sperm and with the dramatic use of light and developed by Caravaggio. The influence of carbide is evident in brand. Brand work from the 1630s develop a new way of describing faces with partner enough light and shadow, rather than simply writing one side and shading the older shadows around the EIS officer treats, making it hard to read a precise expression gives his canvases extraordinary suppression of leaving thinking mind behind phase. In 16, The fourth one, a fourth child, was born and lead Saskia with some will after weird and Rembrandt made barriers dramas of her looking tired and draining back. In 164 to two, Susskind made a will live in Rembrandt and Titus her fortune. I will do most of Rembrandt's churn would be lost if it's married. She died shortly after. He still aged only 30, probably from played or to be alone with the baby to care for. Remembering how to employ a nurse and to kind of ***** call Georgia Tech. She became his common-law wife for a short time. But then he took on another several Hendrik stuff and fell in love with her. Garrett took Rembrandt to pull on the grounds that he had promised tomorrow. He charged her with bowing some Susskind genuinely that she had left to Titus in her will. After much greater wrangling, Gremlin somehow had care sent to how self-correction. Meanwhile, he and Hendrick live happily together, except that the term itself to Susskind will mean that he couldn't afford to get married. She appears numerous painting, it may have been more than for a woman and when not to the last bit of this later paintings in the US, broad brushstrokes sometimes applied with the palette now, well, the elite picture how to smooth finish. Delayed rewards are designed to work only from a distance. In the 1650s, I'm certain was hit with a massive economic depression. Remembering hadn't even complete the payment on this house and his creditors began to chase him for money. In July 16, 56 is successfully applied for excessive binom. Respect to one forum for a bank can receive which avoided in prison all his goods, including an impressive collection of paintings where salt off for a pittance. Rembrandt, Titus and Hendrick moved across town, too much poorer district where Rembrandt continued to paint. He had always using himself as a model. In the last 20 years of his life, he painted self-worth trades with increasing frequency. In 16, 62, 300 died after a long illness. Data's was left to look after his father, consumed with Mountain province, forcing them to so Saskia stuff. But still Rembrandt could not resist Putin in an offer for a whole Bain that came up for sale. Titus Marion, 16 68. The Dr. of old friend descendant for later he died. A Delta T TR was born six months later in 16 69 Rembrandt himself. He was buried in Western next to Titus and there was no official noticed about his stamp. The most interesting thing about remembrance career was this incredible bastion of making portraits more than any other artist rembrandt consistently represented. Here's some likeness. Throughout his artistic career. Around 80 painted drone edge self portrayed are known branching and it started from quick sketches to highly compose likenesses. The late self portrayed in particular are incredibly both full and honest. And a desk to remembrance, ability to compete old age in highly sympathetic lights. Rembrandt's self portrayed at the age of six through tree, painted in the final year of his life, reveals that he never lost his ears. Just experiments, even with compositionally familiar as its own likeness. Rather Ref, shown that Rembrandt made changes directly on Canvas as a reward. For instance, we know that the cat was originally all why painters can enlarge or extending upwards and to the right. His claps hands were, are generally open inhale a paintbrush to show an artist at work. Rembrandt was praised by ill the critics for his scalpel ability to manipulate the light and shadows, for farcical or aesthetic effects. His profound understanding of the use of delight to convey spiritual, intellectual ideas is especially evident in his later works. So most, the most intimate image Rembrandt's produce date of slayed career and reveal his heightened sensitivity to expressing insights into the human character. A woman bathing in a streaming shows a woman lifting him up your ship in the exposing her bare Flash, she weighs in a shallow pool with her gaze gas dung, deeply immersed in thought. The viewers made private to a contemplative moment. This is a woman herself has completely unaware that she has been watched. Descends us. Intimacy is heighten it with the knowledge that demo for the portrait was most likely Hendrix stuff. Renaissance scholars had attempt to identify the woman with historical figures such as Susannah or Callisto borsa hmm, where spied upon wild day bath. Wherever this remains speculative in his later tears, remembering shift this narrative tactics. Rather than employ multiple figures to tell the story. He focused on a single character and explore their contemplative and introspective distaste. They think that the most important thing about remembrance work was incredible ability to catch his human environment. This environment was telling stories every day and he had the ability to get those moments forever. 