Ultimate Beginner to Advanced Pencil Drawing and Shading

1. Ultimate Beginner to Advanced Pencil Drawing and Shading: Hello and welcome to the ultimate pencil drawing, and shading from beginner to advanced level course. My name is Ava Moradi, and in this course you will learn important pencil techniques, starting with an introduction style lesson that will teach you about pencil pressure, value and gradient. You will begin practicing the techniques you have learned by applying them until you still live objects, then we will learn how to create different textures with pencil. Once you have learned the fundamentals, you will then move on to facial features, and portrait drawing. Let's learn how to observe the facial shapes of different portraits to make sure your work look realistic, then we will go through pencil measuring techniques and learn all the tips and hacks. These methods will boost your life drawing skills in order to draw without guidance tools. You will learn how to draw and shade different eyes, how to draw it freehand style, and how to shade with different hyper-realistic shading techniques. Then we will move on to do's, and don't s and how to avoid mistakes in pencil drawing and what is a good practice. I will also teach you different ear styles, how to apply realistic hatching techniques. You will have free access to outlines of drives, and further assignments in your project. You will also learn how to draw beginner to advanced portraits from all masters start to celebrities. These materials will teach you how to shade freehand advanced portraits. [MUSIC] This course is for everyone, art lovers, students, and anyone who is interested in drawing. Come and join us, and learn more about pencil drawing from beginner to advanced level. [MUSIC] 2. Learn the Basics of Pencil Drawing: Welcome to this ultimate pencil drawing and shading from beginner to advanced level course and I'm really excited to go through this art journey together. The most important factor of a pencil drawing course is using right pencil. You don't need a lot of materials for this course, but only one or maybe two could be enough for everything you will learn throughout this course so make sure you understand you don't have to buy a lot of materials. We have different HB pencils and how to use them will determine the art exercise of creating a pencil gradient. Practicing this lesson is very important as this practice will reflect on all your artworks, either here or when you are doing other courses. As you can see on my hand, each pencil has a certain hardness. We're going to go through each one of them and then start doing it. Have a look at my hand movements. As I was mentioning, each pencil has been made from graphite and it's combined with clay. This is why it has a hardcore or a softcore. H they have a lot of clay, B they have much less clay. I can just say what is the hardest pencil grade. The hardest pencil grade is actually 10H. We are using a 2H pencil right now. If you refer to the table of the graphite layer, you have to say how much percentage each have, so it's 38 percent graphite and 56 percent clay. We don't need to know these things, maybe not even fun fact, but good facts to know when we start a pencil course. As I mentioned, we are using a 2H pencil. We are having four squares here, starting with 2H, we also have 3H, 4H, 5H, and that determine its hardness. When it goes much higher, it's harder and it's really difficult to work with. They don't have enough power for your drawings. Also, for this course, make sure your pencil are always sharp before starting because we are going for a very realistic drawing course, and everything we do it's a little different from my other course that's been uploaded, which is the color course. The other one, we had lots of whiteness of the graininess of the paper stay on our model when we're drawing, however on this one no. Have a look what we are doing. Actually, we are going from really dark, to hard ones. This is a great practice for you. As you can see, the first part that we could draw and we draw here, t This is the hardest one that we are putting a lot of pressure. The first square that you saw, this is the most pressure we could add on to our HB pencil, and it won't give us more color than that. If you put on more pressure, it will leave pencil traces on your paper or even tear up some parts of this paper, so make sure you're careful. This pencil is very hard, so it moves harder on your paper as well. Doing a second layer as you saw on our paper before moving on since we are studying with the F pencil. If you are talking about F or H, they're not that different. You will see the hardness right now. Have a look how it's going to go. This is also a hard pencil, but it's easier to use it comparing to H pencils. We are having a lot of pencil pressure and good stable hand movement and this is the ultimate color we can get from F pencil. You can see adding a few more layers again from different direction won't change the lightness of this, but it's much darker than the previous one. Still giving a lot of pressure here. You have to make sure you don't leave pencil traces on your paper surface. It is very important then gradually, smoothly from the very beginning, from the edges you start drawing, going back and forth. Look at my hand movement, how I go back and forth and how different layers I'm adding. That is the important part. This is also a great shading practice. Make sure you practice this hand movement and how we use sharp pencils and shape these boxes. It's going to read help you with the future models we're working on. Now, slowly from the other direction, we're going to make sure that we are happy with all the pencil traces because I don't want to see anything leftover or any whiteness of the paper to be left out, so make sure you go around. No shaky lines. The very fast outline, the main outline it's very important. I can see a lot of my students, they care about like how they shade inside but they neglect the main outlines, and some of the outlines are very shaky. So make sure that you take care of all the main outlines. It will make your drawing more sophisticated, more professional. You can see this is almost a third layer I'm going through it and then a fourth layer. Keep going around. Make sure the surface is done perfectly. The reason I'm showing you this with a real-time speed is because I need you to know that I'm not pacing up, I'm not going faster than this. We need to be more relaxed, having fun, and then take our time while drawing is very important. Again, make sure you don't leave any obvious line-drawing behind smooth and then very smoothly fade the color together. Now later, for all four squares, I'm going to do a gradient bar. You can see from the darkest version of our pencil right now to the light version. This is a great practice for your hand pressure and pencil movement but mainly hand pressure. Look how we are going. I expect the same from you because you need to practice this. I'm doing one gradient bar, I would expect you to do, for instance, 5-10. Keep practicing. Make sure you understand from the very first outline. The beginning of the outline is darker, always near deadlines, they're darker and then you go away, becomes lighter and yes I believe, that's would be. The next pencil we're going to use is HB pencil. This is the most normal pencil that we can have. We use it even in daily life either when it comes to writing, drawing, doing some small notes. For everything, we can't use it, not just drawings. Is a brilliant pencil and it's great for the first sketch of every drawing that we do. For instance, if you've started doing, let's say any outline, I would start with HB. HB can really help me to come up with subtle line drawings, so keep using it. However, as you can see, this is the darkest you can get, so for the absolute dark areas, you cannot use it. For initial pencil drawing is a brilliant color. I can't say this pencil or HB pencil is not too soft nor too harsh or hard. Please pay attention to the shading technique that I'm doing and how my hands should be moved on a white paper. The first pencil layer is very important and then now this is few layers after. They're still more important, but if you layout the very first layer correctly, the rest would be much easier to do rather than keep correcting the first layer. This will determine your work will look realistic or not, so it is very important to do it. Now, you can see we have started bringing the most pressure on the pencil, creating few layers; second, first, and fourth. Now I've lost count because when it comes to realistic drawings, you have to keep adding guys. Don't think it's only two layers. Two layers will not create a realistic feeling so you have to keep doing it. If this practice is easy for some of you and I understand, obviously you can skip through these parts and go to the more advanced lessons. We do have a lot of advanced lessons that we're going to go through. Freehand drawing of portrait and even shaded in a very hyper-realistic style when it comes to the end of the course. But I still suggest it is very important to practice these, even if you know it warm-up your hand. Make sure that you're happy with your hands being warm-up, how you do sport, even your professional football player, at least you have to warm up your body before actually start playing in the field, this is the same. I suggest you do practice this. Look at the gradient bar of the HB pencil and compare it with the previous two. I know I keep cleaning around and go and make sure that everything's done properly, I want you to, from now on, get this cleaned for your papers and make sure the darkness of the pencil they don't go around and just stay stick on your paper. You can see how sharp the pencil is. I've even mentioned it on the screen to make sure that you understand, the sharp it is, the more hyper it gets to your drawing, of course. Slowly start going through our first layer. The hand movement is very important. You can do this with either 6B or HB pencils. Continuing, whenever the pencil degree goes higher, such as this pencil, when you try to bring the darkest color from this pencil, the shinier the surface you get. The shininess of the result is because of the graphite exists in this pencil. Pencil B collection have more graphite than clay. We won't see any shininess in H collection, but they're as I mentioned, very hard to work with. Continuing, this is the darkest color I can get from 6B pencil without damaging the texture of the paper. Now continuing for the rest of the layers. Really try to show this in real-time for you. Even though some lessons might get really long, I understand you can always pause in between or continue a lesson in the next sitting. However, as an instructor, I'd really try to not speed up too much to be honest with you. During my courses and also the future courses coming up because we do have other courses like different way, different techniques of pencil courses or digital watercolor, all those mediums that they are coming up, I'd really prefer not to speed up the process for you. Even though it gets long, I understand it is hard for someone in this day and age to sit down for so long, like one hours, two hours watch and practice at the same time and of course you need to pause and follow along. But I'm really trying not to speed up so you can follow along following my hand movements. That's one of the things I'm really trying to achieve with you my dears. Hopefully you don't mind the long lessons because as an instructor I want you to get the best out of the course you actually buy. You need to get the best results out of it, so real speed is one of them. As we're going through the gradient bar of our 6B, just bear in mind even the darkest color of HB pencil such as HB won't give us ultimate black color. No graphite pencil that create dark areas but only with charcoal you can get the absolute black. You just saw on the screen that what kind of eraser that we have. One of the erasers that I have in hand is called kneaded eraser. Even though the box is really hard, I'm really struggling to open it for you However, let's have a look how they are. What brand you buy this from? Any brand would be okay, except the one tip, always go for the gray color version and they have for some reason the best quality. This came with experience, even though I use other colors, It's okay if you have for instance the yellow ones or the other colors, but for some reason the gray ones, they have the best qualities that give you the best results. Just a tip that not so many people know. Don't comprise the whole pack. Just tear up a little part from the pack that I just showed you, wrap it up again and put it back in the box. In this way you will be able to use this for a really long time without a need to spend more money and buy it again. The kneaded eraser are very soft, and see how it can be stretched and compressed. When the eraser gets dirty after being used, you can stretch it and turn it to the cleaner side and keep using it like that. Keep practicing like this and try it on your paper as I just did. One of the most amazing thing about kneaded eraser is that you can mold them into any shape that you can see which is great for detailing work such as our portrait, skin textures, hair drawing, etc. and after making it to the shape that you need, this is how you can use it making it sharp or tapping it to the paper. This is called a mono eraser, the round one. Let's have a look at how it works. I know you might be familiar, especially for my existing students that have taken my other courses but this is the refill. Let's see how it works for my new students. If you know it, please go forward and it'll move to this lesson I mean. However, I just want you to see how it works. It is an excellent tool for hair drawing and absolute delight. You can use it and create highlights, perfect highlights for eyelashes, eyebrows, certain like wrinkles. Also the main important part would be the main hair drawing. The way how we hold it and also how it's been used, I'm showing it to you, the do's and don'ts of the correct way. The difference between this and the kneaded eraser and not a good point for the kneaded eraser it won't create scraps from it. That's good. You can use cutter or knife and go through with it and cut the T part of it. Let's see what else you can use. You can use also sand block. If you're afraid of knives or cutter, use sand block and see how I'm circling around onto the sand block surface because it's very sharp. It makes it clean and sharp. Your pencil eraser will get clean and sharp, and that's how you can work with it. The next eraser is actually called electric eraser. They have different brands on this, but this is one of the best ones and a lot of people they can actually get [inaudible] in different countries, so maybe I suggest this one the same way that the mono eraser refill, the same way it works this. There's a bottom on the side, make sure you press it and keep pressing it. It keeps working until you lift your hand. This tool is mostly used with charcoal rather than graphite pencil, but you can work with it as well. With the help of circular movement, your hand on your pencil, you can use it. Now let's try on our paper and use the electric eraser on it. Don't let it slip from your hand. It's just at the very beginning because we have like physical classes too, I see lots of students for the first time just slips away, go on the floor, be careful. If you know how to use this eraser, that's perfect. But if you haven't first, try something else rather than using on your main model drawing. See I keep putting my hand on the bottom part on next and then keep pressing and then it moves as just see how actually it's taking the color of the paper. Now slowly, we could start working with our kneaded eraser that you just saw earlier and see how it works, and try with tapping technique on your drawing. This tapping technique, it's very important to have a look. You just go on it and tap, or maybe you just want a little take off some parts of the pencil, that's how it works. This is for the most delicate areas. An excellent way of just reducing the pencil pressure idea that you brought on your paper. The next one that we got to use would be the pencil mono eraser and see how it works. The one I mentioned, look at the line, look at that beautiful line we can create, it's excellent for hair and highlights. I cannot give more example than this because you will see all of them on this course. This is a normal eraser, I use it a lot. You still can use this and replace this one on all of them, like cut it and use some part of it. It is good to use this eraser when you draw the first outline and need to erase them at the beginning of your drawing. But this is not a suitable eraser for delicate textures, guys so make sure you bear that in mind. You keep going around. Add one more example, as you see, there is an obvious line between the dark part and the cleaner that we want to create. That's why you cannot use the normal eraser, which we cannot have that in realistic drawings, so make sure you go on it and add more layers onto it so you avoid the obvious outline created in between your shading. That's very important. What is this? It's very important to use a pencil holder or pencil extender, I have problem with these words. Have a look at how it works. Many of pencils are very short after you use it so many times. Don't throw them out yet. We have a solution for you and this is not advertisement, it's just for you not to spend more money. Have a look how we do it. In a lot of my color courses, I use it a lot because this small part, as you can see, is smaller than the other one and it's used for normal pencil such as graphite ones. The larger part used for color pencils and pastels or charcoal ones that you can't see and you want to draw with them. We do have, this was in different frames version like wooden, plastic or metal so it's your personal choice which one to use. Let's see how we actually use it. A lot of my students have problem with that. Try like this and make sure it's stable. This is how we use it. I always make sure that the pencil eraser that we use would be from the good quality because if suddenly you want to buy everything expensive, but you say, I don't want to spend more money on the sharpener. That's not good guys because a lot of your expensive pencils can easily get ruined and you can actually break the core with bad sharpener. Just imagine you're having a bad sharpener and then you damage expensive like Caran d'Ache color pencil or your favorite castle color minutes so make sure that you don't do that. Of course this is masking tape is great ones. If you don't want to tear up your paper to use it, just going to show it to you how it looks like for those of you who haven't used and you keep using normal ones on your paper. This is much better if you have it, but it can get dry out really soon. The next one we're going blending stump. We're not going to use a diagram for this course, I just want you to get familiar with what are they and how they are used. The tortillons and the blending stumps they're different because tortillon is much smaller and have harder scratchier paper. They're made from sheet of paper in a tightly roll stick. Blending stumps are molded from paper pulp and have a softer texture, and it's better for soft blending