Transcripts
1. Introduction: [MUSIC] It is possible
that you have already come across some realistic colored
artwork on the Internet. Imagine that only very
experienced and talented artists will be able to do that. But what about giving
it a first try with exercises created
for beginners? Hello. My name is
Matheus Macedo, I'm specialized in realistic
drawing and I'm here to introduce you to the art of
the colored pencil portrait. In this class, I'm going
to break down the process I follow to draw
realistic portraits. I start by showing you how you can choose among
the pencils you have, the best colors to
draw skin tones. For that, I'm going to do some gradient exercises
approaching different skin tones, where you can practice
the techniques of mixing colors and coloring. Then I'm going to break down the process I follow
up on drawing a colored portrait into smaller steps so that you're not just repeating
what I'm doing, but understanding why I
followed these steps. You don't need prior
drawing experience to watch this class. I'll teach you how you can draw a portrait sketch perfectly, even if you don't
know how to draw. Regarding the materials,
they basically consist of colored
pencils and paper. You see that the materials
are used are professional. With the tips I'm
going to give you, I also for using cheaper
and more accessible tools. In this class, I will
not propose exercises with complex textures
such as freckles, wrinkles, or pores. I'll leave that
for another class. As I said, this is
an introduction to realistic colored
skin drawing. If you want to start
drawing colored portraits, rubber, pencils, and let's draw.
2. What we will cover: Welcome to this class, where we're going to approach the realistic colored
portrait draw in the most actionable and
beginner friendly way possible. I have divided this
class into two parts. In the first, I will
show you how to choose the right pencils for every different skin tone
you might encounter. For this, I'm going to use five different faces that
I chose as an example. For each of these photos, I invite you to color a
gradient with me using the colors I selected for
each of these photos. In the second part, I
will show you how to draw a face from start to
finish and for that, I'll use one of their reference photos from
the gradient exercise. I'm pretty sure you will
enjoy this exercise. If you have any questions, don't hesitate to ask them in the discussion session and
I'll be happy to help you. But before we get started, I'm going to talk
a little bit about the materials used
in this class.
3. Materials: Regarding the materials, guys, let start with the
colored pencils. I'm going to work with
Faber-Castell polychromos pencils. I chose them because they are high-quality
professional pencils. They are easy to
find where I live, and I can buy them open
stock individually. Of course, they're
not the only pencils we can buy open stock. Polychromos pencils
are oil-based, which makes them ideal for details as they
have a firmer lead. On the other hand, covering large areas of them
takes more time. I'm going to give you a list of the colors I'm going
to use in this class. Some of these colors are not available in the smaller set, so you probably
don't have them out. It's no big deal though. We don't have to use the
same pencil that you use and you can choose them from different
brands by the way. Other excellent pencils are Prismacolor Premier and
Caran D'Ashe Luminance. These pencils are work-spaced, which makes them easy to blend but more difficult for details. If you want to use
professional pencils, it is a good idea
to buy full pencils individually before
buying a whole set, as they are more
extensive and you figure out which options
suit your needs. You can do the exercise
of this class using only cheap pencils like
Faber-Castell's classic set. With these pencils, you have a wider range of colors
for a much lower price. If I were a beginner, I would start with them. Be aware that they will not
use watercolor pencils here. You can use them, but you
have to know that they need a different approach and are not the best to do the tails. For the skin tone gradients
and the color swatches, I'm going to use
the underneath side of this Canson paper. It has some texture
which makes it able to absorb more
pigment from the pencil. On the other hand, the finish will look grainy, less smooth. For the class project, which is the portrait, I'll use the Strathmore
300 series bristles move. The vellum version
of the same brain is also very good,
but more textured. You should try a
paper like this. There are other
good paper options, prefer those with the weights
superior to 150 grams per square meter and suitable for colored
pencils of course. A pencil eraser will be used in the class
project videos, and I think it's a useful tool for the colored pencil technique since it allows you to make small corrections and
create some texture. A common eraser pen will
be used for some strokes, they need to be
erased after doing the outline and finishing
the drawing as well. Any pencil sharpener will do as long as it fits
the pencil you use. If you're not sure
which one to buy, look for a sharpener of the
same brand of your pencils. I personally like these
hand-crank sharpeners. They shape the tip
very sharp and have only the disadvantage
of not being portable. Since erasers release
cramps over the drawing, I think it's nice to have a soft brush to get
those cramps off without having to blow and eventually spill
on your drawing, which would be inconvenient. To trace the outline of our portrait I'm going
to use a ruller, one to trace the grid, and the other to use
with the utility knife. Therefore, I mentioned utility knife to cut
the paper when needed. To trace the outline, I will be using a
ballpoint pen as well. The masking tape will be
used to fix the paper on the board and form one
of the tracing methods. You will see me using a HB
pencil for the signature, and an exilic paint
pen for that as well. That's it. [MUSIC]
4. Color Swatches: [MUSIC] Guys, in this video I'm going
to give you a suggestion. Make a color swatch or a pallet of the
colors you'll have. I suggest doing it
because we only see the colors as they are when
they are on the paper. The color on the bottom of the pencil can be a
little misleading. If your colors set came with a printed color chart
that can also be useful, but it's still a better idea to put those colors on the paper. As I am focusing
here on skin tones, I will separate the colors that I consider relevant to it. I suggest picking up
tones of pink, orange, yellow, ocher, brown,
gray, and black. If you have a lot of colors, just pick the ones you
think you would really use. I tend to avoid colors that are too strong
because I don't think they go well with
skin tones unless you use other colors
to desaturate them. The fewer colors
you have available, the more you have to combine
them with each other. Here then I filled in the rectangles with the colors I thought were the most relevant. Each rectangle measures three per one-and-a-half
centimeters. I picked a total of 24 colors, which is quite loud if
you consider that all of them can be useful for
color of skin tones. However, even here
in this class, I'm not going to
use all of them. I'm not suggesting that you have to have all these colors. In fact, this palette is
meant simply to give you more support when choosing which colors you are going
to use in the drawing, because you already see the color on the
paper beforehand. Having a color
swatch helps you to get to know better the tools
you'll have by the way. [MUSIC] This is my color palette guys. I recommend that you make your own palette with
the colors you have. I hope this tip was useful. Now I'm going to show you how I choose the colors I'm going
to use in a drawing. [MUSIC]
5. Picking the colors: [MUSIC] In this video, I want
to show you how I choose the right colors when
drawing colored portraits. I believe that this is one of the biggest issues
for beginner artists. For this class, I chose
five different references, each one with a different
skin tone for us to practice. For each of these tones,
I will give you a name. The first example, I'll
simply call it white. I'm going to break down each skin tone into
