Transcripts
1. INTRO: WELCOME, ARTIST!: Hi, I'm Anna, Hamburg
artists and then paint blue goddesses like the
one you see here behind me. My ad is freely interpreting femininity as a powerful
form of expression. My passion is to bring them vibrant and entry
into your space. You to connect with
your own goddess. Teacher, help you activate
your unique creativity, creative energy, and
I believe truly is. Since we're now approaching
the festive season, it's really key to have a
unique present, special person. And this really goes
all year round. So speaking about
unique and personal, what could be more
unique and personal than an individual surprise
portrait of your special. Imagine what a surprise
this will be if they have no idea that
you made this Mother. I'm going to show you
how to pull this off, how to create it step-by-step, and how to make this surprise. And it's going to be
beginner friendly. I think you should
have a little bit of experience in portrait drawing. But I also would say that
beginners can do it. You can always modify this. Adding some color
pencils are some ink. If you want a little bit more of a challenge and some,
some variation here.
2. LESSON 1: WHAT YOU´LL NEED + BEGIN YOUR PRE-DRAWING: And here's my first
step, how to do this. So first you ask your special person for
their favorite font pick or even selfie of
them that they have on their phone and ask
them to send it to you. Maybe you use a little excuse to keep your surprise
moment going. And then you have photo of them. They like the most, the perfect basis for something
that they will like. First step is our pre drawing. The basis of everything
will be created with our HB, medium hard pencil. Take a closer look at your face position,
your face shape. The face is tilted slightly to the side, slightly upwards. And this will impact
our pre drawing a lot. Now we draw an upside down L shape and a vertical line which will lock the
middle of the face, also an eyeline, which remark
that I level of our faith. Since the face is
slightly tilted upwards, the eyeline is a little bit
above the middle of the face. If the face was
tilted downwards, the eyeline would also be lower. Also, add your neck. Sketch for a solid foundation
for your portrait. If it's covered by
hair or clothing, Don't worry about details here. All done for the first step,
let's jump to the next.
3. LESSON 2: FACIAL FEATURES DEMYSTIFIED: Great job at creating the
basis of your portrait. Next we'll focus
phase proportion. We're going to set
facial features into relation with each other. That gives us
orientation and we'll make our next steps much easier. We start with the eyes. Just drawing a rough, almond-shaped is not
about exact details. It's more about the
position and proportion. Draw one-third I,
because in most places the distance between both
eyes is exactly of one-third. Of course, there are
also exceptions. So watch out for this. Just a rough sketch of the iris to show which
direction the eyes are looking. And then I'm ready to
start with the hairline. The hairline gives me a
lot of orientation here because it helps me
to differentiate. It helps me to see
which parts of the portrait or the face
and which part of it, or the head covered by hair, roughly the eyebrows. Also here don't
stress about t-tests. This would come later. Now, we can erase the third unless you'd
like to keep it up. Cross, mark a slight line where the tip of
the nose will be. And this is all I do at this
point concerning the nose, because now I'm sketching
out their mouth. And this will show me whether my estimated position of the
nose tip was right or not. And this makes it
much easier for me to correct at this point. Now I see that I need a
little bit more chin. After all, my face is
not really an egg. And this is why we have to modify this slightly
at this point. And sketching out the depths,
they're slightly open. So they will take up a little bit more
spaced and closed lips. Sketching the teeth slightly. You can also do this if
you have teeth showing. And now adding a little
bit of chief bone. This is also a very
important part of the phase proportion. Take a close look at the height and volume
of your cheekbones. Are the Angular, are they round? Now, I'm perfectly ready to sketch out the
nose a little bit. And to correct its height. We have a tilted face to face
is slightly tilted upwards, so the nose will appear
a little bit shorter than it would be down, tilted. Just rough, roughly
the nostrils, the bridge of the nose, the tip of the nose. Those are one of the most difficult facial
features to draw. So I think I should make
an extra class about that. Sometime. Just write me in the comments if
you would like this.
4. LESSON 3: STARTING WITH DETAILS: Now with every step we take, we get a little bit more detail. Paying a little bit
more attention to the sides of the nose and also to the shadows involved here. So I find the connection between the bridge of the
nose and the eyebrow. Very interesting. And most portraits
take a look at this and which lines you can
follow these shapes. Also the nasal labial folds. We're still using the HB, so this will all
be easy to erase. So if you go a little bit
too deep with the lions, you can just erase it. I always recommend using an eraser pencil
because it allows you to erase smaller details without taking everything
around it away. Now, I start to sketch out
the hair a little bit more. This was very rough
in the beginning. Now, do a little bit more. Also the side of the face and the outline of the face
becomes more precise now. The jaw line, the neck line, maybe the ear lobe
showing under the hair. And your general
shape of the hair. Is it wavy? Is it currently is it
straight? How long is it? And how does your hair into
your neck, your shoulders? Try to create really
free lives here. Don't be too rigid with your
lines because hair is really something flowing and
with a very free shape. Also adding this little
tab which is asymmetrical. And also the muscles
of the neck. The clavicle, if it's
visible in your portrait. This is Dan.