for realistic drawing whereas tortillons are better for obvious textures on your paper. The next tool, as you can see, we use this one. Again, they are made from paper so very easily you can make it yourself as DYI if you can. I will just prepare to get one very cheap and they're going to stay with you forever. If you have sand block that you just saw for the T part, you can just use the one dark side of it with the pencil and the other side maybe for watercolors and don't mix them. The size does matter, guys. The size matters because it's important that you use them for details. Again as mentioning one more time, make sure one side, you use it for the black part, and one side for the non-black ones and look how they look like. This is how it should we done. Now I'm going to see the darkness faded away from the tip of the stump while cleaning it on our sand block. Look at the hand movements. Circle around while moving it as well. This is a tip, in order to make sure it's completely clean, use it once on your spare paper before applying it on your actual model so you're 100 percent sure that it's been cleaned. Now, look and compare the both sides. Let's look how sand block can be used. Now, I'm just cleaning it actually, you can use it like this, I have used it like this, holding it in my previous courses for some of the stone texture-wise or when I'm actually applying it on a very old master model. Now let's see how stump can be used. We're going to draw with our HB pencil. Then slowly, we're going to use this stump blending on it. It takes away the whiteness of the paper, it just smooth out the whole area, and it makes sure you get very subtle surrounding when it comes to your drawing. You can see I'm circling around the edges so we don't have obvious line or obvious ruler line, we call this things in there. Now what I'm doing here, we have an extra paper somewhere. You put some pencil gradients on it, and then you apply your stump blending to get some darkness on your stump blending. Now slowly go on your main model and apply the grayness on your stump blending. This is for the area that you want to have darkness, but not really a lot. That's how you use it. You saw how we used it, now looking at a tortillon, see how we are going to use the tinier version of our stump blending is smaller but it won't create soft surface, so don't think anything is small. They are cute. These all you have to be extremely careful while using it. My preference every time, all the time going to be some blending. Again, on this course, I'm not going to use a lot of these and maybe I won't even use it that much because pencil itself can create all these effects. I want to make you understand that you don't need materials to use them, I'm just teaching you about the tools and materials related to pencil so you know it. As the arrows shows, you can see the difference between this one and the previous version. We're going to try it with tortillon. Look at the texture. It's not going to give us any soft texture so you have to be extremely careful with that. I hope you enjoyed this lesson. We are trying the tortillon for the last time to see the effect on the paper without actually applying it straight, apply the darkness. In the meantime, I hope you enjoyed it. We have a long way to go. Again, welcome to this course. See you soon. 3. How to Draw Pears in a Still Life Composition: Hi everyone, welcome back to another tutorial. In this lesson, we are going to draw a few pears in a certain setting with pencil techniques that we have learned in the previous episode. As you can see, we are starting this lesson with our main line. This is very important to understand the importance of this line. Try to draw this line as straight as possible. Since we are going to draw three pears, we're going to start with main shapes. As you can see on the screen, look at my hand movement. The hand movement is very important here. Practice your circling before drawing your actual model. Have a look at the screen. Here should be a circle. You always draw from whole to detail. It's better not to start from details. They go through the whole thing. It might not come out really accurate. The main point is drawings is when you draw from whole to details. I mentioned first a circle and then an oval. Now we have drawn the main shapes of our model, as you can see. Then we are going to start adding details. Never forget the importance of the two lines crossing each other. In drawing, vertical and horizontal lines crossing each other in symmetrical crossing. You can see that both sides very symmetrical. This is an important symmetrical line, everyone, so pay attention to that place. Either at the beginning or afterwards you have to make sure you have drawn these two crossing each other. Practice this one more time. Now we have drawn the main shape. Then we are going to go through the details. Please have a look at the hand drawing and repeat after. Make sure you don't press the pencil too much when it comes to the outcomes. I'm going to go speed up this area a little, but it doesn't mean that you have to move your hands in a speedy way. Just take your time. Make sure your lines are correct, especially if this is the beginning of your drawing. We need to make sure that you have enough practice with lines drawing. It's okay. Draw a few different lines. Make sure you go on your shape and go around on it. Not just once, two, three, four times like how I'm doing right now. Here, correct any outlines that needs to be corrected. We're going to start adding details. Going through this part first. I'm just debating where to put everything. Look at my model and then go around and add the details. Now it's time to draw the other pear, the main outlines again. As you can see, the first shape is another oval. Looking at the picture right now, this is the one we're going through. It's necessary to have or draw the main shape, but it doesn't mean we have to stay within the shapes and restrict our movements. Sometimes we have to get out of those lines or stay within. It all comes with experience and practicing more. Follow the hand movements. Look how I try to draw them in a neat way. It's very important to have a non-shaky lines. We need to eliminate the lines that are extra with our pencil eraser that we learn about it in the previous episode. In the meantime, let's go back to our main picture. One practice T. At the beginning of any drawing course, always try free-hand practice and apply the circles and ovals on your main picture so your hands gets more familiar with the outline drawing. This way when you apply them on your paper, the sizes will be more accurate. You can see on the picture, we have drawn the circles and the ovals how to do it. Again, exactly like that we are going to demonstrate the same thing that you can see on the picture and apply them on the the pears here. You just have to analyze the picture for yourself. Then before you start any drawing, make sure you look at your reference and then start the main outlines. Now we are going to start drawing the third pear here. Have a look at my hand movements. Even though I started going a little bit here, but I'm still using very slow hand movements. I just has so many comments from my students that they don't want to see really long lessons. I would love to actually hear your comments on this if you want to watch the whole lessons in real time, or you prefer some speedy movements in order to move forward. If you could let me know in the comments section or message me directly, I would really love to hear your comments to create better courses for you. As you can see, we have created almost the whole shape and ready to start actually cleaning up and shading. Take your time while drawing. As you can see, we have drawn all our free models figures, and now it's time to color their proportions according to each other. At the same time, we might come down to a few questions that you need to actually ask yourself. Some of them would be if they are correctly placed, are they positioning right? Are the sizes, they're all similar to their main model? Make sure you have answered all these questions. After you have erased all the additional lines, make sure that you created up in a way that the pencil doesn't get smart on your paper. Now let us see if we need to change the main outlines, how we should do it. As you can see on the screen, we are trying to make the first one a little bigger. Don't be afraid of changes when needed. Just go over the outlines and draw it again. Therefore, make sure you don't draw your lines too bold. They need to be erasable later. But if they are too bold, too dark, you won't be able to erase them on your paper and the trace of your pencil's going to stay on your paper. Now the next part is to go through the main details. Before moving on to the shady on coloring, make sure you are happy with the outlines. Always look at the pencil such as using your 2B because we change it from HB now so going to solve from the darkest color. It's a little more colorful than HB so it's advisable to use 2B here instead of for HB because with hand version, you can reduce your hand to the degree of HB. Don't use 4B or 6B for the first shading layer of a star lighter. Look at the hand moment, the corners, one of the darkest areas that we just showed you. You can see from the dark to light we start shading. Don't forget to take it slow and use gradual pressure with silver hand motion. Look at the pencil barely touching the paper. We reduce the pressure when getting away from the dark parts, which would be the corners. Now we are going through additional layers, keep adding layers. That's the aim that we have to go for. Continuing with the shading. Again, this is speedy, however, the speed, it's very quick, so make sure that you slow down from your side. Now let's use a very dark pencil. This is darkest one HP that we can use. One of the reasons we are placing the darkest areas, because it would be easier to navigate around and draw the lighter areas accordingly using 2B I get around it, to make it stand out more. Control your hand pressure and also add pencil pressure. After the second shading layer, we keep adding until we are happy. According to what we see on our model, please keep following the hand movements, a little speeding up. Since you have learned how slowly you have to move, we can actually go around more. From here, let's look at the shading and follow. We are reaching to very important technique that not so many people know or they follow this hand traditional technique, it is very important. Now I'm going to tell you, please bear in mind that we're going to use this a lot and it's a very, very effective technique for realistic drawings. What is it that I'm telling you? It's called using H pencil. Using H pencil is like a miracle. This is to organize the shading, a little and blend the colors and create the lightest area. This is a great blending technique without using stump blending or brush, and organizing the lines and the shading layers that you have done. Look at that, when I'm using it on the area that they're a little a darker, you can see it's blends them. It just, it goes there variable usually when drawing model. If all the lighting are very light, they are the most difficult to draw. When it comes to choosing your model, pay attention to the lights and the shadows from the very beginning, like how we are doing and I know where I should use the H pencil and where I should use it less. Look at the even hand direction, and how I'm moving my hand around, especially each one will have different hand directions. That's important to pay attention. We're going through all. As we're going through this part of the shading is a little extra more important, because the shading has a shape, and that will determine if your work will get noticed. Make sure that, like now this part is very important. You live this area out, make sure it stays white and then the base shade from here, slowly go out. Let's go, slowly go round, it can be movement going a little faster. I've mentioned the highlight of the middle part is very important. We're creating more contrast here, so later with 2B pencil, we will create even more contrast, dark contrasts I have to say. Keep shading around here. Look at hand movement with circular hand motions going around. Keep layering from the main outline, keep going back and slowly go around. I look at my hand movement again. Still, we're going to go up. I can't do this in one go, like a lot of people that they do this, when they start drawing, but you can see how many times I layer it with minimum pressure, and keep adding layer and keep adding layer and making sure the outlines have been done correctly. I don't put any pressure. I don't press the pencil too much. Just I keep add layers until we are satisfied with the darkness. We're satisfied with all the outlines being not shaky but being satisfying, I have to say. We're going around the area that we need to give highlights with our pencil eraser. Have a look. This is not only for erasing our symmetrical line, but also create the shadows, the highlights that we need around. Before pointing at the highlight, make sure your hand is this direction, because you don't want to go from the other apart, and then create smudgy surface. Now, this is the area we're going to give more highlights even, and then go on with more shadow with more layers. We need an eraser for that part. It means like we have to understand the shape of the needed eraser, and then when they shaped it, we can create textures as highlights. Make sure you play with your needed eraser as much as you need. You understand the shape. Use it on different surfaces, with different pencil gradient bars, that they have different gradients from dark to light. Then understand more how you can apply it, it all goes back to your experience and a lot of experiments that you have to do. I keep shading around, even though I have highlighted that area with our kneaded eraser, you'd need to go on it because you cannot keep letting it go, just as it is. You are going to add the last part of the shading before moving onto the second one, making sure of your pencil degree you use and your pencil pressure. Now, we're going to start the second pair. Have a look how our model looks like if you make it into black and white. You can see on the screen, this way we can't see the details much better. This is what we're actually can do. If your pictures they are really colorful, you can also use your phone filters, if your phones they have it or ask someone to do it for you. On this part, we have been busy drawing the seeds and created needed dimension on them. It means a darker area then go around with them with your HB pencil, and make sure you shade around them. Now, we're going to start drawing from the knife-cut parts. Also, as you can see, this is a realistic pencil drawing, so it's important how to choose your paper. Try when you need to work on hyper-realistic technique, choose very smooth papers suitable for pencil drawing. We're still using H pencil, since our paper is very light for this area, as you saw on the black and white pictures. Almost white this area. We don't want to keep it empty however, but we shouldn't also use dark pencil such as B collections. HB would be suitable choice for here. If you recall earlier, I mentioned about hand direction. You can see now it's different every time I go onto each one of the subjects. Like even in different angles, you have to have a certain hand direction and hand movement. Using 2B pencil, and then change it to H pencil after this in order to try not to create harsh lines. Gradually, with patience, keep going around. Have a look how patiently we are creating the textures. Usually, I advice you not to go from the beginning, but because this middle part needs more colors, more texture feeling, as I promise you, on this course, we're going to go through a lot of textures. This is one of them, so make sure that while you're watching, you follow along. These details makes your drawings really realistic. In the meantime, don't forget to go through your downloadable resources. I have created a lot of practices, assignments, and also all the lessons, they have their own outlines and also the reference picture and also the grades, so full of different surprises. Make sure you download it. As we are continuing, again, make sure when you start with your 2B pencil here, and we start from the part that we know it's very dark, and go around it from the very beginning, and then keep adding more layers. Since this is our second drawing, from here the hand mobile should be slow. However, I suggest that we go a lesser speedy for you to understand and see the whole lessons in one go, so you won't get tired. I'll still wait for your comment, if you really want to say this in real time, let me know. Slowly go round, gradually add them. Near the line, always the darkest. Never forget this standard ultimate gold rule. So far I hope you have followed and practiced at the same time. Whenever you need, pause and practice while you can. Gradually with more patience and near the lines, start shading these areas. Always, you can see near the line, I have way more shading, and then when it goes to the middle part, I leave a little highlight. Again, I'm going to emphasize, make sure you don't get it off the highlight of the paper, especially for the small white pieces such as these areas. Now, what's important would be the circular hand movement, and then layering, especially near the other lines. We're using 2B pencil one more time to add a little darker shading on this. Where and how we placed this shading. Now, we're using H pencil, the same technique to create that fading blending texture on our subject. Now, we're moving to the next one. I hope you have followed on these two. Now, what matters, you go back to your subject, analyze the highlights, the shadows, where you have to put the dark areas, and then step-by-step how you are watching this applying them. Here we have to go from dark to light. Make sure that you follow my hand movements and practice at the same time. Slowly reduce the pressure. Let's go a little faster here. As always using our H pencil to blend. The areas that I create the shading, please make sure that you understand that areas and apply the same. If you want to use the same reference for practice, please do so, but if you want to have different references for these kind of practices, still pick up your favorite fruit and send me your practices. Now, this is another important area. We have to make sure we compare it to the subject next to it, and see which one should be darker. Is it the one behind or is it the one forward? Of course the one behind should be darker in order to give us the dimension that we need, the 3D feeling. It's very important that you pay attention how I'm going to fill up the first pair here. These dark areas behind both the previous two would be the most important one. These three areas that I just pointed at, very important that you follow the same shading and practice. Gradually. How slowly we saw at the very beginning of this lesson, make sure you start from the line. Again with our 2B pencil, go forward. Look where we have started, we gave a hint of highlight next to the line and then started going around. You will see the reason really soon, however, keep following. Look at how we shape our subject with one single