five main colors, and each of these colors, I would try to emulate by mixing the colored pencils
I have available. I think it's a good way
to organize ourselves even more so if you have a
lot of pencils in our set. I'm doing this in Photoshop
using the Eyedropper tool, but practically every
image editing app must have this tool whether on the computer or on
the cell phone. When selecting the colors, you can highlight the lightest
and darkest colors first, then you find the
intermediate color, the one that will be
in-between the previous two, then finally find
the last two colors, the second and the fourth. I think this would make the process easier
as it would have the reference of
the previous colors to find the missing ones. In this first case, you can already see me trying to find the
right pencils for me to try to make the white skin tone
in five main colors. For the highlighted tone that
I identified in the photo, I realized that the
combination of 103 Ivory with 231 Cold Gray II is the closest I could
get the tone I wanted. This after trying the ivory with another gray that I have, the 271 Warm Gray II. Turns out the skin has
an overall cooler, general tone, so a cool
gray works better. This is a very light skin tone, so it may not be so easy to see the differences between
the combinations I'm dassing in the video, but you can check
them out on your own with your materials. The second skin tone
I called light. It is a slightly tan skin tone, less pale, and cold
than the previous one. So the chosen pencils
need to tell that. The colors in this skin
tone are a bit warmer, so I would choose colors
like burnt sienna, burnt ocher, and light flash. Here, I'm testing which pencils can suit each of these
five skin tones. In the next video,
I'll apply them in the gradients where we are going to practice how to
blend them out. The third skin tone
is more in-between, so the colors will be similar to those of the previous skin tone, but a little darker. Sometimes the colors can be the same for different skin tones, just changing the proportion
in which we use them. I will live all these
pencils list in a file you can download in case you want to use my list as a reference. However, you might disagree with the selections I've made. After all, there's a lot of subjectivity here in my choices, and it's unlikely that you'll have all the pencils I have. Therefore, I
recommend that you do these tests yourself instead of simply copying what I'm doing. This way, you will get even
more out of this class. Finishing up with these
last two skin tones, which I've called
brown and black. I will repeat what
I've been doing. The brown tone is similar
to the intermediate tone, but again, it is
slightly darker. We will better understand
the difference between skin tones when we
do the gradients. Just as the white skin
is not really white, the black skin is not
black, obviously. In this case, the
black skin simply consists of darker brown tones. It is important
to emphasize that these are examples
of skin tones. It's not my goal to summarize all the possibilities of human
skin tones in this video, each new case may be different. Now that we know
which colors we can use for each of the
five references, let's move on to the gradients.
6. Skin tones: white: Now I'm going to
propose that we color some gradients using
skin tone colors. I chose five different
skin tones for us to study trying to understand how each tone
behaves according to the variation of light
that falls on the skin. I'm going to color
each skin tone inside a six centimeters
side square. As you know, I decided
that it would divide each skin tone into five
light and dark zones. With a ruler I'll trace a light diagonal line and
divide it into five parts. If you draw the square with
a side of six centimeters, the diagonal will
measure 8.5 centimeters. Dividing the diagonal
by five we'll have 1.7 centimeters for each zone. I'm using different ruler here, but don't worry a
regular ruler will do. Trace these divisions with a very light stroke so they
won't be visible in the end. Let's start with the
lightest skin tone, which I call white. I will start to
color each gradient with it's darkest color. In this case, it is the
Polychromos 177 walnut brown. The main goal of this
exercise is to learn to control the use of the pencil and know how to
balance the colors. For this, it is important
that you are able to make the transitions from
shadow to light smoothly. With this dark brown, I start coloring by doing circular movements
in a restraint way. On the lower left corner, I start by applying a
little more pressure and decrease it as I move
towards the top right. Decrease the intensity until you reach the first
diagonal mark we made. A piece of advice, always keep your pencils sharp, this will make a huge
difference in the end. Now, the next color
I'm going to use is the 132 light flesh. We're still doing the
first layer of colors, so there is no need to put too much pressure
on the strokes. Start coloring with intermediate
pressure and decrease the intensity of the stroke as we did with the
brown a moment ago. This color light flesh is present in the first
three areas of the gradient so you
can go as far as the third diagonal mark if you want to go
a little further. Here, you will
have already mixed the light flesh with the
walnut brown still lightly. This first step, which is just to set the structure
of a drawing, that is the general shapes and the general values of light, shadow on color
we call block in. The next color we
are going to use is the 176 Van Dyck brown, which is a slightly
lighter and warmer brown than the 177 walnut brown. Here we are continuing with the second area of our gradient. Do not forget to download the reference with
the combinations I proposed for this exercise
in the files of this class. This will make your life easier when coloring these gradients. I could go on with
the next colors, but I went back with the walnut brown to
deepen this color, and then I got the
Van Dyck brown again. Gradually, I'm
doing new layers of color to give more
consistency to the coloring. With the light flesh, I'm going to do
the third section, the one in the middle
of our gradient. I'm still doing the first layer, so the pressure on
the hand is light. Now, I will introduce a
new color, the 178 nougat. Whenever you're going
to add a new color, you will have to go back
a little and go over the previous areas as well
even if they are lighter, as the new color will
not predominate there. Also color the adjacent areas
to work on the transitions. This color, nougat is a
neutral shade of brown, which is why it can be used
to neutralize other colors. In the case of skin, it is good for neutralizing pink and red tones applied
with other pencils. In this section, I use nougat
and light flesh a lot. How much of each pencil you use depends on your perception. You're the one who should
know the tone you want to achieve and for that you should look at your
reference image. In the end, I will apply a lighter color to blend
these colors in the gradient. It is important
to say that it is a great idea to change the direction of
the pencil strokes. Notice how I vary, how I fill this area
using the light flesh. Here I start to use
the cold gray II, which I think worked well
with this skin tone, which is cooler than the others I'm going
to do in this class. As usual, this coloring should
be light in the beginning. Here using the
nougat once again. [MUSIC] Here finally, using the 103 ivory, this color will be applied over all the others and it
fulfills two functions. As it's also a neutral color, it manages to reduce the
saturation of the others. In addition, it also
serves to blend the colors that have
already been applied. As it is to the first layer
of color on the last area, I'm not going to apply this color too too
much pressure yet. The process of applying all
the colors at the same time, and little by little
is called layering. Now that I've applied
all the colors, the idea now is to
apply new layers of the same colors and gradually increase the pressure
on the hand. This will be helpful for a
more homogeneous feeling, even reaching the
parts of the paper and reducing the grainy
aspect of the covering. To preserve the
darkest brown values avoid using lighter colors, such as the light
flesh over them. When you're going to