19. Construction Process Part I: Beginning: We're ready to start our second portrait. This time it will be the beautiful the earth there. We're going to draw her face, but this time it will be on the ocher paper. He earns two colors of paper. So you can notice the difference again. You could experiment with other colors to maybe make a night ascendancy in the twilight. Perhaps a portrait in the middle of the sunset. The truth is, the color doesn't matter. The most important thing is who we portray. Its try to do it with interest in people who had something to say with their eyes. For those who didn't know. The Mauritania is unknown at this company. She herself as asks me for this portrait and I was not ready to turn this down. The first thing we're going to do is divide our paper into equal parts in the same way as we did in the South portrayed, but only two parts. We will try to leave a margin below. So it's not to touch the edge of the paper. You may want to add a frame in the future. So you should always do it. In the same way. We must do it above. Leave a proportional margin to the one we leave below. Once we have our paper to bite into equal parts, we must see the image very well to select the upper space of the body that we are going to represent in the drawing. Remember that it must be a space that we can divide in the same way as we divide the paper. I'm going to select from the head to a little below her breath. At the top, I'm going to draw the head, let's say the head down to the neck. In the lower part, the selection we've made of the torture that includes her breads in part of the army. When we are learning to draw, It's important to always divide our paper into spaces. Because as we saw in that they're Oracle class, the exercise where we saw the general structure of the head. These squares in which the head is strong allow us to relate the shapes and spaces. We're going to start at the top. And the first thing we need to do is figure out what the general shape of the face is. That geometric figure that shapes the hip to its canter. It's important to do it from the most general to the details. So we have to take a good look at Dorothea intro to notice what the general shape is. I would say that a triangle, fortunately, it's a triangle. It's Beale forms a triangle that allow us to determine the proportions and the content that is inside. Here we already have these general figure which doesn't monitor. If it's not perfect, it allow us to approach the perception of the shape of Doritos head? We will go towards perfection. You can see that it's like a pyramid or a figure with a surgeon triangular shape. Obviously, it's not a triangle, but it does have precise angles that we are willing to work with. From now on. We already know that all these space must include the head part of the veil into neck. Now, we're getting to confirm the inclination of the lines to proceed to divide internal space into your metric figures that allow us to see the different section of the face. For instance, the space of the forehead, the area of the cheeks. All these to find out the general contour of the face itself. Once we have these general viewer and several of the sections that the elements of the face should be in, such as the line where the AI should be in the dark space next to the face that eats the background of the Bale. We had more Jews to position the rest of the elements of the general composition. But now we must do something that is even more important. It is to position the eyes and the mouth, build the triangle that makes up the eyes and the mouth together. This is more important than anything in a portrait. There is something that will make a portrait look real. It's that there are many drawing theorist says that we must build a three-dimensional sphere, draw the gaze and tilts up to face correctly. But these will only work if we want to be a repeated imagine characters. I insist on Dvorak. But especially in the Renaissance, it was necessary to make many characters in not all artists had the money to pay for many models. In a live portrait of a specific person, this is completely useless. We must have the sensitivity and techniques that we can draw the face as if it were any other object. As we make one portrait after another, we will feel the intuition of the constructive scams and even possible solutions to the challenges of each portrait. For now, the most important thing is to determine the triangle figure form from the position in which the eyes and mouth are located. But we will continue in the next class. 20. Construction Process Part 2: Face Feautures: We're going to continue to portray in the sense of dura. They're wearing the construction of the triangular geometric figure that makes up the eyes and the mouth. We can start by tracing the line where the mouth is located. This link will allow us to know the angles of inclination. To discover the position of the eyes. We must see the distance between the mouth and the edge of the bill to determine the size of that specific space. It doesn't matter if we make a mistake about how wide the mouth is. Because we are going to discover it for the position of the eyes. We can use the pencil to verify that disinclination produced by the angle is correct. You can also use the pencil and put it horizontally to know the angle of inclination of the eyes with respect to the horizon. Any tool that help us determine this can be very useful. From here, we can begin to trace the general cavities that shaped the elements of the face. That is, begin to locate exactly where the eyes, nose, and even the shadows themselves. As if they were bar of the features of the face. As we go along, we can even trace the shape of the eye if we want to take into account how important the white part of the eye is the sclera. This will allow us, as we did in the South portrayed, to determine the final shape of our gaze. If there is something that must be IC sat, It's the, it's the very center of authority as so. Notice how I suggest with the pencil, the lines that I use as I referenced the position each element that I am drawing. It's a constant