pencil and with right-hand movement, it's very important guys. The texture that we have created here, how we colored it, it's very realistic and old master feeling. So you have to make sure you're practicing right. You might think that these are really easy subjects to draw, however when you start drawing and practice after this lesson, your technique, and your practice hand pressure going to be much better for the future portraits that we're going to go through. It is an extremely important practice in this lesson so I hope you really follow along and don't take it lightly. I know a lot of other instructor might have still-life examples or fruit examples. But each instructor, they create their own technique and style. But what we are following is a general technique that will help you with hyper-realistic. For the previous layer we used 2B, now with HB pencil, we're going to apply the certain technique we have learned to use H pencil or F pencil. You can use both and then go on it and blend the area. Really one of my favorite technique and texture is that you could actually practice. So the area that we left white, use a lighter pencil to fill it up. Go round. Circular hand movement. In every course, I use the same hand movement. Even here or my color pencil courses, even sometimes my oil painting courses I don't change this except my digital courses which would be Procreate and Sketchbook, I use different methods, but when it comes to actual color pencil holding and sometimes brush holding, they're almost the same. However, I do have courses up with marker of my fashion courses, they're all with marker and of course pencil. Marker is quite different technique as well. But the rest of our mediums, they can be very similar. So you practice one, you can get better at the other one as well. But one thing that is very interesting when you know this technique, for instance, you want to practice this on a digital platform it's the same. I'm not saying the technique is the same, but the shadow and everything that we have, all the layers, they are the same. You cannot go and create, for instance, the first pear that we did here, wherever you put the shadows and the highlights, it will be exactly the same on your digital program that you're using. This thing is important to learn and understand before especially analyzing your model before starting, one of the things I really suggest you learn from this course until we go through the whole lessons. Slowly circular hand movement, add more. The way we keep adding layers is almost the same as the previous two examples we have done. You can see I keep changing the direction of my hand movement. I mean different sides I have to go through and that's normal you have to do the same, don't strict yourself that okay, the paper is in front of me, my hands should be this direction and that's it. You can see that I keep changing my hand and go around. Keep adding layers. It feels like unlimited layers we keep doing, but that's how you should do like go round, up and down then left to right. Just hint of a pencil would be enough satisfying. Then go back. Even though some parts absolutely feel they don't have any shading, but that's enough and this is how it makes it realistic. So please follow as well. Looking at our subject pears a little closer and make sure that we understand the texture. I will wait for your practices, you can submit your practices and projects anytime that you have done them, I look forward even the moment that you start, even one line, I don't mind you send me so I can see your progress the very first step that you have started and help you at the very beginning of your art journey. That would make me really happy to see your practices so I hope you don't be shy, say, no it's not still good for me to send it, no. Even your practice lines, anything that you have, would be okay to send. As you can see, we have a subtle little bit of details. We have done this once, but it's really good to look at it from closer point of view. Look how we are adding the colors. This technique that some parts of the line is darker than the others, I will teach you way more in the next few lessons. I'm not saying it is a hard technique, but it requires practice and I have all those lessons for you, so make sure how we move the pencil and the lines. I will let you know how to practice those in order for you to understand this. For instance, where your line should be darker, where it should be lighter without even shading, you can create beautiful artworks. We will have that all especially when it comes to, I can say when it comes to portrait drawing, you will see how it's been done. Not just a line, but also when it goes down the pressure gets less. This one is now H pencil, the previous one was still 2B we were using. So with H pencil, we're going to use the technique of our blending to smooth out the whole area and take away the wideness, the graininess of the paper. Even here, we go on the dark parts and then reduce the pressure. Again, start, then go. You can do this few times, start from the line and then go until the end. Again, using our 2B pencil to create a little more darkness here with minimum pressure. But it still has such a dark atmosphere there I can say. I have seen some of your practices that say, "We cannot get to the dark level that you draw in practice." It all comes to your hand movement and pressure and of course, practice. We just use our H pencil a little to make sure that we create enough highlights. One of the main elements of shading is to draw good shadow and create perspective. Make sure you understand where are the shadows, where are the highlights in order to create that prospective that we see on our main model. The next step would be creating shadows. So each subject really need good shadows to be created. Going to start using 2B pencil. The darkest color we have used so far is 2B and 1H pencil. So with two pencils easily, you can create so many different layers off from dark to lightness and blend well. You don't have to really spend a lot of money. Not just in this course, I'm going to teach you all freehand drawing, portrait drawings, different subjects, but you can only apply few pencils, like one 2B and 1H would be sufficient for most of the lessons, or maybe like, if you really want to go and buy a lot, maybe four pencils; one HB, one 2B. I just want one 6B or 8B. We don't have to get both, so we do have the maximum darkest, and then of course H, that's it. You don't need more. Slowly from the dark line we go into the light one, gradually go down, make sure you cover all the details, and now using H pencil in order to blend, look, we're creating almost an oval shape. As you can see how we go around and create many oval shape for the shadow, and keep adding layers from really dark to light, and we should know where to stop. If you go a little further from there for the shadow, it is not going to look good, so make sure you know where to start, but when to stop as well. This goes for your layering as well, even though we do unlimited layering, but at some point you should stop doing it. The areas that I'm going to show you now that you can see on the picture these areas, they have the shadows. So you have to look at your subjects, the shadows, and slowly go around them. Now with the same technique that we did previously, with the combination of 2B and H we start from the lines, gradually go around. Make sure you see the highlight. Even I leave a line on our shadow parts in order to create a realistic style. The two lines between the subject and the shadow, you can see there's a white lines there, and I'm not going to fill that up. That's highlight will make our drawing to stand out. So make sure you don't get rid of it. Continue practicing at the same time. Keep moving your hand, know where to add pressure and where to reduce the pressure. This is HB pencil our 2H and 2B pencil. We can add in layers. Make sure you know that you have to add from dark to light, and how we should do that. Keep adding layers to all the parts. Never be satisfied with one layer. Make it a habit that you have to go back and forth adding layers. That's very important. These details, the shadow coming out a little with a certain shape, like the oval-shape and how it goes around. It is quite important. These bonds, this line, we cannot have an obvious line in the middle of the shading surface to the next and the area, so make sure we go around the area and create very good atmosphere to make sure that the subjects they stand out as I mentioned before. But the lines should be very subtle around our shadows. Now, we are almost at the end of our tutorial. Before we go towards the end and add our last shading around, I really hope you enjoyed but at the same time, I really hope you followed. Because this is just a beginning of our course. We have a lot of other lessons to go through. Make sure that you understand the layering, shading. All those highlights, the reflection, the shadow core, the cast where the light's coming from. All this, and what you just saw on the screen, they are all available for you to download from your downloadable resources. You can find a lot of different information available for you to get a better idea of why we are doing this, what's out there, and get more into drawing. Maybe some people just start this as a hobby, but some actually take one step forward like us and create career out of it. If you like the course so far and the lessons, I really hope you rate it and review, so I really love to hear your comment and practices. Now, we still adding layers. Unlimited layers, we have to say it doesn't finish. These are really the last layers of ours. If you don't have enough highlights and you have like not too much highlights in-between, you always can use your kneaded eraser. Previous lesson, I taught you how actually I use kneaded eraser and layers, and how not to create a bad effect while using pencil and eraser at the same time. Before we really finish, it will be really good to watch with real-time speed. You recall our main speed here, you can see the alternative composition we have on the left side, it can get really challenge way and add a lot of different fruits, and also looking at our first shape and model, this is how we started and this is how it's ending. Make sure you actually print out your reference. Draw the shapes on it, each shape, even if it's fruits, animals, human beings, everything, they have certain shapes created by a wall and circles. So practice that, and I'll see you in the next tutorial. Send me your practices and well done. Bye-bye. 4. Cherries Still Life Drawing and Shading: Hello and welcome to another tutorial. We're going to start drawing the main outline from the very beginning. Please have your paper and pencil ready and follow at the same time. You don't need to rush when it comes to the main outlines. I do have a lot of students that they actually practice this on their digital platforms, like they have iPad or a digital pad, so it's okay that you apply the same course on those paths, so don't worry about ideally using paper or digital pads for this course. As I mentioned, don't rush the main outlines. Go through the first circle for the cherry. Whatever we see on our reference, we're actually applying it here. You can follow, but at the same time, you can go to your downloadable resources and look at it. Also, do the tracing. However, I advise you to do free-hand drawing all the time. As you can see, we are going to start with the details. You can see how barely we are touching the paper, just a very, very initial outline we have to start with and then this sketch is not done with really bold lines. You have to make sure that your lines are quite very subtle. Going through the second cherry. Look at my hand movements, circle it around. Make sure you just realize the outline should be first, map it out for yourself, and then go around and look at your reference. Keep looking at your reference. They're all available on your downloadable resources too , don't worry about that, and then go through the details. I do have some students they asked me if I could keep the lessons a little shorter because you do want to sit down and at once to finish it. I really understand. However, when it comes to realistic drawings and you want to put more effort, you have to understand that it's going to take a while, at least between one hour. We need to go through the drawing parts, make sure the outline is correct, and also when it comes to the shading or realistic hatching, it's going to take a while. You can see we're correcting the outlines because if the lines that we have drawn they're not really damaged the texture of the paper and it's not too bold, we can easily change it, so make sure you do the same. Keep measuring your reference from either with your eye or hand measurement. We do have hand measurement in this course. When we say hand measurement, I mean pencil measurement that we're going to go through, especially this is the exact standard pencil measurement that you can be taught in universities or when you go to Italy for a special classes for master classes, the same technique is going to be and they're going to teach you. After realizing which outlines need to be retouched, we changed it accordingly and then we draw the shadow and then completed the outlines. Then we're going to add more details and the leaves going around. Make sure that, again, I cannot emphasize more that you keep looking at your reference and then later on, when you go to your downloadable resources and projects, you will actually download the grids, and also because we have put already the refresh on grids for you guys, so you can actually see where they are placed and apply them on your drawings. The initial sketching part is almost over. Now we have to draw the main sketch, so you'll see what I mean by that. Get your pencil, it can be F pencil or 2B, any of them that you have would be fine. Either with F pencil or 2B, let's just start the drawing and drawing the main outline. What's really important when it comes to drawing the outlines is not just go and bold the line. How we're going to actually bold the line is important, that I'm going to emphasize a lot on it in this course. Which parts should be bolder? Which one's lighter? That's going to makes your drawing way more beautiful and way more professional. So how you give more color, when I say color, I mean darkness. Where you get more darkness, you see from the maybe next to the edges or next to some parts, we do have darker or lighter colors, but in this course, you will learn a lot about line drawing. So I'm going to call this method line drying because it is quite important and it's very essential that you practice your line drawings as well as your main outline drawings that we did previously. So when I erase the parts that we have drawn before, it doesn't mean I cannot see them again. It's just I want to get rid of a lot of the extra lines that we draw at the very beginning in order to have a very neat and clean surface like how we are doing. Make sure that you understand where are the highlights. Highlights and shadows are very essential, as important as the shading. If you correctly place the shadings and where are the highlights, you will create vary beautiful and more realistic either fruits or in still-life or portrait, all of them will become very much better when you draw that, so look at the line drawing where we are adding more pressure and where we are reducing the pressure, very important. Continuity. So again, explain the whole process. We have this process as whole in drawing courses. So the first comes sketches, then drawing the main outline. Even if you want to work with digital art or another medium such as color pencil, this can be the standard way to do it. It's not just only with pencil drawing. So never draw to the main outliers before initial sketching. Now if you're adding more details and it started the second cherry, please follow on practice at the same time. In order to find, as I mentioned highlights very important in order to find out where are the lights or the highlight. Very important to look at your reference and make sure you analyze it before starting. So this course is not just a drawing course, but it will boost your base and build up your drawing experience. So if you wanted to move to another medium, you know, all the basic fundamentals. That's very important so you know. Especially when it comes to the initial sketches, line drawing, when it comes to where the darkness or the light part, detailed drawing, but more importantly, how to use your hand movements and pencil pressure. These are all the elements that you will use in all mediums, even in digital or in color pencil. I do have all those classes coming up or we already have them. So if you would like, check them out, see any of them really a course that will boost your level with the medium that you love or you want just as a hobby or even in your career is helpful. I do have them and I'm really tried to teach them in the easiest way as you can see here. So do check them out, if you had time. So going through the shading, make sure to figure out where are the shadows near your subject. So then we move to the details. Please pay attention during the whole process, we are taking our time and not rush even when it comes to the outline. I have experienced it with lots of my students. That's why I keep insisting on doing it slower. So look at the details where I'm adding more color and where I'm reducing the color, even on the outlines you can see these differences. All of us erase the extra lines. We don't need them when it comes to the shading. As I mentioned, in digital art we do the same. We always draw the first outline and then as slowly we erase it with digital razor and go on it with our main brushes. We call the pencil the digital pencil brushes. So now start using 2B pencil, starting the shading. One important point I keep telling you guys, maybe in some of my coloring pencil courses when I don't want them to be too realistic, I don't do this factor and it's okay. But when it comes to realistic courses that you are doing, such as these, your pencils needs to be very sharp, like how mine is right now. Look at the sharpness of the pencil. Make sure you do the same thing. Always start from the outline, from the very beginning, the edges, and then slowly go inside never start from the middle part, you will create scratches like scars. So as you can see I do write few notes for you to keep you engaged with myself on the screen like the 40 degree ones and how to apply pressures. The pressure ones, so you can follow along. I'm just deleting the extra pressure that we have on the screen on our paper. So you can actually notice it and do the same. If yours didn't happen, you don't have to erase it. This part instead of I keep explaining by words, it's very important to look at my hand and pencil movement and follow along. With this practice, you will make your shading come really advanced level. Maybe it's a very two simple cherries here. But these techniques will be applied to a lot of the upcoming lessons we have, tutorials we have on this course. So the hand pressure we are applying here is not too soft too hard, it's a medium pressure we are going through. Some point make sure to remove extra colors that you have on your paper with kneaded eraser as I showed you. I'll keep