draw portraits or any other subject it
is important that your drawings have contrast because this is what gives
volume to a drawing. That's why I'm reapplying the one brown and the Van Dyck brown here
for the contrast sake. Let's now watch the process
of applying new color layers, increasing the
pressure to blend out the colors that have
already been applied. By the way, the method
of blending colors using more force on the
pencil is called burnishing. It is usually done with the lightest color
used in that area. Here in the middle, I used light flesh more and in the lighter
area, I used ivory. Burnishing is easier when
using harder pencils. This is the case of
polychromos pencils as they are oil-based. Wax-based pencils, such as Prismacolor Premier
have a more fragile tip and tend to break
when they are forced. When you notice that you can no longer add more color layers to an area that is because this area is saturated
and you're done. [MUSIC]
7. Skin tones: light : Now I'm going to do the gradient from a slightly
tanned skin tone, not really wide, which
are called light. The process for doing all
the other gradients is the same as the one of
the first skin tone. The only thing that
changes is the colors. I believe this is an
excellent opportunity to practice layering and
burnishing techniques. The first color here is
the 176 Van Dyck brown, always using the
pencil sharp and doing circular motions
in different directions. [MUSIC] The next color
is the 283 burnt sienna, which is a warmer
brown than Van Dyck. As these color is present
in the first two sections, I will cover these
two areas right away. [MUSIC] The next color is the 187 burnt ocher, which is already a
different shade from brown. It's also a warm color, but it's closer to orange. Even if it's a dough orange. Notice I wouldn't use this
color for pale skin tones, as was the case of
the first gradient. Conversely, burnt ocher is useful for warmer skin
tones like this one. Now I'm going to use the 132 light flesh
this pinkish color. Since it's still the
first layer of color, I'm not pressing the pencil
too hard against the paper. The covering is still
light at this stage. This color is present from the third to the last lightest area. When doing a broader coloring, I am integrating, linking the different color
extracts in this gradient. Here, I come back with the burnt ocher to balance it with the pink
hue that was just applied. Now, it's the turn of the 271 warm gray II this is
a color that can eventually neutralize more saturated
colors that were used before where's it also
matches warmer skin tones. It is advisable to use this
color sparingly, otherwise, it will draw too much attention because a gray skin
would be weird. You will notice that I hardly use this color
into the exercise. Now, I go back to
using the Van Dyck brown to emphasize the
darkness part of the gradient. Notice the different stroke directions I follow
to call the gradient, which helps to achieve
a smooth look. [MUSIC] Back to the burnt ocher. [MUSIC] Once again
using the light flesh. For the first time I'm using the 103 ivory on this gradient. As you may have noticed, I tend to use these lighter colors when I'm close to finishing the coloring, I even use this color a lot. I thought the gradient as
a whole could be lighting. Bringing far-seeing
the middle area with the light flesh, [MUSIC] and using the
burnt ocher again, I'm just putting the finishing
touches to this gradient. Now finishing with
the ivory. [MUSIC]
8. Skin tones: medium: The third skin tone is
an intermediate tone, slightly darker than
the previous one. I believe I won't take long
on instructions for this and the next gradients because the process is a
repetition of what we saw. Let's start here with
the 280 burnt umber. Notice that the colors I've
selected for this gradient are a little darker than the ones for the
previous gradient, and that's all that changes
when coloring this gradient. Here comes the 283 burnt sienna, a color we've used before
and which will now be combined with the burnt
umber we've just used, and other colors to come. [MUSIC] Now, another
color we already know the 187 burnt ocher. At this point, you may
already be controlling the pressure in your hand better when coloring with the pencil. There is no way not to
improve if you know what to do and put
it into practice. The next color to be used
is the 189 cinnamon, which is a color often
used for skin tones. I tend to use this
color as if it were the darker version of the light flesh of
the same polychromos. The truth is I don't like the medium and dark
flesh pencils of their catalog because
they are too pink and don't give a natural
tone to my portraits. I may use them only in
special situations. Still, even cinnamon needs to be neutralized by another color. Most of the time I use
it to color skin tones. Here, I'm going to
touch up with the warm gray too in the lighter
area of the gradient, where I will also
use the 103 ivory. [MUSIC] Now I'm going to use the 180 raw umber which is a relatively
neutral mid-tone color. At this point you can see how
the gradient is still quite grainy asking for
more colored layers to get a more
consistent covering. That's why I'm back
with the same colors, applying them with more
pressure this time. Adding another layer
of light flesh here. Decreasing the saturation and lightening the
gradient with ivory. [MUSIC] I prefer using other colors over the brown, it ends up lightening
and getting dull, so I need to rank first these
darker colors in the end. But make no mistake,
the lighter colors we used over it weren't in vain as they blend in with the brown and gave
it a richer tone. Notice I'll use all
the colors again, but now trying to
fill in the pores of the paper to have a smoother
and more homogeneous finish, which I like better. Let's watch the process of
filling in these pores. [MUSIC] We finished
another gradient. Let's go to the
next one. [MUSIC]
9. Skin tones: dark: [MUSIC] Now let's do an
even darker skin tone, which I've called
brown in this class. The first color I used
was the 177 walnut brown but any of those colors I put in the reference
could have been chosen. I chose it because
I believe it's the dominant color in
this first section. The criteria is this. What is the dominant
color of that area? Then I started with that color. [MUSIC] The other two colors to use here in the
beginning are 283 burnt sienna and 263 kaput
Martin violet. Kaput Martin violet,
as the name suggests, is a color close to violet, which makes the coloring
more colorful and lively. Know that there are warm
violet and cool violets. See case-by-case
if the color you are picking up really
conveys what you want. The 187 burnt ocher is a color
we already know as well. This is another warm color that gives a lot of vitality
to the drawing. As it is present in three
areas of our gradient, I can do a loser coloring
with wider strokes here. [MUSIC] Also, in this gradient, we will use the 189 cinnamon which is a color that
we already know well. I personally use it for
almost every skin tone. In the lighter area
of this gradient, I will use the 132 light flash, which I often use as the lighter
version of the cinnamon. I'm also going to use
the 271 warm gray II, which is a color that helps
to reduce the saturation, the pink tone of the cinnamon
and the light flash. It's a more useful color
than it seems to be. It really helps a lot
in some situations. Later, I'll still use the ivory, but first I will reinforce
the colors already applied. Here I go back to the browns, which are walnut brown
and burnt sienna. Add a bit of the
kaput Martin violet or whatever violet you
have, if you like. This is when we increase the pressure to have a
more consistent covering. Here, the raw umber. [MUSIC] Now another
touch of burnt ocher. Now the pinker tones, cinnamon and light flash. When you think you've done a good color base in the
lighter area of the gradient, add the 103 ivory over the other colors applying it
with a little more pressure. The ivory will be more concentrated on this
corner of the gradient. Next to it, I'll do the burnishing with the
light flash instead. Closer to the center. I will use the cinnamon
for this purpose. But it could be the raw
amber II for example. I just wanted this
area to be pinker, so it explains my
choice. That's it.