application of relationship of shapes and angles. Notice how the nose doesn't even star for an amine general for your bot from each one of the elements that we are relating to advance you to draw it. In this case, we can see that the relationship between the eyes and the nose is correct. Indeed, we have traced the angles to achieve precision. However, this precision now allow us to notice that the distance between the nose and the mouth, it's not that right. Therefore, it must be corrected. It doesn't matter. We're in the process of building. And also our initial general viewer was an approximation where sketch, we can modify it. Since the precision generated by the relationship between the mouth, nose, and eyes. He's the most important in the boats rate. We are going to remark and trying to understand emotion behind that. Look what dura TAs Haydn. Maybe she wants to tell us something. Maybe she's suffering. It doesn't matter what it is. You must be precise in the forum so as not to allow our drawing to lie, or drawing must tell us the truth of her case. In every millimeter accounts. In this task. We're going to continue advancing in the details of our phase in the next class. 21. Construction process Part 3: First shadows: What are we going to address in this part? The first shadows of the face. Let's take a closer look at some lag the South portrayed in these portray, there's no strong shadows on the face. That is, one side is not much brighter than the other. In this case, the shadows are soft within the area of the face, which means that the ranges that we are going to use must be much softer. However, they must continue relating the shadows of the areas. We have to correctly interpret the density of the small shadows on the face related one to another to have precision in startled contraction. An example of what until you is to determine how dark the darkest parts of the face are. To compare the eye cavity with the darkness that is generated in the halls of the nose, e.g. remember that all these ranges will generate the final shape of the facial features. The shadows will generate the three-dimensionality of the volume of the face. We can also begin to fill with graphite, the dark space that is close to the face. Devoting of the bill to have it as a reference point of maximum darkness. We can reach into drawing. We're going to address the details of their eyes. They are not going to be the final details. Remember that it's a process. We're going to approach the quality of the grades that must be generated inside the eye. This drawing paper is quite difficult to master. Therefore, it requires that we had patients because it's almost like a drawing in an oil companies. Depending on the color of their eyes, their reflections in the pupil will have different illuminations. But even when the eyes are dark, sometimes they are not completely dark, but rather dark brown. Therefore, we have to try to differentiate the dark tone of the eye. Another dark tone of the traits. The interesting thing about the veil that Dorothea is wearing is that it's practically the color of the paper. So we wouldn't have to worry too much about finding its final term simply by reinforcing the tones we could get to represent it correctly. A guide that we can have is that the tone of the veil is more or less the tone of light that is at the tip of the nose. We're going to continue working on this shadows in the next class. 22. Construction Process Part 4: Breast: Since we have partial builds, the face, we're going to move onto the chest. It's necessary to build the chest and it shades of gray. To better complete the phase. We need to have the entire drawing. That is why I haven't completely finished phase. In fact, you will notice a lot of difference between how the face looks at this moment in how they will look in the final finish. We will then move on to building the chairs with the technique of bundles. Be attention toward the geometric figures that I'm going to build from the neck to generate by a relation of shapes, the entire torso. I'm going to build one shade after another. Moving the benzyl to point out the angles in lines that suggest where these shapes come from. Notice how this line that I draw from the next town or lowest to discover where the waste is. It's practically the same exercise that we did on the face. Only it's much more visible because the body apparently has layers of small details. Notice how we translate all the reliefs of the body into small section that in turn will be divided into more sections with different tones. Remember that the shadows are porins, but the shape of the body, we are going to represent them. Understanding them as the body itself. Although it seems strange, drawing someone Jong is much more difficult than someone old. Because the quality of grace in arm wrinkled Ruskin, it's much more difficult to detect. The wrinkles of the elderly are a great help to have a reference points. Something important about the torso. Points of light. If you look at the shoulder, the brightest point of the shoulder is not brighter than the breast area. In fact, I would dare to say that the most nominated born in the entire image of dura, there is the area of the breast near the nipple. We can now begin to fill our entire torso with we're fight. Being aware that the tones that go on the arm must be related to those we did on the phase that we will see all these in the next class. 