doing it even more. So follow my hand movement and how I'm handling the pressure at the pencil, you see, I keep circling it around so I have the sharper parts of the pencil on the paper. We're continuing and slowly progressing through the cherry. The way you hold the pencil, everyone's very important. Look how I'm using the kneaded eraser now, in order to reduce some extra pressure that I brought onto the paper, but it was wrong to have them going around the highlights never eliminate the whiteness of your paper. For this paper, I'm not using the usual white ones. I prepared to have a very old feeling of style on it, and be honest with you, it is a very cheap paper I'm using. So you have all the papers names on your downloadable resources. However, this one, you can find a whole pack very cheap, maybe $1 or maximal free $. It's quite a cheap paper. When I said the whole pack, I mean the whole and maybe 40-50 of them. As you can see, we've started from certain part of the cherry. We went through the other side and then the middle part to make sure where the darkness would be should be placed. Again, this one is important, how I take off some of the areas that I don't want to stay on the cherry before we add more color onto it. So it will be really hard to delete them later. When we're going through the curvy shading and the lines, it's just going to give us the dimension that we wanted to have, look at the hand movement and where we are actually placing it is completely we change the direction of the pencil and is from the top to the bottom part, how it's going. I assume that you are going to follow along and do the same. Even if it's with another medium, either a digital pen or with color pencil, it's the same hand movement and pressure. The pressure is a little different, but with the other pencils or color pencil is the same. See this area we are actually reducing the pressure to get the hand movements is actually our cherries shaping right now, and it's all thanks to the way we change our hand position, the pencil direction movement is very important. Follow and please practice at the same time. Going a little faster. We keep changing the pencil movement and make sure that is according to what we see on the reference. Little speeding up this part, but still, it's not that speedy so you can watch it with almost real-time and follow along. Let's remember again that using kneaded eraser is very important when it comes to lifting some colors in a natural way. We are using HB pencil here right now to blend it. Right now we picked up the HB to blend the colors. Again, I'm going to go on the F or 2B pencil that I've done. With a lighter color, either HB or H, I'm going to correct the lines, blend the colors. This is a technique that we have learned already. It's an important technique that we're going to keep use. We will be using throughout this course. If you always wonder how some peoples are pencil drawings without any other tools, it becomes so realistic is because they use correct pencil at right time. Like they use a darker one and then a lighter one such as H or HB and makes sure they have been blended. Now with kneaded eraser, we should go near the line and create a white lines that we have already done. We can see the pencil is not sharp anymore so we have to make sure the pencil sharpened after this. The tip I told you, when you use a darker color such as 2B at the beginning, we need to use a lighter color to blend it and make it look smoother. Make sure the blending part or second layer drawing or move the pencil direction exactly as the first layer so they won't look like crosshatching but this smooth shaving. Remember your hand drawing. You can apply the second or the third layer the same way. Get the tip of the pencil is sharp now. This is the real speed. I'm going through very slow, taking my time. Practice my shading. The hand movement, the direction of the hand is very important. Look how I'm going through the third and the fourth layer. Make sure all the previous layers are blended together. Keep adding same direction that I mentioned to you guys. You have to understand where to reduce the pressure and where not. Keep reducing the pencil area. That depends on shading area that I've done before. Don't go out of the lines please. Respect the outline that you have drawn. If you do that, it's not going to look like natural or realistic. Please respect not going out of your main outline and keep reading. Let me show you where should be the dark parts, the mid-tone light, and the highlights. This is very important in any example you follow this you understand it and analyze it before starting. I'm going to show it to you. Many realized this before starting your drawing. These are the highlights, the main, and dark parts, the mid-tone. You can actually follow along and make sure that you're drawing become more realistic. You won't be like, where should I put more, where should I put less pencil? The question marks will be answered at the very beginning. Your drawings will have a direction. It's not just drawing without any goal. That's very important. Even in drawing, you need to have a goal, which you know where you are putting which part. Shading more, going around. I'm barely adding more pressure. It just adding layers with the same pressure. It's very important that I go around and reduce the outlines. The obvious lines like here. Now, we're almost done with this one. The next step would be the details for the leaves area and also the shadow area so pay attention to how I'm going to go through this. When it comes to the leaf's area and the details, make sure you don't take away the middle highlights, which I will show it to you in a minute after we're done with this part of the shading. Moving away a little from the shading, going through this part. These are the very last touches. Now, this word is very important so start paying attention to where I'm actually putting the shadow and where I'm not. Please do not just shade the whole thing at once. I've seen a lot of you doing this. So I'm really requesting you pay attention to my hand movement, where I'm adding the color, and where literally I'm not putting any color next to the shadow. A half of this area is white. It stays white and I assume that you keep it white. Have a look. We reduced the previous outline that we have. Now we're going to add the main parallel line with better outline. Now going through the shadow, look at the hand movement, left to right. We keep doing it very smoothly. We are going to start shading this one. It reduces at the very end. It has more color when it's near the cherry and reduces the color when it goes away. Very important that you follow this, and when it go up, how we reduce the pencil is even more. Look at the hand movement, we keep adding second and third layer in order to smooth out the area. After this, we're going to go through the second cherry. I could fasten this part and speed it up. Anyone, they don't want to watch the second cherry and you believe that you have learned enough with the second and the first one, you're more than welcome to speed this part and go through the leaves area. However, for those who wants to practice more, let's go through this one. Have a look at my hand movement. As I mentioned, the leaves shading will start around 35 minutes onto the video so you can speed up and go to that section if you don't want to watch the second cherry. The way we are moving our hand again from the outline, we have to make sure where are the highlights and make sure we go around it and add the first layer. Exactly the leaves are shading. We'll start at 34, party suit at two seconds for who around wants to go through this. I hope you're going to enjoy the second cherry as we are going to speed up a little. You can see where I'm adding more color and where I'm reducing. Again, didn't important factor here, how my pencil should be sharp and also how I'm holding it and the direction of the pencil. I'm going to keep changing it and please follow along. Really looking forward to receive your assignments in the common section that all the students post in. As soon as you draw, just post them so I can watch them and comment on your practices. I'm always online so don't be shy. Just post them. We all of us, we're going to enjoy our practices together and most of us the same level. Don't worry about like am I good enough? No, because miss my first practice I don't want to post it. No it's lovely. It's more than great. Just make sure that you post them so we could have a look together and go through this all the lessons together. I'm reducing the hand pressure here. Now you can see where I'm applying. How is more towards the tip of the pencil or some areas. Sometimes like here's 45 degree holding it. More circular hand movement here and then line drawing. Make sure that you reduce the areas that you don't want to be so dark with your kneaded eraser rather than normal eraser. Going a little faster. However, the pencil pressure in this part, the middle part, it would be the same. Again, using the kneaded eraser and going around. From the other side of the cherry I start from the outline one one more time. Keep going back and forth again from the lines then go into the middle part. Respect in the outline, I wont go out of the outline, its very important you do the same please. Your practices are all lovely. All level. However, if I could make sure that you stay within the parts that you have drawn like here. I go from the outline and then go into to middle part. Make sure when it comes to your practices you go, you actually apply your to enter techniques that you have learned within the main outline and your references that you have seen. There's no harm at the very beginning if we couldn't go through freehand drawing, you do a tracing. I do insist that you make sure that your eyes getting stronger, visually stronger when you're looking at and draw freehand. However, I have provided you all the references you need, so don't worry about it. Just have fun and learn the techniques and apply them one-by-one. Again, you can see from the outline, circular motion, I blend the colors with each other when its comes to this part of the shading. Keeps circling around. Just sharpen the pencil and then continue deep blending area. Take your time, sharpen your pencils, make sure they are good enough for the drawing, go in-between the whiteness of the paper and get rid of some of the graininess that really needs to get you often. The areas you believe you have done too much, you can get it. You can take them off video kneaded eraser. I told you in the introduction when I was introducing you to the tools, how you can shape your kneaded eraser in different shapes and what brand to buy. And also mentioned that the gray kneaded erasers are always the best ones rather than the yellow or the pink ones. They're just better in quality for some reason, which I don't know either. Just coming from experience. In a circular hand motion also hand movement, we go around the highlights, making sure there's no obvious highlight outline stays there, and we get rid of them with our blending technique. You're almost done with this part as well. Happy with the direction and the cherry shading. As you can see again from the main outliers and then starting with the same way that we did the previous shadow, we're going to go through this one. Left to right from dark parts when it's near the cherry and then reduce the line shading towards the light parts of the shadow. Make sure they're clean. We don't go out of the line. Continue this part. Please practice at the same time. To get my hand moment, I'm reducing the pressure when I go up. Here, I added making sure in-between the shading, we blend them together well and connect them well with each other. Just getting rid of some of the rubbers part and go on with our kneaded eraser to clean the whole thing out. Even if you at some point decided it wasn't, placed correctly you can always go on it. Again from the outline and shade it. We're done with shading area. Again, going through the detailed parts the same way near the outline add more color and make sure that you leave some highlights in-between. This part is very important where I'm adding the darkness where I'm reducing it using HB pencil to do the line drawings. As you can see erasing the parts needs to be eraser and B2B pencil. Go through the rest of the leaves area. The leaves details are very important everyone, and should be done correctly from the very beginning. We have to create the leaves veins, the details on it. Let's have a look and follow along. Follow the hand movements where I'm adding the line drawings. Going through the middle part. Again, for the shading area, we have to start from the outline, either is a middle outline or its from the domain outlines. Then the hand direction for the shading is very important. Look at the details, I look at my reference, making sure the areas needs to have actual highlights, where we can reduce it. The patterns I'm creating here is very important guys. Create your highlight with our pencil eraser, MONO eraser. Add a bit more pencil exactly next to the white highlights, and create the leaf's veins. As you can see, we are creating more shadows, and more highlights with both pencil, and pencil eraser. Leaf's drawing is a combination of these two. Like how we are adding the second line drawing here. Adding darker color. Almost near the lines the darker it gets. Either the line drawings or the shading. You get the details drawing how we are adding. The areas needs to have the details like the previous leaves. We are adding the line drawings. We don't need to add too much pressure but only simple additional layers. Keep being consistent throughout the shading part, one point about the last part of the shady keep shading in the same direction of the previous layers. That's very important. Near the lines always add it darker. I'm really excited we went through this lesson even though it's quite a lesson that other instructors advise you to go through when it comes to fruit drawing. However, it's something that essential with any course study of SAR. Because every instructor's technique is different. Our techniques is quite different because the shading, the line drawing, and the pencil measurement we go through is different from others. I hope that you practice. Even the layering we do is quite different. We are really diverse more old masters drawing, and realistic. I hope you follow along so you can apply these techniques on other lessons that we're going to go through, especially the portrait ones we are having later. We are creating highlights in-between. Almost towards the end of this lesson. Just the last part, and these areas we're going to go through. For the leaf's shading, this is completely enough. You don't need to add more in order to say like, wow, I added some much shading so that's brilliant. You have to understand where to start, how much pressure you bring onto your paper, and when to stop. When to stop is very important, and it actually requires experience, and practice so you know, now this shading is enough. I don't need to add more. If you apply the correct shading, the correct areas, you don't have to keep going on it over, and over again, and keep shading. Like how we are adding shading here, it means that it wasn't enough. We have to go through the shading. This part needs more, this part needs to stay with highlights. Look at the hand movement I'm going, because of the cherry was in different position here, even our hand movement is different from the first cherry. Keep adding the layer. Even now I changed my hand movements up, and down, and left to right when it's nearer the outlines. We're adding the last parts. Up, and down hand movement. In the next tutorials, we're going to go through some more of still leaves. More other subjects that we have in mind that is important for you to learn, and apply. You can see the front cherry is darker than the one that a little further away. That's actually one of another technique the one that is where, and which one you add more pressure, and more color is very important as well. Which one looks a little further away. Which one of them you want to looks more forward. These are the last touches. Just a little added layer, and some details for this part would be enough. Look at the hand direction. I really hope you enjoyed this lesson. Don't forget to practice at the same time, and submit it when you can. Don't forget to use your kneaded eraser when it's needed. That's why it's called kneaded eraser because we need to use it a lot. I'll see you in the next tutorial, again. Don't forget to submit bye. 5. How to Draw and Shade Macaroons: Hello and welcome back to another tutorial. Starting with our HB pencil, we're going to go through this lesson together. Today, we're going to draw a few different delicious macaroon. The texture of these drawings would be very important since it has a very soft texture mixed with spongy textures. We have four different color range, purple, pink, orange and green. Each one will be different when we turn them into black and white as you're going to have a look. This is a perfect practice when we need the real color of our subjects turn into a black and white. With different gradients practice on real subjects. As you can see, as always, we started with a sketch. Like the previous tutorial, the cherries, we started with a sketch and drawing part of our subject. First, we draw one of the ovals, the second one and the third one. For the last one, would be a different angle. Even though we're going to do free-hand drawing, but still we can do this with different measurement tools. Make sure you follow the hand movement and also go through your downloadable resources. With the last macaroon, please pay attention to the degree position and then go round them one more time. Make sure they're all being done correctly. As the main sketching part is over, we're going to add more details on the macaroons as you can see. As we are drawing the details, we'll add the middle lines. They should not be very straight, but more curvy as well. We are almost done with this part. The lighter shading would refer actually, the certain macaroons, this one, as you can see because it's orange and the color range would go from orange to pink, almost purple and our green would be the same. The same almost darkest in shading. This will start going from the dark one actually. You will see step by step when we are reducing the black shading range how it's going to go through the initial main outline. Again, it's initial drawing still. We're just adding more details. Make sure you keep looking at your reference subject and look for details and accurate sizes. The lines are quite important. This area needs to be very spongy with like shaky feeling. Draw them like shaky lines. Again, the oval is not symmetrical. You have to look at them. They are really not both [inaudible]. They're symmetrical feeling. Follow my hand movement and practice these outlines. If you recall, the first oval shape that I drew, I'm just going on to them and we do have lots of different lines drawings on the screen on our paper. You just have to erase them later but get the main outline out from them. You will understand where the main outline, and then gradually you delete them with your eraser. This second drawing, the second macaroon. When I was teaching