10. Skin tones: black : [MUSIC] Now let's do
the gradient with the darkest colors among them. As you can imagine, nothing changes here but
the colors themselves. The first color I used
was the 177 walnut brown. Even though it's just
the first layer, I hope your pencil keeps sharp. Regarding this brown, this is an interesting
color to have as it is dark and
almost neutral. To match with the walnut brown, I use this violet, the 2663 [inaudible] violet. As this color is present in
almost the entire gradient, I will make a wider covering
with it from the beginning. For this skin tone this
color goes really well, so I use it a lot
in this gradient. Don't have a color like this, try a mix of a
brown and a violet. This violet will be
subtle just to adjust the brown which will give it a richer and more
interesting look. Here I'm using the 189 cinnamon. I just skipped some colors of the scheme I created
for this gradient, but I will use all those
colors I selected, I promise. Here I use the 178 nougat which is a neutral and
relatively light brown tone. It's a great color to
desaturate the cinnamon. I will use it extensively
in the class project. Here, I'm already reapplying the colors with the
[inaudible] violet,. I'm doing a second layer
of color with this pencil. Here I'm pushing the dark
values with the walnut brown. Now I'm using the
283 burnt sienna with more hand pressure to make them more
consistent covering. Always remember to
do these strokes in different directions to reach
the pores of the paper. Here I'm alternating with those same colors to just the values until
I get a tone I want. Here comes the moment to use the 271 warm grade 2 on the
lighter area of the gradient. This color is playing here
the role I replayed in your other gradients but this
one is even more neutral. It can now be applied with more pressure to blend
the colors underneath. Finally, I'm going to
put the final touches on this gradient looking
for any gaps I may have left or balancing any
tone that is too cool or too warm then it's a matter of achieving the desired tone in
each area of the gradient. Finished with the gradient, I rub the eraser along
the edges to erase the strokes that
eventually came out of the square I traced. That's it. I hope you have learned something
from these exercises. I imagine that you have improved between one gradient and another because little by
little we improve our perception and our ability
to control the pencil. See you in the next
exercise. [MUSIC]
11. Portrait: class project: If you're watching
and practicing the exercise of the first part, you won't have any difficulties in drawing the class project, which is this portrait I
have here in my hands. Yes, this is from one of the references used for the
skin tones and the gradients. Now, while drawing the portrait, I added some colors
for the mouth, the makeup, the hair, and added a new color for
the skin tone as well. Sometimes I need to make
changes along the way. As you can see, this
drawing is more, it doesn't have much detail, so all I have to do is
to apply the colors and mix them using the
techniques already presented, which are layering and
burnishing. Let's get started.
12. Tracing: transfer method: [MUSIC] In this
video, I'll show you one of the methods to trace the outline from a photo
with 100% of accuracy. I call it the transfer method. For this, you will need the
reference photo printed, the sheet where you
are going to draw one, and a sheet of
common prints paper. First, we are going to fill out the print paper
with graphite, as it's the case with this sheet I'm showing here on the screen. To do so, you will take the paper and the darkest
graphite pencil you have. It is important that
you use graphite, that is normal graphite. Because of it, you will
have a graphite sketch and you'll be able to erase
the strokes if necessary. I used an 8B pencil here. I suggest you lay it down a bit and use the side of
the pencil lead, that way you'll cover
the surface faster. You can also use a
graphite bar for this. I like to fill out almost the entire shades
following the same direction. Then I do the same thing again, but going in another direction, crossing the previous lines. This way we can make a
more homogeneous shading. I also suggest that you leave a blank margin around the paper. This way you can handle it without getting
your hands dirty. To spread the graphite, I suggest using a paper tissue. I like to fold a piece of toilet paper into
three triangles, as shown in the footage. Then I fold it in 1, 2, 3 times. Then I make another
small fold at one end. On that tip, I place
my index finger, underneath, I place my thumb. Now it's time to
spread the graphite, I suggest doing it
in circular motions, or crossing with pencil strokes. Add one or two more
graphite layers to darken the surface even more. As my 8B pencil was too short, I'm going to use it
with a pencil extender. Notice here how I rub the paper crossing the lines I just
did with the pencil. It's the most efficient
way to spread the graphite powder
from the strokes. Well, after doing
a few more layers, I was satisfied
with the shading. Now, I'm going to prepare the
reference photo to transfer the contour lines from it to the paper I'm going to draw on. First I'm going to get a board
to protect my desk since I'm going to cut the photo
using a utility knife. This board I got from a block of paper like this one by Canson, or this one by Strathmore. Just place the printed photo
on the board when cutting. Sure, you can cut it
using scissors as well. The paper sheet is
now in A5 size, which is half of A4, one of the most common
dimensions for our paper blocks. Now I have the reference
prepared and the graphite sheet, which I usually fold in half with the graphite
side to the inside. Now let's take the paper where
we will make our drawing. I happen to already have
a sheet cut in half, but it's a little
larger than A5 size, so I'm going to cut off the
dimensions that are left. To fix the photo to the paper, use two or more pieces
of masking tape. This is important. Once you have the reference
and a drawing paper ready, let's position the graphite
sheet between them. Place the graphite side facing down in contact with
the drawing paper. Now finally, let's
trace the outline. For this step, I like to
use a red ballpoint pen. I use the red one
because it's easier to see where you've
already traced. Where you press with the pen, the graphite will be
deposited on the paper. This is how you will transfer the outline from the photo
to the drawing paper. I start off tracing by
the margins by choice. I'm going to use a
ruler to make it easier to trace straight lines. By the way, regarding the photo, you don't need to
print it in color. We can print it in black
and white, no problem. From here on out, trace the main reference lines, the ones you'll need to see
when coloring the drawing. Try not to press the paper excessively as the pen can
create grooves on the paper, and when coloring, the pencil
may not reach those areas, which will create white
lines throughout the piece. When tracing the eyebrows
and hair strands, I recommend that you
trace strand by strand rather than tracing a contour
line around the eyebrow. That just wouldn't work. Know that these sketch lines are important so that you can
color your drawing in peace, not worrying about
the proportions, but it is important
that the outline won't be visible in
the finished drawing. Do not make it too dark. In the end, you can
use an eraser to lighten up the
outline if needed. Be careful with the
contour of the mouth too. The transition from the mouth to the surrounding skin is subtle. Doing strong lines, in
my view is not good. When coloring, we will
only switch the colors, we will not draw
a line around it. We can also limit shadow areas by doing light
strokes with the pen. I did it on the left
side of the nose where there isn't a
line to the limited, but just a slight
variation in shading. Trace all the details you feel important, including
hair strands. From here, I consider the
outline finished. [MUSIC]
13. Tracing: grid method: [MUSIC] Another way to trace
with precision the outline without needing to know how to draw is by using
the grid method. In this case, it will not be
necessary to print anything. On the other hand,
this method requires a little more attention in
order to avoid mistakes. This method, you need an app to generate the grid on the
photo you're going to draw. Here I'm going to use an
Android app as an example. But the fact is there are
many of them available, whether for Android or iOS. The name of the app
is grid drawing, and it can be downloaded
from Play Store. After downloading it, open it, make sure you have the
reference photo in your phone. To get it started, I click on, Let's Grid and select the photo that is in
my phone's gallery. On the top of the screen, you can choose how many rows and columns you
want in your grid. My suggestion is to enter
in the lines so they will cross at least one of the most important
parts of the face, such as the eyes,
nose, and mouth. When defining the number
of rows and columns, press grid and the
lines will appear. In the settings, we can make some modifications to the grid. One is the color of the lines. I recommend choosing a color that contrasts with the photo. If using a light photo use a
dark grid such as a black. Before we start, use a light grid such