5. LESSON 4: SWITCHING PENCILS: Now the moment has come
with switching pencils. We're switching to the freebie now because this will
give us more depth, small contrast,
more pigmentation. This will allow us to play
with light and shadow. Starting to detail the eyes now. So pay attention whether your
person is wearing makeup. In that case, the lash
line might be quite dark. And the freebie,
especially shop, will allow you to
create super sharp, super black lines here. You can also draw and
shade the iris, the pupil, the small point of
gloss that we see in most eyes when
they're photographed. Here. Quick hello from me. I'm coming really
close to the paper here to see all the details. And you might
experience this too. That you're almost glued to
the paper with your own face. Believe me, it's nama because he wanted to
get everything right. At this point. We're also paying attention to the to the upper
eyelid into the fold. How much Let do you see or
is it maybe a hooded eye? This can be so individual. So your perception
is really key here. And just try to
draw what you see. It sounds very simple, but it takes a lot of
attention and follow through. Definitely keep it relax. But give your full
attention to your motive. And then you're gonna be fine. Just sketching every
single little hairs and the eyebrow with
a very thin line. And for the, for this
lighthouse and lines, we use only little pressure. And for darker, thin lines
around the eyes or the lashes, that should be really black. We use more pressure. Pay attention to the position your pencil tip
has to the paper. If it's really upright, then you create a thin line. And if it's angled
towards the paper, you create broad shading online. I'll show you more
about this in a second. Just looking at the
bridge of the nose. Keeping the shadows
very soft here. So working with only little
pressure australis again. And maybe take a closer look
at the depths of shadows, which are the deepest
shadows in your face. Which are medium, deep shadows and which are
the super light shadow. Tried to modulate this by using marc medium are little pressure
on the tip of your pen. Very nice. So this
is already done. Did you see how quick this one?
6. LESSON 5: SOME SERIOUS SHADING: At this point the most
work is already done. All the rest we're doing now will be more and
more fun because our preparation and our basis for it is already so elaborate. Now we're starting to shade. So we are putting the pencil as though it's
almost lying on the, on the pay paths within
a very strong angle. That way you have large
part of the pigment lying on your paper and you
can create software shadows. That way the pencil touches
your paper with a bigger area and you can create
much softer shadows. And also quite quickly. Taking away the nasal
labial folds a little bit. I went too deep with them. And now, looking at
some more details, where do we see they're soft shadows and the
face underneath the eye. So you have to be super careful because otherwise your
person looks very tired. Trust me, from my
own mistakes here. And now, not creating
really lines. But more soft shades, especially for the cheekbones. This looks very beautiful. Route about just to give to face a little bit
of soft character. If you have a good
lighting in your portrait, we often have the most shadows on the perimeter of the face. And we don't have
so many shadows in the center of the face. However, they can always appear
around the nose and eyes. Because here we have
stronger profile. At this point, you can
just go with the flow. You don't have to follow a strict order of which paths to shade first
and which job to shade. Afterwards. I just tried to do this
as intuitive as I can. So under the I have
a little bit of shadow trying to make
this soft enough. And of course you can still
correct your 3D as well. Just not quite as easy
as correcting your h. And here you can see the jaw line shading
and the cheekbone shading. Once again. You can always replay this
video because I know that it all seems to go very quickly because I'm an
experienced artist. So always feel free to
replay this and also take at least one to 2 h
of your time for this. Now, also shading below
the chin and touch all. And this is quite important because here
we need this depth. We really need to
show that there is a difference
between the chin and the jaw and the neck
because the neck is way further in the back. The chin is way closer
to us as the spectator. So we really need to
create some depth here to make this work beautiful. We're almost finished now.
7. LESSON 6: THE FINAL TOUCH OF MAGIC: We're onto our last
and final lesson. If you've made it this far, you can really collapse
yourself on the shoulder. Now, we're doing some
beautiful shading on the side of the face where the hair has this
very dark shadow. Can you see it? And
we have the hair really frame the
face by defining the strong contrast between dark shadow and brighter
lights in front. Can you see how quick
this wind can just go down with many slides very, that are very close together. Can also practice this on
an extra sheet of paper. Because this needs
a little bit of practice to do it so
quick, effortlessly. And we really need
some depth here, because this is the deepest
part of the whole portrait. So the shadows are the
darkest here in this area. Also, the Harris slightly wavy. So there are different sections. The shadows between them. Pay attention to this as well. Now, also shading the lips. They are a bit darker than
the surrounding skin. Around the upper cheek. A little bit of shadow here, but not too much to keep
this looking fresh. And also erasing it
a little bit again. So you can see also a
Pro like me as to go in with the eraser pen Ward. And once it's absolutely
normal happens to us all. And it is done. Beautiful job. Please post your results to
my class project. I will be so happy
to see what you've created SAR portrait.
I See you soon.
Anne Pflug, Artist Goddess