this, my fellow instructors, they were asking me, "Why you're teaching macaroon? We always teach this in color." I was like, "Why not?" The students need to understand the difference between colors and how to turn them into black. It is quite important to do different versions of examples, not keep following the standard. We are having black and white macaroons here. What we are going to learn in this lesson would be not just free-hand drawing, but texture drawing, soft and spongy and how to color in different range. Have a look. You should be familiar with these drawings by now as we have done in previous tutorials. Please pay attention to the forums. Just sketch out, don't be afraid. However, make sure your lines, the main outlines, I know the middle parts, they are shaky, but the main outlines, they shouldn't be shaky. Try to draw, I'm not saying perfect lines, but try to be as accurate as possible, as precise as possible. Look how I'm holding the pencil. Holding the pencil is another important factor that you will be taught in all my tutorials. You'll see different versions of how to hold them. You can see, even though at the beginning I draw the different degree, this macaroon, now we're changing its position just because we are more into details now. There's one extra delicious cream layer on this one. That's the extra one we draw in the middle part. When you are drawing realistic style, make sure you look at all the details of the picture and see the additional staff such as the middle line like the cream part and draw them. We are almost done with the top part of the macaroon. Just make sure the lines are accurate. I'm just looking at this space, the measurement between the two macaroons and if they are being done correctly. Try not to speed up the drawing part. It's very important you understand how to draw with free-hand drawing, even though you do have your reference, your grid, and also the outline for you to print out and trace. However, this is my favorite part to do. What I'm doing here. In the previous tutorial, we learned how to draw and clean the sketch with pencil eraser. This time we're going to use normal eraser and really fade the outlines. I still can see where are they, but I just want to clean it as quickly as possible and then go on it. We still have them on the [inaudible] It's just not that I'm now seeing them. Maybe because of the lighting you won't be able to see precisely, but they are still there. Now the second time, this is the line drawing we're going through with our B pencil. You can use HB as well, depending on what you have. The line drawing is what we talked in the previous tutorials. Some part's going to be lighter, some part's going to be darker. How you come up with that. Right now is important you follow this tutorial, the ones that I'm telling you. Step-by-step, you will learn how to do this on your own and where to add the darker lines and the lighter lines, and how to mix and match. However, right now, if you look at the first line, we draw for the top part of the macaroon, you see where we put more pressure and where we reduce the pressure. Now, we're going through the spongy part. You can see it on screen, how it looks like and which part should be done like layers, which part has darkness, complete darkness, and which one has some textures that needs to be done since we are not using stump blending, which is recommended for people who wants to finish this fast. However, we're going to finish this with our pencil. Make sure your pencil is sharp and the drawing outlines, unlike the previous version is neat and more patiently being done. Comparing this part with the spongy part, this part is being done with more care and neatly. Going through the second macaroon. The same way we have to see where they touch each other, like the bottom part of the previous one and the top part of this one here. It's quite important because this area is going to have some shadow and it's going to be dark. If you don't give those textures it's not going to come out realistic, so bear that in mind. Even for our soft texture area, we are going to use certain technique and hatching and shading style. Please look forward to the shading part. After the drawing, don't forget to add the details. The details makes the difference between a good drawing and normal drawing. We really need to be careful with these areas. After this, we're going to a little speed up since the others would have the same process. Look at my handlebars, just add all the details in the middle parts. Those are the cream part of the macaron. Don't be afraid to use your eraser and redo your lines. The same process. Now we're almost doing the same thing that we just did with the previous two macaron. It just when it comes to the shading, the shading wise, the technique would be same, only the hand pressure and the hand direction would be different. Make sure you understand where each part of the macarons they are touching because those areas going to be a little darker. I know I always tell you near the line's the darkest, however here, near between two lines, even darker compared to the previous ones. Using 2B pencil. Hope you have followed so far. After this, we're going to change it to 2B, in order to start our shading. With our 2B pencil, let's look at our reference and start from the top part of the macaron and go slowly through all of them. Make sure you look at my hand movement. Your pencil is sharp. Of course, I know that I keep saying it. Now, what we have to do is to start with mid-tone shading. We should start from the side and gradually go towards the middle part and reduce the shading parts, you can see, compare the very left side from the outline. Now from the middle part, it's the hand pressure is being reduced. You're almost done. The first layer is complete. We are not going to go only with first layer. You can see how smooth and slowly we draw the first layer. Now with HB pencil, we create some hatching texture on the first layer. Look at it. Beautiful and organized lines. We're going to go shade another layer with different hand direction. Understanding the shading degree will depend on your subject and how much you have familiarized yourself with the B collection pencils, which I'm going to tell you all. You can see the difference between HD, a hatching style. Now we are using between B pencils and 2B. Look how I'm changing my hand direction. Look how sometimes we are doing vertical direction and sometimes horizontal. I'm creating and drawing the soft texture here, however, with line and mixing with shading style. It's very different from the previous cherries that we did. Here, I'm just taking off some areas that is too much to make sure I'm creating those mid-tones highlights and create a soft texture that we intended to. Look at the highlights we are putting on. You cannot do this with anything else. It's only kneaded eraser that you can shape in any way you want and create the highlight and lift up the pencil layers. After we created some mild texture, we're going to continue with our 2B sharp 2B pencil. Now it's time to clean up the top part with pencil eraser, really care about respecting the line and not go outside the line, anything, all the textures. Make sure that you respect your main outlines and you stay within unless your drawing has those on them. Please respect your outlines. Going towards the middle part, now, here for the first time, we are going to create this spongy texture for the middle part. For these areas, for the first macaron, we going to see it with a little more real speed. But for the next ones we can speed up a little. Let's have a look. Some areas I add some circles, certain textures. I don't even know how to call these, are these shapes? Are these no shapes? However, what I really appreciate if you could actually follow my hand movements and create the exact thing going around. Some areas, put more pressure, some more like black dots, and some areas with line drawings, circular hand movement, and go around complete it. It's quite hard to explain this part, these textures, but the best way to learn it and practice it is by looking at my hand movements. This is the cream area in the middle part. Make it really black so the middle part stands out and separate the top and bottom part of the macaron. Very slowly move your hand and go around the texture, the spongy part. How to create a texture is you have to become a little creative. Give highlights, reduce the highlights in some areas, as you can see with your kneaded eraser. As you saw, with kneaded eraser I removed some of the extra shadings. We could add more shadings later. Just with mild pressure at this part, you're just going through some dark and light shading currently. Look at the hand movement, from which part, how we are actually creating the texture, the direction of the pencil movement is very important. Then on those shadings we going to add textures, and create more textures around. You can see, even with the texture, the bottom part of the texture is dark here and we have some highlights around it, like here. Add more details around it. I'm really trying my best to explain the texture here however, it all depends on how you precisely looking at this tutorial and follow. Just we change our pencil to HB pencil so we could shade the area we are going. It's almost a second shading layer, which would be on top of the texture we just created. It will create a natural feeling. Then one more time you have to with your darker pencil, either 2B or 3B pencil to go on it and touch base all those areas that you created the texture before, and add more. The more texture feeling you create, the more natural your drawing will look, so please follow up and keep adding it. We're going to do the same for this area. As I mentioned, we're going to follow the same standard movements and shading ways we have done. The last layer we draw above the texture. It just is there in order for our texture not to feel raw. But after we revisit the textures for sure and give more color the same way we're going to do for this area. For this one, we started from the left corner, this is because we are drawing with right hand. If you saw from the right side, our paper might get really dirty from the pencil traces so it's better start from the left and slowly go towards the right. I will advice you to have a piece of paper underneath your hand. Again, exactly like previous layer with our HB pencil, we're going to go on it as the first layer and shade the area. Have a look at the hand movement. Keep creating that texture. Really small details. These small details determine that your texture looks natural and good or not. Again, go on it and shade another layer. Leave the white highlights out, please. As you can see, it's not just the area that I pointed out right now, but a lot of those areas we're using kneaded eraser, actually has lots of light and bright areas. One more time, retouch all the textures because we have shaded the area with our HB pencil. With a darker pencil like 2B we go on it and create the texture in order to feel more dimensional, more feeling. Again, the way we're going to go through starts, the first layer, obviously with HB or 2B pencil depends on what you have. We are using a 2B pencil, the hand movement is very important. We have finished shading layer part of the macaron. We're going to use HB pencil. Then after the second layer we have to change our hand direction. Even the position of the hand is different. Look at the texture being created it's between shading and hatching. One more time with our kneaded eraser, we go round. Leave some of the shading. It should be near the texture drawing part then we go on it with HB pencil only on those areas. Near the lines, have a look. These technique is going to be done for the rest. The only difference would be we just going to change the pencils to either lighter ones are darker ones depending on the color version we are doing. For instance, as I mentioned to you pink would be much lighter than purple and green, and orange would be the lightest one. If you have other references and you couldn't understand which one should be lighter and darker, please do ask me, it is very important you ask me this question and I guide you, so from the beginning you get familiar, you get used to go through the shading in a right away. If you keep shading in a wrong way, you will learn it like that and you feel like that's the way to do it. As you can see here, another technique we have learned is not just hand direction, but going on the shading with H or 2H pencil for what we do have both would be suitable. We can continue with this. This is a great technique to give more subtle feeling to your drawing, makes them looks like more natural and blend the previous layers perfectly with each other. We're using it on different areas right now, just not one. We haven't used the 2B. This is a 2B pencil, you started using flushing of the places, the textures. Look how more naturally looks like, just by refreshing up the black parts of the texture, this spongy part. We either go on at them, refresh them, or add more details such as dot drawings on them. It's not likely dot so don't make it like crazy dot drawing. But just if you could make it how we are going through and follow the hand movement. I would really like to see your practices on these, using the pencil eraser in order to create absolute highlights. It's important to use this at some point. Just lifting up some areas in order to give the natural feeling. Even if you do want macaron and send me the practice, that will be enough. The rest, they are like bonus. For this one, we're going to go a little faster for those. I just want to do one really quickly. For the next one, as you can see, we are going to add sesame seeds, and it has a texture of the sesame seeds that the previous one didn't have. Just taking off the rubbers. Now, let's see how this one is different from the previous one and from color wise as well. Now, using 2B pencil. However, this macaron is not as dark as the previous one since this one is pink and the previous one was purple. Obviously, it should be like less dark. Careful not to go to sesame seeds going around them, but not changing the pressure of the pencil. Just create the texture, look at the hand movement and how I keep changing it. Now, we're going not just shading, but the hatching shading, lifting up the areas that we want to leave, especially near the lines. I don't know how many times I have said it so far and you might get, she keeps repeating. I don't want to repeat a lot. I don't want to see it in your practices. Respect the outlines, do not go out of it. If you say why do you say so many times? I'm going to say, show me your practice. I'm expecting all your practices because we are going through this course together to get better at realistic drawing, shading, and creating stylish, free hand, amazing artworks. That's why I keep insisting I'm being a little strict here. Hope you don't mind it. Comparing to the previous one, you can see I have reduced my hand pressure even with the texture. The texture and the cream parts, again, the middle line, we will add more darkness, more pencil pressure, but not now. We have to see because if you suddenly add a lot of darkness, it would be too much and we cannot reduce a lot of it again with kneaded eraser. Now with 2H pencil, we are going to go through the hatching or hachure, which is called in French, for the tonal and shading effects and closely going through the parallel lines in different hand direction. This is the same technique. However, design with a line drawing that we use B collection pencils such as HB or 2B and then you blend the colors with H colors. This part, we haven't learned before. In between the two macarons, at the very beginning of our drawing, I mentioned when two outlines from two different markers they touch each other, you have to darken that area more, and that's what we're doing. As you can see, we keep going next to the line between the lines that have cross each other and add more color. We just reduce the color from the outline and it goes down so we can create that depth between them. Please pay attention where we are adding more shading and darkness. We're going to use a pencil eraser to make sure we still know the placement of the sesame seeds. The reason I can bring them back is because I didn't add too much pressure with our parcel in order to destroy them. Now, we're going to go around it with either B pencil or 2B pencil. We're going to go through the sesame shading slowly and without too much pressure, go around the small oval shape. Just complete the small oval shapes, but they're shaky versions of them, so they're not perfect ovals. Then again, go around them starting with near the outline. This time, I'm going between the sesame seeds place. Between the lines, these area it's much darker. The hand movement is important. Darken the areas in the right way. For this area, as you saw on the screen, we can use either B or 2B pencils. Really personal choice and it depends what pencil you have been using and what pencil you have purchased because I don't want to ask you to purchase a complete set if you don't want to. Always with maximum 2 or 4 pencils, you can complete this course. If you buy a small pack of HB, Faber Castell, like pencil set, you're good to go for the whole tutorial. You don't even have to get anything else except like if you have mono eraser and kneaded eraser, you're good for so many months. They are really not expensive. I think it's worth it. You have like minimum amount of tools and materials and you can complete the whole course. That's our main goal here. You don't have to buy lots of stuff. You don't have to damage your pocket for this course. Just whatever you have, that's good enough. It doesn't have to be brand. I keep saying this brand because it's a brand we're using. But if you have another one, like [inaudible] or any other brand that they have B collection from HB, like 4B or 8B, is good enough for you. Please follow my hand movements where I'm adding the darkness, which would be this part is a spongy texture. However, still with a spongy texture, I add more color near the lines and slowly reduce it when it goes a little above the outline. Look at this line between the spongy and the lower part of the macaron that I created. 