as white or yellow. Last time I used this app, I used the square grid mode. The number of rows and
columns will be the same. But you can disable
this option and generate the rows and
columns separately. I opted for the square gride as it fits perfectly with
the dimensions of my photo. When we have this
square mode activated, the dimension that
will be taken as a reference will be the
height of the photo. For example I typed
in the number five. Then the app split the
photo into five rows. The columns follow the
dimension of the rows but as they follow is a portrait the number of columns
will be just three. Well, that means that my photo has a ratio of three to five. However, the number of rows
and columns seems low to me as the lines are
not passing through the most relevant
parts of the face. I decided to increase
the number of rows. I put eight rows, but the division into
columns did not please me. Putting 10 rows, the
number of columns went to exactly six
with no leftovers. I thought it was perfect. Once again, I changed
the color of the grid, and in the end I
opted for white. It is also possible to modify
the thickness of the lines. In this case, a thickness
of two pixels is fine. We will always have to press the green button to
see the changes. When you're satisfied,
hit the Save button and the photo with the grid
will be in your gallery. Now, we can trace the
outline of the drawing. Since our reference photo has
the aspect ratio of three by five or you must follow
the same ratio, obviously. Now, let's do some math. A size that seemed
good to me to draw was 9 centimeters wide by
15 centimeters high. I wanted to make this drawing on the paper sheet in
A5 size half of A4, and its dimensions are 14.8 centimeters by 21 centimeters. I want my drawing the
center of the paper. So I need to take the remaining dimensions and divide it by two so that the margins have equal dimension in
width and height. In width, I have 14.8 minus 9, which is 5.8 centimeters
5.8/2 is 2.9 centimeters. I'm going to have a horizontal
margin of 2.9 centimeters. In height I have 21 minus 15, which is 6
centimeters, 6/2 is 3. I'll have a vertical
margin of 3 centimeters. Now I have my paper
into dimensions I want and make grid margins
in the correct dimensions. When I was tracing the margins, I already divided the top and bottom
lines into six columns. The distance between
one vertical line and another will be
one-and-a-half centimeters. As the grid is square, the distance between
the rows will also be one-and-a-half centimeter
for a total of 10 rolls. With the grid lines done, it was time to
trace the outline. Now I've fixed the
paper on the board. Since I wanted you to
see the sketch lines, I'm using a 4B pencil, which makes the lines very dark. Well, I recommend you
trace the lines slightly, then use a pencil
likely B or a H. Now what we must
do is to look at the photo and connect
the dots in our drawing. I started off by the hair, always looking at where
its limits cross the grid. If you eventually feel lost, stop and count the
squares to find the point where each
line should pass. The darker areas of the
photo are difficult to see, so it can be difficult
to see where each part begins or ends. Remember however,
that this should be the case in your
drawing as well. Don't worry too much about it. Try to check this information
in the digital photo, zooming the photo and increase
the brightness if needed. Using the grid lines
as a reference, it is easy to draw
the outline of the face in the
correct proportions.
14. Portrait: left eye: [MUSIC] Let's start coloring
the Portrait we've sketched. Before starting, I use the pencil eraser
over the sketch lines I traced to make
them lighter and to hide these lines in
the final product. Sometimes graphite also mixes
with the pencil pigment, and this is something
I want to avoid. In the end, I'm going
to use the brush to remove the prompts from
the drawing [MUSIC]. The first color I'm going to
apply is the 175 dark sepia. I'm going to use it to block in the most intense shadow areas. I'm doing a colored
pencil sketch from the graphic sketch. This will help me to sit with
myself in the next steps. I'm using the dark sepia and not the 199 black because I don't want to use such
a dark color yet. After all, these lines are just some base for the
coloring I'll do later. At this stage, you can also lay the foundation for some of
the shadows that we see here, especially on the neck. I like to mix multiple
colors during my coloring process as I think it enriches the
drawing in the end. Now I'm going to build up the base layer for the
skin around the left eye. I'm using the 187 nougat, which is an intermediate
neutral shade of brown. Then I add the 176 van **** brown to deepen these
shadows little by little. Notice I sometimes start with intermediate shades and push the shadows or intensify
the highlights later. We will see these situations many times throughout this part. The colors 189
cinnamon, and 187, burnt ocher, are also part of the base colors
for this skin tone. Yes, I added cinnamon, although I didn't mention
it in a great exercise because I thought it could give a pink tone that was
missing that gradient. Difference is subtle, but I appreciated this addition
at the end of the process. To the mixture, I added
the 283 burnt sienna, which is a slightly
warmer shade of brown, but little by little, just to see if it
will work or not. We're only on the first layer. Don't worry so much about
the results yet [MUSIC]. As I thought this
brown was too intense, I went back to
using nougat to cut down on the intensity
of the burnt sienna. Now it's the turn of the 132 light flesh or later and not too saturated pink
tone, which I really like. It also serves to
decrease the intensity of the cinnamon for example with the nougat I'm going
to advance a little already advanced in the
shadow of the nose, a little, which is very subtle and over the
base of the eyebrow. Then you can use a bit
of the pencil eraser to slightly highlight the lights
that fall on this area. The 263 caput mortuum
violet, is shade of violet, very close to brown, color that we will
cover the brown without making it too saturated. I like this color because
it's very neutral. If we don't have a color like this where you have a
violet in your set. Use it very lightly and
effect will be similar. Again, I used a nougat
and then come up with the 101 white to bring out
the light tones in this area. The 199 black comes to intensify the shadows
and some boundaries. It will make a huge
difference in this drawing. Now, black will only
be used here because some shadows are really intense and the girl
is wearing makeup. This color like the
auditors must be used wisely and not in excess if you want a
more realistic result. When doing the eyelashes, try to draw them as
thin as possible. This goes for every strand of
hair you're going to draw. The counter of the iris is not exactly aligned,
but I stain. This is very important as
the outline of the iris is blurred without definition,
not a sharp line. If you do a line, your
drawing will look cartoonish. The 176 van **** brown deepen the shadows and will
be used on the areas as well. On the lower eyelid or we use the same colors as
on the upper eyelid. Notice that I didn't just
do a uniform coloring, but I also tried to
do a bit of texture. Making small spouse is
simulate some wrinkles, small folds in the skin. This effect has to
be very subtle. Otherwise, the girl
will look old. Use lighter colors to draw the wrinkles if you
want to do them. Not forced to pencil too
much on the lines either. Always look for [inaudible] and drawing your younger face. As is the case of this one. Some people get
impressed when they see super detail and
texture drawings. But drawing faces like
these are also challenging. I needed to reapply the black filled times to achieve
the dark tone I wanted this how I work applying layer upon
layer little by little. Here I'm going to repeat the process followed
on the upper eyelid, even using the pencil
eraser a little. Using the caput Mortuum violet once again to
color the shadow. Now focusing more
on the eye itself, I'll continue coloring
the areas with the burnt sienna and
the van **** brown. These colors can be applied more irregularly as the iris
is never very regular, it always shows variations. Then focus on the
white of the eye, which is never just white. It will always present
the other colors, even if suddenly the darkest
color I'm going to use here, is it 274 warm gray v
over there on the left. Later, I will cover the
gray with lighter colors. These colors are the
140 light ultramarine, which will serve to give a slight touch of
blue to this eye, in addition to the
271 warm gray ii, which is a light brain. Before applying the colors, notice in the reference
that there is a well-defined highlight
in this area of the eye. These colors that
I'm adding will be used around the highlight. Do not count on the eraser
to lift this area white, as there is always big
meant residue when we use the colored pencil
on a certain area. I mean, I even use the pencil erase a little bit
because it can help, but it won't work miracles if you color in
area intensively. Afterwards, I tried to
do these highlights more intensely using
the white color. The warm gray ii will be
used a bit as well because not even these highlights
are exactly white [MUSIC].