23. SHADOWS: TORSO: Perfect. We're going to proceed to feel the torso with you provide to continue shaping this beautiful portrait of the earth. Their suggestion that I tell you when she's sitting using the pencils is that when you are going to apply the good fight in an area. Although we can indicate the shadows in its sketches, which separated lines. When a blind the shadows, it's always convenient to do it with joint lines. Because if you want to diffuse to hatching with the blender, you will have a much harder time doing these if ticker fight this applied with separate lines. Try not to force a light pencil to make dark shade. It makes no sense. In D will damage the paper. Notice what happens here under their arm. If you see the reference image, the under arm area should be darker than the breast area. In turn, the arm area should be darker than the under arm area. Therefore, the tomb relationship is wrong. You have to correct it to get the right relationship. To further increase the range of tones of the drawing, we can even use the white child to reach more illuminated tone, the breast area, so it's not too dark and the arm so much since that's dark, area behind the arm that represent the break round of the male has the darkest shade at the graphite. He said perfect mix between blurring and letting the hatching show through. That makes a drawing really appealing. Since we had worked on the shadows of our torso. We're doing to immediately move on to the favorite next to it. Let's finish building it. We must have star by relating the shapes and dimensions of the door shut to use them as a reference point and build different folds of the fabric. We have to try to use the size of the arm, the breast to know how many times each of them would fit in the area of the fabric in half the correct proportions. Another important detail regarding the turn of the fabric, the border next to the torso. The tone of that place should be the tone of the paper. Everything else should be darker. That is the reason why I wanted to use the white shark in the breast area to differentiate dose Jew lighted areas in calves, different textures. We can wants to start filling the background with graphite. Remember that the background always allow us to highlight our portrayed. It loads the volumes to have a special sense on the paper. Notice how her work, Luke's, how important it is to fill the background to get the image out of the paper. This is still work to be done. We must give more details to the face and improve each relationship of songs. We're also going to continue working on the fabric and the final turn of the torso. But we will do all those close details in the next class. 24. SHADOWS: FABRIC & FACE FEAUTURES: We are going to proceed to get a better resolution to our drawing. We must start by observing that we need to make even more details in the eyes to get more resolution to the face. Reduction, the construction lines to make it look even more real. All these details in the eyes, the ears, the parts of the eye, the eyelid, the sclera, bottom and top lead. The iris, famous highlight them in the face. There is still work to do. It's necessary to highlight the difference between the illumination of the right and left side. There is something important to note. Sometimes it will not be possible to broach the world. Firstly, because our reference source with not always be a static image. And secondly, because sometimes our models could be people from our daily lives. People we see him some as traders square. Therefore, although we can build his face, we must straight to re-enter bread the small details of the face, the more portrays withdraw the bed or joules. We will have to solve these challenges. Main idea is we can have tools to translate all these shapes into a possible painting. If we can get volumes, these are small details in black and white. It will be much easier for us to achieve an excellent color results. Eyes detail in these colored drawing, for instance. Also remember that you are working in an all luxury paper. So it will take us a little longer to get that solution. All papers that have some kind of textures will be your best draw with teachers. You can notice here in the same way as in the South, portrayed the origin, the lines that form the texture of the paper was we make those details of the face. We must finish building the shadows and textures of the veil to generate more depth in the entire drawing. Then we are going to bluer the hatching of the torso to give it a more sophisticated finish. As you can see here, hatching has almost the same language throughout the torso. Therefore, we must modify it to generate different textures. This difference will make each bar of the skin look different and therefore more three-dimensional. Pay attention to the edges. Those construction lines that outline the shapes, dose and should be thinner so that the drawing has a more professional finish. In the barrack forums and objects had already begun to be represented Using Rapid brush strokes in the drawing. It was also the same. Since many of the commissions has to be completed as quickly as possible. Painters should try to make quick sketches, but at the same time have as many details as possible. Disability many years later, became an entire artistic movement. Bresson is. You're also going to apply the white shock, give it a stronger lights points and improve the range of tone of the drawing. This is always a very beautiful tool and drawing. If you have darker papers, you could try drawing directly with white pastel pencils and have beautiful results. You get the difference. Now. It's incredible what you can already feel that you can touch the person on the paper. You cannot imagine how many times I tried to draw a woman to try to reach her. It's a wonderful experience. You get the detail as a bail near to face. That dark inner parts or feel. Look at the features of the face much better than before. But we're going to continue working on this drawing so that it looks even better than what I did now. But we will see these in the next class. 