2H pencil, go on it and add another layer. Again, we start shading the lower part. One point here. That's how with one color we can create different range of shading from light to dark while adding different layers. That's what we're going to do. We're going to create a lot of the lower part with our 2H pencil and then we're going to add with 2B. Now, that's the difference between this one and the previous one, that our focus wasn't on 2H but it was an HB and 2B. Now, we have shifted to lighter colors in order to reduce the color range we needed for between purple and pink. Even though with less color pencil, which is either H or 2H, between the two macarons, it should be darker, so don't forget this. You can see it's like a standard way of drawing, you keep repeating it and this is a great practice. I could have just chosen one macaron and do it, but just we're going through different color range and dark range and also the texture. You keep practicing. This practice will make you to get better and better. So far, we have been using 2H pencil. However, even with 2H, you can create different dark gray range here, near the line, near the outline, the lower one still darker. We have created that shadow we needed to. After that, we're going to use 2B pencil right now. Make sure the pencil is sharp enough. Look at the difference between 2H and 2B right now, very different. It's softer. You have learned the difference between the DH collection and B collection and which one has more graphite and which one has more clay. If you haven't go to the introduction parts and watch one more time, also, you can find them on your downloadable resources and projects because you need to go through them. I added a lot of bonus there so you go through them, get a lot of different information and enjoy. With 2H pencil change the principal direction and add more. The system is seats with our mono eraser, didn't go on down with a pencil. I'm mildly outline them. Not too much, please, I said mildly. I have seen some of my previous course similar practices. I'm not saying macaron, but it was during portrait drawing that I saw the outline that you send me as your practice. They are so dark that I have to keep saying the same thing to most of my students. Please reduce the pressure. That's why maybe I keep saying it all over because I keep seeing the same mistake and I want you guys to get progress. So keep mixing the B pencil with 2H. I'm starting the new one again with the 2H pencil because this one is orange so it needs to be lighter. For our third example, our hand direction, the texture, and the way we move and create all the details, they are all the same. It's only the pencil pressure that is different and we can use either the same pencil 2H and B or 2B, but just reduce your pencil. You don't have to go onto your free H or 4H and suddenly to HB, goes lower and lower. You don't have to do that. You just can reduce your hand pressure and pencil pressure and that's going to give you the results you need to, these areas near the lines, add more color. You can see I'm increasing the pressure a little between the two lines. Slowly we are doing it. Our crosshatching the opposite way, we keep continuing this to add more layer, a little even though now is crosshatching, but sometimes make it more circular movement when it's near the lines, especially the middle one's. The more layer with our crosshatch and add more details around here so it looks more realistic like the previous two that we draw. You can see how easy it is to create macarons with different dark range colors and of course, soft texture and the spongy texture. It needs you to practice and get yourself familiar with your pencil colors. We can keep using 2H for the shading, so this stays lighter, but we can add a layers in different places, so they will become darker but with the same pencil. We go back between HB pencil and 2H pencil. Whenever we want the texture part to get darker, always use HB which is darker than H ones. Look at here, the corner. It should give you that feeling that is empty. That's why we are creating really dark point over there. Circular hand movement. You're creating texture exactly like the previous two. It just we are reducing our hand pressure. Please follow the hand movement, really looking forward to seeing your practices. No pressure from this side, however, do add pressure on this part right now. After this, you going to add 2H pencil little by little, to cut the lower part of the macaron follows the same movement like this. Look at my hand, how I'm holding it and how I'm moving it. Now you are very familiar with this hatching, I can't say very well after doing 2.5 we are almost completing the third one, you know the drill, you know how to do it and I expect to see the same texture from you. No, excuse, you have seen it so many time so you can do it. One tape. You just saw how I showed you the pencil. Hold the pencil from the 1/3 of its end part and free your hand. Make sure you're having a very free hand movement. The more you shade, the more organized they become, especially the end-part because maybe let's consider this a table or a surface that our macarons under. This part needs to be darker obviously. Organize your colors with 2H pencil. Now it's time to draw the macaron shadows. First we start with the main outline darkening as you saw and we arrowed it few seconds ago. Now the area should have more line strokes. We draw from the main outlines and go towards the left. Draw free lines. As you can see, just hold your pencil from the bottom part, the blunt part of the end and draw more spacious line. Now, the last one, we're going to go through the last one. By this, it means we are almost close to end this tutorial. However, the shading for this one is going to be different from the other three macaron that we have done. It's very important you pay attention and go through this one. Practice at the same time and start from the outline, always darken near the main outline. The direction of the hand movement is quite important. Some might ask why we hold the pencil like that. Because if we hold the pencil very close to the T part is creates darker color with too much control and a little unnatural feeling so I suggest you practice holding the pencil we have showed you the way we changed the hand direction and add more pressure. Going between 2H and HB pencil, shade additional layers for this area. Look how we are adding it from another angle, again. A great different from the other three of them. Slowly go towards the texture, the spongy part, the middle part of our macaron. Again with our kneaded eraser, lift off some of the areas and add some texture. Look how beautifully it lifts off the color pencil from our paper. The hand direction from top to bottom. Do pay attention to the hand movement and practice after the same from horizontal to vertical, to different degree, 20 percent. Right now, we have completely change our hand direction again with 2B pencil. We're going to add more circular hand motion. Not touching a star. We will add more texture over there because it's close to the table. It needs to have darker parts over there. As you can see, compare this one to the macaron next to it because that one was orange, it was very light, and this one either between the purple or green, the two of them were the darkest that we had. They need to have similar color pattern. For this part, we can go a little faster. As we are going through the texture faster, we know that we are going to use a few different pencils, such as HB and 2H or 2B. What's important, you follow my hand movement and the pencil direction. Now we are adding the middle part, spongy textures. Again, don't forget to blend the colors with 2H pencil. Lift any area you need to. Don't be afraid to do that. Just don't add too much pressure so you cannot lift them up later. The other part of this spongy. As you can see, we are going fast, but you have seen the real speed so I assume that you actually not going to go this fast. Two different pencil direction adding a second. This is almost a third layer. Both direction you go adding more texture in between. Circular hand movement and dot drawing, creating highlights with our kneaded eraser. Let's look at it some real speed so you remember not to speed up when you're drawing. Slowly, blending hatching textures with each other. Going faster again, one more time. At some point, we have to start adding the shading the same way we did for the previous version with very subtle color, however, from dark to light free line drawings. I keep saying different colors on the screen is only because you need to know that you can use any of this. It doesn't have to be one or the other. Choose the one that you're comfortable with and you're happy with your hand pressure and the pencil pressure and keep using it. Everyone, I really hope you enjoyed this tutorial. These are the last details we are adding. Just feel more dark shading and is done. This was a very, very important tutorial that covered using different pencils, different shading and hatching method, and how to analyze colors from actual colors to black and white. We add more details around here and we are almost done. I expect you'll practice this after you have watched the lessons. Please do send me them. Any last details you want to add, you're free to do, but just don't over do it. Know when to start and when to stop. These are the last touches. We go around and create the parts we want to. See you in the next tutorial and bye bye. 6. Drawing a Modern Still Life Composition: Hello and welcome back to another tutorial. This time we are going to learn a still life drawing. Starting with a light sketch as always, let's go through our sketching with our HB pencil. Look at my hand movement, how I'm holding the pencil and how I'm going to start. The photo reference of these are still life. You can find it within your downloadable resources and project, and also assignments, you will find it. As I mentioned with lighter sketch, we are going to go through in each of our sketching. The material of our first object is steel. Therefore, the light reflection would be much more than other objects that we are going to draw here. The reflection means we can see and also should draw a symmetrical version of our subject as well. In a still life drawing, we have to draw them in a normal and natural size of how they are, or a little smaller. Drawing a big version shows exaggeration of any subject drawing and is not suitable for realistic drawing, especially when it comes to still life. So far we're up and going for the first object. We have drawn actually the main shape of our first object. Let's add the rest of its details. All this, the first shape and its placement, very important as it will determine where would be the rest and how we can place the rest around this object. Look at my hand well when I'm holding the pencil. Making sure it's very symmetrical, of the same size. Look at the importance of pencil holding. The way we are holding it here, it will give us more freedom and also the sketches are so mild, so it's easier to correct them later. Almost done with this part, going to start the rest of it. Make sure you take your time well while drawing the first sketch outlines. They are very important to draw symmetrical lines in between. Again, this is the space between them, the negative space that I'm going to show you, these areas. You need to make sure you understand where are the negative space, where the three main outlies the middle one, and also the two lines on the side. While we are drawing freehand here, but you can draw a guideline, again, as I showed you on the screen. Then the middle line and then continue to go and draw in between now. Keep drawing the two lines on each side. Our negative space that I showed you before will determine the rest of the space, the rest of the object, and where they should be. So constantly, draw the two sides at the same time. We have to pay attention to the curviness of our object as they are not as straight, as you can see. We do have our fruit here. We have a mandarin here. In a still life placement, if you have fruit or other examples but the numbers to be odd rather than even, this creates harmony in the whole scene of our composition. It doesn't mean we cannot do even color and numbers, so don't be mistaken. But when it comes to the beginning of our still life drawing and learning about composition, always odd numbers looks better when it comes to these drawings. Another point that is important is the shading between the objects next to each other and how you place them. For instance, if you have mandarin this size and this shape, it's better to place a strawberry or another example that their shape is different from mandarin or even their colors. However, this doesn't mean using even numbers or equally using the same colors are not suitable for a still life. At the end it's all about how you place them as you saw on the picture. Different famous still life artists. The first one I showed you was Henri Fantin-Latour. Also, you can look at how he has placed all the subjects, the fruits next to each other. If you want to practice not from what I have given you but practice from masters, I assume that you go through the ones that I introduce you and it's correct composition and coloring. Always get your example from masters, so you do have the best ones next to you as your reference. Now that we have drawn the mandarin, we can now to go through the rest of them. Make sure you notice the sizes and compare each one of them inside the fruit bowl. So we are drawing the rest of them that we just saw on the picture. All will go back to your practice and observing old masters works and how they have placed their scenes and drawn from them. I will like you when you take on a course, I know maybe you're busy and you have lots of work, but it's good that you do a little more research around them, get the best reference. I have tried my best to give you more reference on your downloadable resources, but of course, you can search more and get the examples that really interest you and practice from them. Because if you love your reference, what you are drawing from, your drawing is going to look so much better. I have seen that from my own drawings. Even the mandarin placement on a plate is very important. As you can see, we are drawing in order not to make them look like a mountain or on top of each other, but give them a sense of neat harmony, place them in a way that it feels they are placed very naturally, but not forcefully. Why creating a still live scene? Even if you have placed them yourself for your audience or for your ideas, it should feel like they happen just to be there. You haven't forced it. So make sure you just do it naturally. Pay attention to the negative space of the mandarin and also how you draw them. As mentioned previously, we are drawing a freehand style, but you can always use center line measurement. Just doing some touching on our sketch and I'm going to go through our reflection now. Look at the reflection of the mandarin on our steel. Here we started drawing and not only we have mandarin reflection, we have its light reflection as well here. Make sure you look at where is the shadow of everything and how they're placed, since we don't know when is the sunlight is coming from on our subject, so we can assume it's from a certain place. I'm going to show it to you in a second. But one thing we have to understand is because all the objects shadows verifies this. Have a look at the shadow we're creating here. From here, the sun actually coming in. Actually, we have to make sure the shadow in comparison, and according to what we have, both the reflection and also the one on the floor. Have a look at my hand movement and where I'm actually placing the shadow. Just making sure all the outline is correctly done. Now, moving on to the second subject, we are having a blue water pitcher behind the fruit dish. We just started drawing the background horizontal here, which can be our table. We have to understand our distance, guys. Make sure that you understand your distance while drawing. I'm going to repeat myself. Either when it comes to still drawing, you draw exactly the size that you see or smaller. If you draw bigger, that's called exaggeration. While I'm drawing the freehand sketch, please keep practicing and draw your outlines. Look at my hand movement and how I holding the hand [inaudible]. This is the jar or the pitcher for the water. It's blue in our main example. The color is going to reflect the black and white, the shadows, the highlights that we're going to draw. Like how we learned in the previous tutorial about different color tones, which we had green, purple, pink, orange, and here we do have different styles and different textures. This is a great practice when it comes to line drawing and shadows hatching, and especially differentiating layers. Going back while watching this, as I mentioned, please keep practicing. Look at my hand movements where I'm connecting the two, the handle part. This is the initial drawing, so make sure that as much as you can, connect them correctly, we will actually go through them one more time with our line drawing. Look at the shadow over here. We know Verizon is coming from. From the top left part. Now, we do have lots of flowers coming out of these. We have to go draw our flower and make sure how they are placed in a natural way. One thing about the handle, we have to make sure the top part of the handle is featured than the lower part, as you can see, and all their reflection being drawn. We just occupy ourselves in order to draw the flowers for now. The flowers should be drawn in an organized way, both from size and also the height. Continue sketching in the meantime, and again, do not put them or draw them in unorganized way. Make sure you understand how to position them in a correct way, which would be a natural way. Go with your feeling, however your feeling is your God, is the best way to place everything. Now, we are going to speed up and go through the line just one more time and make sure that they are all correctly placed before actual drawing lines. We can see how we are going, and just touch base all the lines to make sure they're correctly drawn. Now, with our fabric pencil, 2B pencil, if you have yours, your H or HB pencil, that's perfect for initial drawing. However, for the first shading, obviously is good to use 2B or 4B depending on what kind of pencils you have. You still can use HB, but I suggest you give more color, you pick up something that has more color onto it. You learned about line drawings in the previous tutorials, we're going to go through it a little more into details. I will try to do more professional outline drawing in this tutorial, comparing to the previous lessons, and have a look where we have thicker or thinner lines. It's extremely important that you follow these and practice exactly how I'm doing here. It will help you tremendously in your future examples and drawings. Just erase the extra lines, the sketches that we have done at the very beginning. Continue your line drawing. Your pencil needs to be very sharp, everyone. The drawing part, the outline should be done very calmly, and this colors, the tone variation from, which I mentioned to you, a line too dark is very important. Do it as slow as possible and calmly. Follow along and practice, if you can, because if you see and draw, you're going to remember how to do and your hand gets warm up and gets used to it. Obviously, we need to correct all the sketches before going into the shading. This is a great practice. Let's watch this together, and I will come back within in a few minutes while we are done with the line drawing of this specific subject. Hope you're enjoying the music in between. I have more music, which they're my choices, hope you like them, if not, you can always either put it on silence or go fast forward. Rather than commentary, sometimes I prefer not to speed up and let you watch the whole thing. However, I'll let you know how many minutes the music is going to play and when I'm going to stop actually commenting because some parts they're almost the same. One point that you have to note is this area, the objects and the subject in our reference that we have when they are touching the surface, the lines would become a little thicker and bolder and darker, so you have to notice that like this part. Make sure the curviness and the lines are being