15. Portrait: forehead: Now I'm going to color
the forehead and the process here will look a lot like the gradient exercises. This area is simple to do. Maybe the most difficult
thing here is to know how to use each color
in the right amount. The first color I applied was dark sepia and the shading serves give volume
to the drawing. The burnt ocher which comes
right after will give a warmer look to the coloring and it is an
intermediate skin tone. The van dyck brown
tone will complement the shade started with
the dark sepia [MUSIC]. On the eyebrow, I start this
trends using the dark sepia precisely because this is a dark color but not
as dark as the black. This color variation
will help us to give a more natural look considering that when
using a black later, we can leave some
of these trends in their original
dark sepia tone. Here we have to be a
little patient to overlay the colors little by little to give consistency to the skin. This is what we call layering. If you think you've overdone
the use of any color, you can attenuate its effect
using the eraser pencil. This goes for both
lighter and darker areas. The shadows I know we'll have to reinforce
them a few times because they get lighter as we add other lighter
colors on top of them. Let's watch the process of the forehead down
layer over layer. [MUSIC] These area above the nose between the
eyebrows is less bright than the forehead as the layering
it gets more light. Thus, the area between the eyebrows has the
average tone of the skin. Have you mainly use
burnt ocher, cinnamon, and light flash here, as these are the intermediate tonal colors of this portrait. When coloring the forehead, try to leave its brightest
area almost empty. You can use the pencils
they're more likely, especially the light flesh. Later, I will use
the 103 ivory and even the 101 white to make that area lighter
and with a natural tone. Even though I'm not close to
finishing the forehead yet, I can use the ivory
to color it a bit. I'm using more to feel
how this color behaves here without compromising
the final result. When I'm finishing this area, I will apply this color
more heavily though. For now, the coloring
here will be lighter. Here, I decided
to start coloring the right eye in the area
under the right eyebrow. I use the burnt sienna to
start shading this area. [MUSIC] Along with the shadow, I'm going to use the base
colors for this skin tone, which I defined as burnt
ocher cinema and light flesh. For more neutral shades, it's worth using the
nougat and van dyck brown. These colors will show up
in the video as I use them so don't worry if I
briefly mention them now. [MUSIC] As the overall tone of the forehead is
relatively light, it may be difficult
for you to tell when the coloring
is satisfactory. As drying may not look
finished when it's lighter. If you are in doubt whether
to continue coloring or not, stop coloring that area and move on to other
areas of the piece. In the case of this drawing, I need to finish at least
the right eye to get a better sense of the general
tones of the upper area. Only after I finished
the right eye, can it better tell if I'm done
with the forehead or not. [MUSIC] Now, if you are sure
the forehead is okay with the
intermediate colors, use the lighter pencils to blend them and give them
a smooth finish. In my case, I'm going to use
the pencils ivory and white, especially in the
light spot that exists in the middle
of the forehead. [MUSIC] For darker hair strands, I continue using the colors
175 dark sepia and 199 black. I will now turn my attention to the right eye of
the face. [MUSIC]
16. Portrait: right eye: Now, on the right
side I'm going to start by the shadow
on the upper eyelid, working the volume of this
area from the beginning. I'm going to use the Van
Dyck brown, burnt sienna, caput mortuum violet, and nougat here, always in the pursuit for
the right tone. Some colors heat up
the piece while others neutralize the saturation that
sometimes gets excessive. That's why I use so
many different colors. Sometimes it also happens that I exaggerate in the
use of these colors. In these cases I get
a pencil eraser to remove the excess in some
areas of the drawing. [MUSIC] Besides the shadows, of course, I'm going
to use the colors I chose for the skin's base, which are burnt ocher, cinnamon, and light flesh. On both eyes, we
see some makeup, so I choose some colors
with a reddish tone, like the caput mortuum violet. I also try to do some texture
effect on the upper eyelid. For this I tried to imitate the patterns
I saw in the photo. For the eyebrow once again, I do this skin base
and then I mainly use the dark sepia and black
pencils to trace this trend. Keep the pencils very
sharp when tracing them so they will be
effectively thin and delicate. When drawing the eyebrows, pay attention to the
direction this trends go, this makes a big difference
in your drawing. Notice some trends are thicker
and others are thinner, some are longer and
some are shorter. If you can convey this,
your drawing will look much more natural and realistic. [MUSIC] I also take a moment to
compare the two eyebrows with each other as it is important
that they are coherent. It's desirable there is
a certain symmetry here, the same goes for
the eyes themselves. For this reason, if
you prefer you can color both eyes
at the same time, always comparing one
eye with the other. [MUSIC] Here the dark sepia
can be used to control the eye crease as the skin fold ends up generating an
area of intense shadow. Then I use the black to highlight that line
and also the makeup, the papilla and the
iris of the right eye. Here I'm going to
reinforce the shadows and the makeup with the
caput mortuum violet. Remember you don't need to buy this pencil if you
don't have it. Mix a ton of violet with
one or more tones of brown you have and
create a similar color. [MUSIC] I prefer using a more neutral color, the 178 nougat, and a lighter color,
the 132 light flesh. I'm going to use the
pencil eraser bit to highlight this area. The pencil eraser will not make very intense and
sharp bright points. It doesn't have that capability. For this, I would use
an electric eraser, but I prefer to make
this portrait using more basic materials because this class is mainly
for beginners. If you have an electric
eraser, however, try using it here as it will yield an interesting effect
for these highlights. Now I'm going to
retouch these shadows, intensify them where
it's necessary, with the saturated intensity of the reddish tones a
bit using the nougat. [MUSIC] With the caput mortuum violet I will continue with the
base of the shadow, but this time just
around the eye. I will use this violet
as a base and then I'll intensify the dark values
with the 199 black. I remember I said how
important this contrast is. I'm still going to do a few more touches
on this area under the eyebrow before focusing
more on the right eye itself. [MUSIC] With the light flesh, I started to sketch
the tear duct, this pink area that is inside the eye on the side
closest to the nose. Later I'll also use other colors to make it more
detailed like the cinnamon. I use the 176 Van Dyck
brown in the base of the makeup in the mascara to better integrate this makeup
with the eyelid's skin. I thought it was
important to make this transition with a
little more intention. Then I use the colors I've been using for the darker strands, which are dark sepia and black. The instructions for
the right eye are the same I gave
for the left eye. Not surprisingly, you can do both at the same
time if you prefer. [MUSIC] Here again I'm showing you
how I did the white of the eye and how the colors in
this area are quite subtle. This blue here is much more suggestive than anything else. It's just a background color
for those that predominate, which are the grays. If you don't have a
very light blue tone, you can also opt for a light
green tone if you have one. The presence of this
color, however, should be really subtle,
so don't exaggerate. I'm also trying to do that light reflection
we see on the left. Use the white pencil there
and avoid the dark gray ones, which in my case is the 274