25. SHADOWS & FINAL FINISH: Following the same line as in the last class, we are going to continue giving more details to the entire drawing before moving on to the final finish with a wide shock. Remember to be very patient, enjoy the process. At this stage of drawing or a painting is the part where we should feel at work the most. We have already applied all the graphite necessary for our work. You could to finish up the chest. Notice how you can feel the muscle that connects the breast to the shoulder, though the same type of lighting. You can now notice more details in the face, the cheeks, the detail of the forehead, into better volume of the eyes. We're going to apply our magical detail, the white shark. You can use it in any of its presentations. Maybe a white bustle, benzyl, white shark, or maybe a soft Buster bar. Any of those words the same as long as you do it creatively and in precise detail. Try to experiment with the materials down David's yourself. This is a most legal fight drawing. But the color of the paper and those leading white pastel the tails are really worth it. Remember as always, that perfection is in freezing those moments and people that we want to have forever. 26. PAPER EXERCISE: In this exercise, we're going to put into practice what we did in the chair exercises, but with a more irregular object and in another precision. We're going to use this origami to practice. You could make your own design or multiple designs to practice many times. But the main idea of this exercise is not only to build the shapes correctly, but to start having the ability to draw different shades of gray, you must be able to draw as many grades as possible. In each surface of the origami, we have a specific tone. If you managed to acquire the ability to differentiate these domes on paper, the quality of the gradient you make will be better. We're going to start by building the surface where our origami lies, the top of the chair. We can start by tracing the upper edge in front. They're dried to discover the angle from joining the lower corners with the upper ones. Once we have our build surveys, we can continue drawing triangles that allow us to build the origami base. We had to use as a reference point, the size of the Scarface. That is, build these triangles from Dara to find the exact place where the origami base lies. We could start from the origami corner closest to the left side, try to figure out the distance between that corner and the edge. In all sorts writes a few good rounds at set size of that distance. That is how many times that measurement fits in the entire width of the top of the chair. Look at how this triangle lets me know the shape of that size of the origami in its relationship to the edge of the chair top. Notice how we have already built a shape of our organic only using this technique of angles. In fact, if you can notice it, each origami folds is a triangular geometric figure, which makes our work easier. From here, we're going to start working on the gray gradient. And where should we start? The first thing we're gonna do is strike to absurd the image and discovered which is the darkest and lightest point of the image, to know which is the range of tones, what we're going to apply in the drawing. I would say that the darkest shade in the image is placed under the origami, the shadow on the top of the chair produced by the origami. The other hand, the brightest side of the origami would be the left side. The place where the light is burning. Since the light partially comes from left to right. Knowing that we are going to start feeling with graphite and hatching each of the origami forge with the specific shade that we think is appropriate. Remember that the lines themselves must contain the shadows themselves, must make lighter or darker lines on the '80s with the gradient of them to accompany the shadows. We must straight to disappear the lines if we want. It's possible that in some Darwin's, its aesthetic that we can see the lines. But we must learn to blur them and leave them aesthetically to achieve an artistic finish. Don't worry too much about the tools. We can use. Anything to enhance the gradient. Fingers, a napkin. Drown blender. Some people find fingers more useful than professional splendors themselves. Use the tool you feel comfortable with. And you didn't need to spend a lot of silver trying to get tools from some distant time. It takes to deliver a man's several days on horseback to get here at supply me. You can continue advancing your own exercise. The more time you spend making details, the more real it with me. You can practice different ways of folding the paper so that you can practice as many forums as possible. Here, I leave you another example of another more finished exercise. We went another type affords. Hello. 27. END: Well, we have reached the end of the first volume of Iraq. Draw me. I hope you enjoy it very much. And remember to make the portrait of one of your loved ones. You've seen the window in some candles. It's an extraordinary way of drawing. Just like the master of the barrack. Remember to move forward, there are two more volumes of a rope drawing. A second volume focus on drawing the female and male body. But where we will see also brought up the knowledge we learned in this first volume. Thus volume is a coarse focus on drawing the human figure together with landscapes is the most creative awards. But I highly recommend that you take the first two values. Well, if you like this course, you can leave me a review if you want. I would really appreciate it until the next time.