done correctly. This skill that I'm showing it to you will help you to draw a portrait or any other subject as well. When you are drawing the oval shape, it needs to have some dents in order to look natural. Again, even with a meandering the areas that are lighter we obviously we draw lighter and thinner, but the areas touching this surface should be darker lines and a little thicker comparing to the rest. Here we added the peduncle and then go through the shading. Continuing with this shadow part around here. We already know we draw the sketches, we just have to confirm it one more time and then draw with more accuracy here. Look at the reflection that we already drew here, these are the details and the points makes your drawing more professional, more mature. As we mentioned before, the meandering reflection can also be seen here. We are just drawing that part, the circle, what you see in the reflection. You can see them on the table, so you have to bring them onto your subject as well since this is still the texture and the table. Look at the line drawing on its own, it's a beautiful drawing, it can be like, say, that it's completed. We don't even have to go through hatching or shading. While you have done your line drawing impatiently, you can say that I'm done with my drawing and that's acceptable. You can go a few steps forward and actually shade the parts, however, you can stop the moment we have actually finished the line drawing, which I'll tell you when we have done it. Still, I would like you to watch the whole thing. Let's not speed up for now, and go through the details of everything, and where I put thicker and thinner lines, very important. I'm going to continue this line drawing for now until we go through the whole thing. You're more than welcome if you would like to fast forward, I strongly recommend don't do it and watch the whole thing. But it's all about looking in my hand movements and actually following at the same time with your pencil and paper. Let's watch it together in around 27 minute onto the video I'll come back to you when we start the shading from the meandering part together. Let's have a look together, and I look really forward to receive only even this part of the drawing from you. If you don't want to go into the shading, that's still okay, that will be until 27th practice for you. If you don't have time to go through the whole thing, that's still acceptable as I mentioned before. Let's watch together, and without skipping this part, practice together. I hope you enjoy the rest of the music I've picked for you. I hope you enjoy so far, and also the music. Next hour I will try to go on to different music for you guys, a little different. I'll pick different ones. Here we have to add textures onto the handle of our vase. It's very important from now on you understand where are the details and where we don't have details. Before I actually start the shading, one point you need to know that it's not necessary to shade this in [inaudible] way if you don't want, and also you need to know that only with 2B or 4B pencil, we are about to start this. You can use any other material you have either it's charcoal pencil or brown color pencil and draw the outline without even shading. Up to you. Therefore, sketching is very important. What material is used for it depends on your style and personal reference. Now we have started the shading area. You should remember the details are the most important part. Here make sure we create those details while looking at our model and analyze the gradients bar in each subject. Here, while we are learning realistic shading, we're also going to touch up on unrealistic hatching as well so you get more familiar with both techniques. Also, make sure you don't darken the surface too much for the first layer. I mean like going through the first layer. If you look at the hand and pencil movement, we keep slowly adding layers and not all in one go. Do change the direction of your pencil movement while you're reaching the area. Look how we are changing since it's important, and know the sunlight direction on the subject as well. This way we can draw more precisely. The way I'm drawing I'm trying to show not just as a normal shading, but I'm trying to show the texture plus shading techniques. They're both coming together. It's a mix. Again we changed the direction of shading. We are creating a three dimensional subject and all depends on the pencil gradients and highlights. I'm not darkening the whole area just in one go. Some area is darker, some area is lighter, and some area is completely blank, like the highlight of the paper should actually stay on your paper. I know these are the facts. These are the techniques I keep repeating on every lesson, but if I repeat them, at some point you're going to memorize them, and for sure you're going to use them on your drawings. Look at this area which we considered the darkest area, as you can see. Also, this part that I'm drawing, another dark part. [inaudible] the surrounding of it, you need to realize where are the highlights. Keep repeating. Very important to look in my hand movement and where I'm adding shadows, how I keep changing the hand and pencil direction, where I'm giving more pencil pressure, when I'm reducing the pencil pressure. If you go all in one like shade the whole layer, the same pressure is not going to come out like this, so make sure that you remember to follow. This kind of shading for the shadows we have learned in the previous episode. While we learn this with our macarons, we're going to go and practice them one more time here. This is the real speed, as you can see. Please do not try to speed it up too much and go according to the same shadow and the color around. We have a great deal of highlights and shadows around here, so we have to keep some areas completely empty. We have negative space, as you know. We are shading the rest with the same color range and darkness, then later we come back to it. I'm going to add more layers on there. This is the first layer on everything we are doing. We'll go back to even the shadow, the mattering even this fruit bowl. Let's first give the shading for the first layer and then we go back onto them again. Another rule. I know that you know it by now. Make sure near the line is darker and gradually go to highlight, then again dark. Like around here, have a look how I'm doing. If you practice this shading on this fruit dish that I'm teaching you, you will be able to draw and shade anything that has a steel texture on the surface as well as a highlight and reflection. Really important to practice this while we are going through the whole lesson. Also, if you have noticed, we didn't turn the photo model into black and white this time. This is another point of view that you can learn from this tutorial, and that's how to learn and understand the colors and turn them into black and white drawing without using any app and program, and that's your understanding of colors. When you look at a colorful example, to find the darkest and lightest area and there is how they will be different via mid tons. One more point, never forget to keep your pencil sharp for realistic techniques. I keep changing the direction of my hand movement and also add the darkness certain area with the tip of our pencil, and barely it's touching the paper. Even if this is the first shading layer we are doing so far, it looks very realistic. Quite happy with the result. From left to right, drawing shading, you can go up and down. Have a look, I keep warming my hand left to right before I actually applying it on to do the double here. We are going to shade the area as well. Keep using 2B pencil. The same way we drew the previous shadow the same way we are applying the technique here as well. It starts from darker tone and goes on to highlight and fades. How smooth and free we are shading the area. You should do the same thing. This is the same shading technique we use for life drawings because you want to have the best result in the shortest amount of time. That's why we have to learn this shading as well. When you're drawing a whole body, like anatomy drawings or portrait drawings, still life drawings, botanics, anything, this shading will help you to achieve the realistic result in the shortest amount of time that you want. Look how we are adding it. Every moment that I go through a section, please, if you need do pause, draw it, watch it one more time, see how my hand works. Is it from left to right, is it going to shade this area, are we shading some other parts, and then resume it and complete while you're practicing. It's the best way to practice this one since it's one step forward from the previous lesson that we've been through. It's extremely important you, I'm not saying master your shading, but actually, it's one step towards advanced shading because in the next future lessons, we are entering our skeleton, we're entering anatomy and face drawing, portrait drawing eyes, lips, nose. This is the last lesson on these to help you through your shading. Now we are ready after the shading and after, of course, we practice ready to move on to the subjects. Let's go through these mandarins now. As I mentioned, this technique definitely will improve your speed while drawing live drawing, bearing fruit and meandering reflections and then the ones inside the bowl. As we are going for the rest of the fruits make sure you understand where are the midtones, the highlights and the extreme blackness, the dark parts, as I'm just showing it to you on the screen. You'll have to make sure you place the dark parts correctly because that's going to determine if it looks natural or not. If you noticed, until now we have used only one pencil and also we are done with revamping the midtones and even some dark parts with it and that's to be either the line drawing or the first layer shading, so all done with one pencil. I didn't even use another. I could have even drawn these sketches with this. If you are suddenly going to the park, you want to draw, say, I don't have any materials, I cannot do that. Just pick up your notebook, your drawing pad with one pencil and start drawing. You've put so much effort, you've got the lessons, you do have my guidance, and any time you want to ask questions on anything I'm always online and on time, hopefully. I just want to see you guys progress. Therefore, your practice is what really makes me happy when they come through. The shadings of all these areas depends on your pencil pressure and hand movement. I'll let you watch for this area, and after we have finished the flower jar we will go through the surface, the table, and then we will start this second layer shading with a little stronger pencil which I will not tell you yet until you watch and go through this area. I'm going to pick up another one of my music choices and we're going to go through the shading one more time together. Do not escape please. Watch, at the same time enjoy the music. As far as we know the dark part is important, the midtones and where we are having the highlights. Understand them from the screen, understand them from the hand movements and follow along. Let's watch together until we go through the whole thing. But one thing about the jar, the hand movement and the pencil pressure would be very important here, how you go through that. Is it horizontal, vertical drawing? You have to understand your subject while shading. That's very important because I can not suddenly go left or right for this area. I have to see if I'm going from top to bottom part. Is it horizontal, is it vertical shading? Those are really important factors you have to understand both from the tutorial and also your subjects. I will come back to you with more techniques, introduction and also the second layer around 40 minute 48, so let's watch together and practice. Hope you enjoyed so far. As you can see, we have gone through a lot of the areas, changed a lot of the pencil movement in our direction, and the handle where it should be darker comparing to the base part. Also, the flowers where they should be more black, and where they should be lighter. Also, the petals, make sure that you follow the petals of the flowers. Now with our pencil 4b or you can use 6b. We're going back from the beginning and start shading and keep continuing what we have done just with more color. Pay attention which area was darker and which area was lighter. I'm going to compare these areas dark, so I have to go through them with much darker like this 4b and add our second layer. You will see the difference now from the line drawing, from the first layer. Now we are going through the second layer, how they're going to look like. I just showed you the area that should be darker and now I'm going to cover them both now and later. The shading is exactly the same way we have done for the first layer, it just adding on to it. You have to remember your hand movement and how you have applied them before. For the first layer whenever you need to use kneaded eraser lift some of the areas with a kneaded eraser and then continue shading. You can see how much I like even the second layer, but we are going through the third and fourth layer. That's the importance of layering. You can also do it with some hatching lines as well, not just shading. It's a very personal choice. However, do please follow the same technique I'm using here. Look, where I'm adding more color and less. That's a reflection of our mandarin on our fruit on the table. This is definitely it's not a wooden table because we can see their reflection on it. See because we have used a good amount of pressure, we can lift up with our pencil eraser and create the highlight that we want to. What we just did with our pencil eraser is the obvious light we needed to have for this area. These details shading going on it even on the obvious highlight a little hint of black and that will show how much you care about details. Look at the reflection here. First I cared about the same size of the mandarin of our fruit to be drawn. I respect that not our outlies and not go out, while shading not to go out of the line. Also, I drew the shadow of the reflection as well, not just the fruit itself. I made sure that the black point on the mandarin and on its reflection on the table, they're on the same side and almost the same size. Very important you pay attention to this point and still how I'm handling the pencil, how I'm holding it's very important. Look from left to right, then above horizontal. It's a cross-hatching technique what we are using here, instead of I say left to right or up and down. We are doing cross-hatching details around here. Keep layering. It's a combination of shading and hatching style here. See how in a curvy way I'm shading the area. If you compare just the left side that I've been working for the last few minutes and compare it to the other part of the drawing, the shading, you can see the difference. How livelier it looks like, how more realistic it looks like. It all depends on your effort and how much time you put for your drawings. You're going to add much more darkness now around here, have a look. However, I'm not going to press too much. You don't need to, your pencil has enough color to do the job. You just have to go on a right part and just add few layers like this. Do not tear apart on your drawings by pressing too much. Just layer up. Exactly the same areas, I'm going to add more darkness. Look how in a delicate way, I added dark parts. Pencil movement is very important here. Keep your highlights, please do not get rid of them. This absolute highlight makes your shading look absolutely beautiful. Now, look at the difference. If you go a few seconds back before I created the highlight with the pencil eraser looks completely different. Keep adding layers. I'm not going to change the direction or add anything crazy suddenly, I'm just adding the second layer exactly how we did within the first layer. Here we're going to add another absolute highlight with our pencil eraser. One more time look at the difference now, and few seconds ago. Instead of hand, I advise you to get rid of the rubber parts with maybe a clean brush or a tissue, rather than your hands. Just I don't have it next to me in order to use it. Because it's going to be smudgy all over, and you're going to ruin the beauty of your drawing. You have to use a lot of more eraser in order to get rid of those smudgy parts. I just sharpened the pencil one more time, that's why it took me a while. Quickly sharpen your pencil if you feel they are not. Because if the tip part of the pencil is a little not sharp, it's not going to give you this effect. I was about to say try it, but hopefully, you won't try it, you will actually sharpen your pencils while drawing this tutorial. Just going back and forth on some of the areas that needs to be darkened. You have to really enjoy what you are drawing and creating different textures, creating well, obviously anything from a white paper should be enjoyable. I hope that you're actually enjoying this tutorial, going through your downloadable resources, read about all the materials I put there, and create your artworks. When it comes to the areas that it feels like 3D even way more than others use the advantage of your dark parts of the pencil pressure. Like here and also the parts that we just did a few seconds ago near the fruits. Look at the shadow part. Precisely next to the fruit bowl. Very freely keep adding. I have mentioned hundreds of times, and you're going to be like, she's mentioning one more time. Do it freely without any pressure. Just enjoy the shading rather than just struggling to shade. Really don't force your shading. Just let it flow. Let's go through another. The music that I picked for you. The reason I picked this certain music, because it really helps me to focus while drawing. I'm just wondering if it actually helped you as well. Do let me know if you like or don't like this type of music so I actually can change or make it better, or hopefully keep the ones that I have. Before we actually go through the music, one more point that you have to note is make sure that your shading is not too strong, even your second or third layer, so you can clean it up and make some rooms for the highlight of the rest. You can see we do have some shading left on the table, but the highlight of our water jar, it's going to look so much better. [inaudible] Have a look how I'm going through it one more time. It looks like we have dark areas and also midtown and highlights on both side, on top and the lower part. Now it all depends on, the [inaudible] pause this screen and pause this lesson, draw at the same time and complete your drawings. I'll come back to you around Venice in today one hour, and three to four minutes to the course. I'm back and I hope you enjoyed the music. I actually enjoyed it while I go through the shading with you guys. The meantime, I practice again, this one with you. I hope you practice at the same time as well. Now going through the petals of the flower. This one, it's really a personal touch. You want it to be more realistic or you want to leave it as less realistic. If I work on it, like way more, it's going to take us a few more hours because realistic drawings you need to at least spend around only on the petal, on the flowers, maybe one to two hours if you want them to look extremely hyper realistic. Since we don't want to spend