warm gray V. By the way, the use of this
dark gray is also subtle as I don't want to
darken this eye too much. The main color here is
this 271 warm gray II. Moving forward with
this portrait, I'm going to do the skin under the right eye and the
process is the same. Notice the process
and colors used, which are the same as those
used in the left eye. Nothing new for you guys here. I added here again some wrinkles to try to
add a touch of realism, but don't forget that
this is a young face so don't overdo these marks if
you want to do them too. You can sketch them first
with lighter tones, with the light flesh
and then darken them little by little
if it's the case. I myself sometimes use the Van Dyck brown for this
and thought it was too dark. It didn't look good, so I should have corrected
them with the pencil eraser, but I ended up letting it go. I mean, at the time
I made these marks, they didn't bother me, but later they did. [MUSIC] When you see me using the eraser
or the white color, it probably means I'm
finishing that area. Now, I go ahead to color the left cheek and nose. [MUSIC]
17. Portrait: nose: Coloring the left cheek
will be like what I did on the forehead or any
wider area of this face. If you look closely at
the reference photo, you will notice the skin bars, but they will be ignored here as I don't
intend to do them. My goal here is to
make a realistic, not a hyper-realistic
drawing, guys. I want to draw your attention to the shadow on the left
side of the nose. As I said when I was
doing the outline, there is not a line around
the nose in this area, here you will have to
work the volumes through a shadow even if this
shadow is subtle. The colors I used
for it are mainly the 176 Vedic brown
and the 178 Nougat. For the rest, you will only see colors that
you already know around here which
are 187 burnt ocher, 189 cinnamon, 132 light
flash, and 103 ivory. On the nose, I started by emphasizing the
darkest values first. I reinforce the black inside the nostrils then extending those shadows with
the dark sepia. To give volume to
the nose as a whole, I'm going to use mainly the Vedic brown
[inaudible] area and the Nougat underneath and on
the side of the nose. [MUSIC] The other colors are those of the base of the skin, burnt ocher and cinnamon are the intermediate tones
that dominate the base. Then I'm going to
work a little more on the shadow near the nostrils
with the burnt sienna, the Vedic brown, and
the pencil eraser. Then I can go back to the more general tones of the nose including
the light flash. It's also important to see how
the colors of the nose are compared to the
rest of the drawing so that it looks
coherent as a whole. [MUSIC] As usual, I left
the lighter color for less. I'm going to use the 103
ivory to blend the colors underneath and at the same time emphasize the light
that falls on the nose. After all, the play
of light and shadow is what will enhance the volume
of this part of the face. After retouching the nose, in the next video, I work on the skin of the
rest of the face.
18. Portrait: rest of the face: In this step, I'm
going to direct my attention to the skin
of the face as a whole. As the colors worked on the skin will be the
same until the end, I thought it would be more practical to take
the time to finish the whole skin at once instead
of dividing it into parts. You already know the colors
used for base tones. The most used colors
will be the burnt ocher, cinnamon, and light flesh. For the shadows, I
will use burnt sienna, Van **** brown, and nougat, and even dark sepia. For lighter tones,
I will use ivory, warm gray II, and white. However, on the right cheek, there is a bit of makeup
so I'm going to use the 129 pink madder lake there, which will render an interesting
variation on the skin. In the shadows, I will
again use the caput mortuum violet in the
area above the right eye [MUSIC]. From my point of view, this stage of the drawing
requires two main things. The first is to choose the
colors in a balanced way. It is important
that you maintain consistency in the
colors used here. That's why I usually
choose them all before starting the coloring instead of improvising along the way. This makes me more relaxed
and focused when coloring without having to
stop and look for a pencil that I believe
might be useful. That's also why it's
important to do test on a separate sheet to separate
the most suitable colors from the others you'll have [MUSIC]. The second factor to take into account is to adjust
the volume of the face. Here, it is also important
to pay attention to the face as a whole while you
are coloring a part of it. Basically, we will give that to some parts of the face
when using darker colors, and others we will jump forward when coloring with
lighter colors. It is display of light and shadow that gives
volume to an object. The point here is you
will have to deal with colors as well so choose
the colors you have, not just in terms of hue, but also in terms of brightness. Using only white
to lighten up and black to get it dark
is not a good choice. If you want to learn how to give a more natural and realistic
look to your drawings, it's important to
understand the value that each colored pencil can provide
in terms of brightness. In this step, I thought it
was not necessary to give you separate detailed
instructions because you already saw the process
when we did the forehead, the left cheek, and
the nose [MUSIC]. In the next video, I will color the mouth with you.
Let's go for it.
19. Portrait: mouth: Now focusing on the mouth, I started by blocking in
the shadows I see on it, as well as some wrinkles
I see on the lips. Again, I start sketching
this type of shadow using the 175 dark sepia as it allows me to mark the shadows but without the
emphasis of the black. The mouth is slightly open, showing the teeth a little. I recommend that you don't draw a strong lines
in this area. The opening should be delicate
with smooth curved traces. I used the dark sepia because
it has a general dark tone, but I would avoid very
strong contour lines. Another thing to avoid is doing strong amounts
between the teeth. No, teeth are most often delineated by several
variations in light and shadow, rather than strong
contour lines. Still on the shadows, but to give them some color, I'm going to use
the 176 Van Dyck brown and 263 caput
mortuum violet. After all, there is
lipstick on the lips, and violet will
give it its tone. [MUSIC] The 189 cinnamon and the 129 pink matter
lake will also contribute to the pink hue that the lipstick will
give to the lips. The use of cinnamon
at the same time makes the lip color not so
different from the skins, which contributes to
make it more coherent. Of course, if the lipstick
were in a different color, like an intense
red or even black, maybe it wouldn't be the
case to use the cinnamon. But I like to use some color
that is present in most of the skin to provide
unity to the whole. With the colors used so far, I make new layers to consolidate the coloring while
adding more details. I like to use the caput mortuum violet for these
deals on the lower lip, which are relatively subtle. [MUSIC] I even used the 178 nougat a little because I like its
neutrality most of the time, and it also serves to add
one detail or another. Notice however, how these
wrinkles are subtle, especially those
on the lower lip. I use the warm gray to a little also due to
its neutrality. It will also be
used on the teeth after using the dark
sepia one more time. Here I noticed in my
drawing that there was a white outline
around the lips, which is not good at all. I use the skin
colors to transition from the lips to the
skin around the mouth. The colors used for these are mainly light
flash and cinnamon. I'm also going to
use white to blend these colors and give
some touches with the pencil eraser because on the lower lip there
is a pink area before starting the skin itself. Look at the reference to better understand what
I'm referring to. Here we finished the mouth. In fact, it doesn't take us a lot of time because
it's a small part of the drawing and we're not delving too much
into the details.
20. Portrait: neck: [MUSIC] The neck is possibly
the easiest part of this portrait because here
you are already familiar with the colors and you have
got the hang of the pencils. My process here follows
the same steps, starting with the shadows and gradually moving to
the lighter colors. When doing the face, when I color the areas
near the jawline, I was changing to darker colors because that was
what I was seeing. I did not see a black line separating the face
from the neck. But I made a gradual
and smooth change to darken colors according
to the reference. At this stage, I used the dark sepia lot more than
in other areas, as well as the Vedic brown as the shadows here are darker. Here it was also necessary to use the black to
intensify the depth, which causes the face to jump forward and the
neck to move back. I used almost all
skin colors here too, so watch the video to
see which they are. The ones I didn't use were
light flash ivory and white, which are light colors that
don't fit here in my opinion. [MUSIC] This step is very similar
to the gradient's steady. Don't you agree? It is
important again that you do a smooth transition
from dark to light. Let's watch the coloring process here and then we will
see how I do that here. Attention, the fact that
this video is short does not mean that the
whole neck that fast. Remember how the
gradient exercise were, the time spent on each of them. Notice how this neck
here is larger than all those gradients
if you're drawing your portrait more or less
the same size I'm drawing. I believe it takes
about 15 minutes to color this area,
so don't rush.
21. Portrait: hair: [MUSIC] Now, let's do the hair. The first point to pay attention to is the direction
of the strokes. From beginning to end, the movement of
the hair should be given by the color red pencils. This we do it strain by
strain regardless of color. I chose to start once again
with the darkest color, which indicates of
this hair is black. Try to identify the hair
locks and the darkest areas, so you understand the
logic behind the mess. With the black, I drew my attention to a
small and dark area of the hair and tried to reproduce what I saw
in the reference. As I color strain by strain, it is essential to keep the
tip of the pencil sharp. The Van **** brown will also again be a protagonist
in the shadows, which also matches
with the skin. The burnt sienna will play
a more important role now, as it will be one of
intermediate based colors for this brown hair. Although we only see it on the
left side of the portrait. In other areas, the
hair looks darker. Here, a new color in this
drawing, the raw umber. It is a yellowish
and light brown tone and it will not be used
in large quantities. I just thought it would be a
good intermediate color too because it neutralizes the
warmness of the burnt sienna. Burnt ocher will also be used, although the burnt sienna
will be used more often. After the first layer of colors, we can reinforce the same colors by putting more
pressure on the pencil. This is especially important
for the black as once again, the contrast is important. At one point I wanted
to darken the hair, but I didn't want to use only black as this color is too dark, so I turn it back
to the dark sepia. Notice how different
each tone is from the blacks despite
their likeness. If you are a beginner, you may not have noticed
this nuance yet. But these subtleties
will learn to perceive over time and they make
a difference in the end. The intermediate tones,
which in this area are raw, umber, and burnt sienna, will be used to blend
the colors in this area. In the lighter area, which I'll do below, I'll use lighter colors
for blending instead. In the area below, I will keep coloring
the same way, but as it is brighter, I will use other colors,
especially when blending. You may now guess
which colors they are. I started with black
to mark these areas between one strain and
another that are dark. Then I use the burnt sienna and Van **** brown to advance
with the shadows. But notice I'm
leaving some areas blank as they will
be light in the end. To cover all this area, I used raw umber and
burnt ocher more sparingly as these colors
will be lightened by others. I will slowly darken the hair, but this area will be less dark than the previous
one as I said. The hair is in the
reference casting some shadow over the face and that's what I'm
going to do now. For this, I will
take the colors for skin tones and filling
the areas I left blank. For the neck, I included
the black and for the face, I use the Van **** brown mainly. Finally, for the
highlights on the hair, I chose the ivory. For this color to send out, you need to press the
pencil a little more. If its tip is sharp, it is possible that
it will break. But in this case, you can use the pencil even if
it's not sharp. Then I will give some
less stitches of dark sepia on the hair to increase the contrast
at some points. Now, an interesting
example about how to trace hair
strains over the skin. Doing them is not very complex, but first, it is essentially
your pencils are very sharp. Secondly, pay special attention to the quality of the stroke. It should be at the same
time light and firm so that the strokes are continuous and in fact, look like hair. I recommend that you practice
them on a separate sheet of paper before doing them
directly on your drawing. After all your
pieces practically finish and you don't
want to ruin it. Regarding the colors,
I used Van **** brown, dark sepia, and
black, in this order. Did you notice that
I'm not starting with the darkest
color this time? The principal I
follow in this case is to start with the
lighter intervention, let's say, and then
I deepen it as I get more convinced
about what I'm doing. In this case, Van ****
brown of the three colors chosen is the most similar to
this skin tone underneath. The strides done with dark sepia and black will
draw more attention, so it is better
to use them after the base is prepared
with the brown. [MUSIC]
22. Portrait: final touches: Here Here your drawing
maybe finished or not. Looking at my own drawing, I noticed a lack of
volume on the nose, especially on the left side so I retouched this area
with burnt ocher, cinnamon, and nougat, all of them intermediate colors. With nougat I also touched the shadow below
the right eyebrow, which seemed to saturated to me. Finally, I use the eraser on the margins of the drawing
so it would look straighter, which pleased me about the
finish and sign the artwork. As I wanted it to
sign my drawing with a white acrylic paint pen, I made a light sketch
of my signature using a hard graphite
pencil before. That's it. I hope
you have learned a lot and had fun with
this project. [MUSIC]
23. Conclusion: [MUSIC] Here we
are at the end of this class for beginners on how to draw human skin
using colored pencils. If you have done the exercise of this class and I hope you have, you can share them here
in the projects area so I can check them out and give you tips on how to improve them. If that's the case, of course. Since you've watched the
videos until the end, please don't forget
to leave a review. This will help me
a lot to deliver you better content and at the same time will help me reach more students willing
to learn just like you. Thank you so much for
watching this class, and I see in the next ones. Bye.
Matheus Macedo, Realistic Drawing Artist