like one to two hours on that, because I did have a lot of comment from you that you want to finish your practices within one sitting. We keep it short and I am trying to do my best to keep it short. Let's go through the shading a little faster for now for these areas. Why I'm going a little faster, however, let's not forget near the line should be darker. Also, don't forget about the textures. The only thing I'm doing it just adding another layer. You could have done this the same time you were doing the second or different layer. Now, this is just good behavior from us. Just keep adding and adding more layers. Because if I go on it one more time, even after this, which we are not, its going to even looks more realistic. The more you add with minimum amount of pressure, you will create a much better version of realistic drawing and the subjects that you have chosen. Have a look. We are just creating some cross-hatching, adding more layers around exactly the same areas and lift some of the past to give even more highlights the same areas. Keep out layering. My hand movement and pressure haven't changed a bit. The same calmness, the same minimum pressure all over the areas. This are the places that we have done before. As for these areas, we are going extremely fast. You can actually stop. You don't need to add more. For now, let's see if you add a little hatching and also cross-hatching behind our subjects. How it's going to look like, it's completely a personal choice. You do it. I just want to show it to you how they will look like. If you want to apply, you can apply. If you don't want to apply, you don't have to apply. Let's have a look how I'm doing. I'm going around. Entirely we use maximum two pencils if we eliminate the first H or HB pencil for a sketching because you can actually use HB or 2B. Especially 2B, and entirely going around the whole thing. Do not limit yourself when it comes to mediums and especially when it's pencil, you can only use two to three pencils and that's it. I hope you really enjoyed this tutorial. It was Log 1 and I see you in the next one to start a portrait. For now, bye bye. 7. Facial Human Anatomy : Hi everyone, welcome back. Today we are going to learn about human skeleton anatomy, focusing on the head part. Let's start the sketching part as always like the previous tutorials in freehand style together. What we're going through as usual would be sketching, line drawing, and correction, then shading. Have a look at the screen, I have compared the real face and this skeleton with each other. As we are going to learn different part of human head skeleton and why it's important to learn this one before actually going into the human feature face drawings and also complete portrait drawing and shading. As always, you will find more information on the assignments section, your project, and downloadable resources such as this that you're seeing on the screen. All these outliers they're available that you could like, print and follow. Have a look, I have already started the freehand. You can always pause and follow the hand movement and continue. It is advisable you print out the picture and also the outline, but if you're in rush to go ahead with the drawing, the freehand drawing that I'm showing it to you on the screen on this paper would be the best. I'm using right now Cass Art paper, which is cartridge. It's a very heavyweight paper like 300 gram and GSM. I have already even put a lot of outline of different skeleton and the comparison between a skeleton and human head with details on your project parts. Please go through those. Knowing the knowledge of a skeleton, it's very important and help later to draw more accurately, so please maybe you say why I need to learn this. It's okay to actually skip this part because in the next few tutorials we're going to go through facial features and details such as eyes, nose, lips. We're going to go through them one-by-one freehand drawing, shading and how to combine them together and do realistic portrait at the end. We're going to complete the initial sketch first. As always, please follow the hand movement drawing it with my HB pencil, which is suitable for a pencil drawing. These are the initial sketching, of course, make sure to draw in a subtle way. Look at the lines. I always make sure that the two lines they're parallel, so symmetrical. If you draw in a subtle way, whenever you wanted to erase, it will be really easy for you and your paper won't get dirty later. Our first sketching part is over now I'm adding the details. You can either follow this or download it on later and trace it from that. But I still advise you to go through this one. We draw where the eye is going to go and showed you how they should look symmetrical. Don't press the pencil please, too much. Also, the nose part, how they should look like comparing to the eyes. Now we're going to draw the jawbones after this, which goes onto the mouth. Follow the sketches closely, please. Have a look, they're almost symmetrical but no face even from the bone point of view, they're going to be 100 percent completely symmetrical. However, let's have a look how this is going to turn out. In the previous tutorial, we talked a lot about how to hold a pencil and when it comes to sketching or shading. I'm holding the end of the pencil so it's too far of the beginning from the tip to where I'm holding it should stay like empty and the last one for it, you hold it. Make sure to add the details. I always try not to speed up the drawing parts. The initial sketch and the drawing parts after the initial sketching is quite important for you to follow with the real-time speed. For shading, because shading has a certain technique that you keep following and practicing, that one you can speed it up. But when it comes to drawing, I even prefer that you slow it down if you have the program that slows it down, even do that or pause the screen and draw it, and then resume. Follow my hand movements and connect the lines. When it comes to even sketching, I do a lot of redoing. It doesn't mean even if you are a professional instructor, artists, you need to correct your sketching. It doesn't mean your sketch can be 100 percent sure perfect. There's nothing wrong to go and change your outliers to correct them. The important part is the correction of the outline. When you're shading, you don't shade on some paint that is wrong, you shade the outline that has been drawn correctly. It's quite important. Now I'm putting a little more pressure onto the pencil. We are now almost done with our initial sketching. Make sure all the areas are being done correctly. You can see actually on the screen that how this looks like with a real skeleton on the screen, so compare it with each other. Drawing of course, is quite different, however, when it comes to real skeleton, this is what we encounter. Where are the eyes, the nose, the teeth, the jaw, and the cheek parts, which between the main cheek parts and the upper part of the lips, those areas empty, as you can see, and the jawlines, obviously. This is how a real skeleton looks like. Now how we're going to actually do the facial feature on this, that's the interesting part and how we apply it. Really looking forward myself to go through those with you guys and show it to you how to do it with a freehand style. Not a lot of instructor, they do it, so I'm really looking forward without any grid or tracing we go through that and you'll learn it. Although I have prepared all the outlines and the grids for you, however, you do have them, so don't worry about not having anything on your downloadable resources. But in the meantime, as your teacher, I'm quite excited that we're going to go through a lot of freehand style and pencil measurement method really soon. Learning this is important. For the shading parts, I'm going to go fast forward a little so we don't spend too much time. As long as you learn how to do it, that's enough. I didn't use the eraser that much, that's why I just eliminate that part. This is our line drawing. Obviously, so far, if you have followed all the lessons, you're familiar with the line drawings, that we do have a thicker version and a thinner version. Where we're adding more pencil pressure and when we are reducing it, and this is one of those parts. One more time while we're going through this and you're following my hand movements and practice at the same time, hopefully. It's very important to practice at the same time. I'll review how we should do stuff. How we should start a drawing? First, you need to look at the end result for a few minutes, for a few seconds, depending on you. You need to look at it, analyze it, understand the dark points, the mid-tones, and the highlights. These three factors that I mentioned, you have to analyze them. Either you have a color version or you have the black and white version. If you cannot figure it out with a color version so far, you can either ask me or with your iPhone app, or if you have Androids with another app, make it black and white and look at your reference and analyze it. That's the very first step of any of our drawings. The second point that we have to follow after analyzing your reference would be the initial sketching. It doesn't mean with details, you have to figure out where is it, where everything is being placed, and go for it. That's quite important you understand it. You actually draw it and get the matter in hand. That's what we should say. You have analyzed your reference, now you have done your initial sketching. Be free, have fun with your sketch. Don't force yourself to be perfect. Draw and make sure it looks like your reference. With the second part of the drawing that I always go, I go make this sketch looks better and add the details. Then we do have line drawing, which would be now we are adding the line drawings. A thicker part and a thinner parts, which you can see some parts they don't have the similar boldness, pencil pressure, and some parts have less. The reason we have to do this, it's another drawing techniques that you don't even have to shade it, you can leave it as it is even in the previous lesson I mentioned. If you don't want to go to the shading part, that's still okay as well. While we are drawing the line drawing part, the reason we draw it is because we are creating dimension and the subject will look like more three-dimensional style. Here the nose is not exactly the same style. They can be. It all depends on your reference you're going through with it. So far this is a simple sketch, just adding the lines, create a beautiful piece on its own. Now, we are almost done with the eyes, moved onto the cheeks and the nose. We can see some of the size differences are different because people have different skulls and no one has the same size. But in traditional way, they can be symmetrical so that's why we try to make it as symmetrical as possible. You also saw the real skeleton on the screen a while ago. We're almost done with the drawing parts. We're going to start shading really soon. Just going to go through the details so let's finish the jaw lines and the cheek parts. Almost symmetrical. Now, later with very dark pencil, such as 6B or 8B, because we need to have really dark areas. We're going to start our shading. We picked out our 6B. Going to start with eyes and all these areas need to get really dark to fill they are empty. We can use either 6B, as I mentioned, or 8B for this part. Starting slowly from the coronary left side and gradually go through with it. Please pay attention to the pencil and how we move it for shading, which the pressure reduces towards the end. How we should reduce the pressure from this area towards the end. You have to make sure this part, and then gradually go to that [inaudible] light area around this part. Now looking at the line drawing from the opposite side, we can see the same movement and later we shall see both sides reach each other and create a nice balance. I know this is absolutely darkness, but we should not be hasty when we are shading it. We are having an absolute dark areas around here. Might layer black color we take it until the mid part of it. Then the circular hand motion we go on it so there won't be any white paper trace left. Follow the hand movement. Going a little faster on this area. Always start from the outline, create the dark areas, the midtown and leave alone the highlights please. Look at the hand direction and follow along. Now, let's start adding some 2B. Whenever you use a very dark shadow shading, you need to choose a lighter pencil to blend the previous layer. It's an absolute technique that you have learned so far. You have lighter colors like 2B or HV. H or 2H would be preferable pencils to blend the areas. Have a look at the hand movement, how I'm shading, changing our pencil to 2B because it's a lighter graphite pencil. The reason we changed it to 2B, as I mentioned, is we want to draw it blend area and drive in hatching style so please follow along. Pay attention to the pencil movement and practice after. You can see that the sizes between the hatching lines are more than the previous layer when it comes to the 2B pencil but the hand pressure is the same as before, like from the main outline towards the end of the line, we keep reducing the pressure. Free your hand across your pencil and your practice so your line drives becomes more confident. You really need to practice your lines so you confidently draw this. Going with 6B one more time. You're on your way towards [inaudible] drive so this is absolutely necessary to practice more. Whenever you need to hatch more and give more black color, please do so around this area. Now using this different pencil and technique on this section which would be stump blending in a second. Personally, for this course, I don't want you to face stumbling, lending, or brush. However, since at the very beginning of this course we introduced you to these tools. I would like you to see how they work and how we can make our work faster to finish the shading area. Because pencil when it's comes to realistic drawings, it's going to take a really long time, even more than color pencil to finish, because it's one color you have to make sure the shading comes out right. However, we do stump blending. We're going to go on it and shade the area. Look how we are doing circular motion. Slowly go around and see how the texture is going to take shape. We had a certain texture. It was obvious. Now is fading away and getting smoother which for me is not really ideal for this one. I do have a course that I use a lot of stump blending over there. However, sometimes for specific courses such as this, which is 100 percent sure realistic pencil drawing. I'm not going to suggest stump lending, so you do not need to buy this for this course. It just for you to understand and learn this technique. This is a mono eraser. When it's mono it means the tip of it is round better than the square version ones. Add highlights. Because we didn't add too much pressure, we can easily go ahead and clean and give highlights to the area. Have a look where we are creating the highlights. Now, let's compare the electric eraser. We are using it on the absolute dark area, which is so hard to do it with our previous pencil eraser and then we soften the outlines of the electric eraser with it. Now with 4B pencil, we can darken the area in order to manage these sketches and their closure at the same time. At some point we are going to stop working on this eye and start the next one. We will come back to it. However, for later on for additional layers. If you add too much, but maybe it will be even a lot, we have to stop at some point and move on to the next one and later come back for the second layer. Since we have learned one of the eyes, we can speed up this part and go through it faster. It will be exactly the same technique, starting from the outline for your hand drying, the same area has to be darken. Later on we're going to use 4B and 2B pencil, makes it this stamp blending. Then we continue. Make sure you know where the highlights and where are the shading the absolute darkness and go through it a little faster. At this part, you can see my hand moving and follow it. From each direction I go through and always start from the outline. Slowly go back. Now again with the blending stump, we're going to go on it and shade the area. If you want to keep the texture of the pencil, please do so. You don't have to use this. Again. You can continue this trend of using your pencil, such as 4B or 6B for the really dark area and go on a bit blending and stump. Even in the darkest areas that we shade, we need to have some highlights. Mid tones and very dark tones. We are almost done with the first layer of the eye. If you want to reach a better result put more time and effort on your shading parts, especially first the initial sketching parts and then shading. Now we're going to start darkening the nose area. Then we're going to use a lot of stamp blending on its own. You learn how to use just a stamp blending without actually shading. Now let us go through that technique and how it's going to look like, especially the texture and the color wise. Look at how I'm holding it. My stamp blending, the tip part of it, it has enough color on it. If it doesn't, you can create an additional pencil layers over on a paper and put some blending on it and get some powder, some darkness pigments on the tip off your stamp blending. Obviously stamp blending, it's very good when it comes to large areas. Even when it comes to creating details, stamp blending would be really great to create those details quicker than pencil. We keep working on the area with the stamp blending. We still have enough pencil pigment on it in order to create the shadows, the shading parts we need. With the help of the pencil around the outlines, we create more effects, the dark effects. Now again, we're start going on in one more time. You can use 4B here or 6B would be fine as well. Going to start the temple sites with this 4B pencil. Next to the lines all this are darker and moving away it gets lighter. After we created enough black surface, we going to use stamp blending on it. Look at my hand movement, how from dark to light and smoothly go around. I'll try not to speed up this lesson too much. However, it's in one hour and a half lesson. For those of you who don't have time, you can fast forward and go through the parts that you need to watch and practice. This is a lighter pencil we are using here, 2B. More towards hatching and crosshatching technique. As you can't see it's not complete shading. Then we going to go on it with stamp blending. Have a look how I changed the direction of my pencil and hand open. Now do both vertical and horizontal cross hatching. Look how many times I've changed my hand and how barely the pencil is touching the paper. Follow it accordingly and practice at the same time. Keep doing hatching and crosshatching and using blending stump. Again in few times you have to do this. We will do the same thing for the other side. Half we shade it from the line, dark and towards the light part. Because we have done this once, let's move a little faster on this area. Even though we are going a little speedy here at the same time, we haven't actually speed up the real process. You move with the same speed that we have started this tutorial and follow along. After we have done the other side, we're going to do some hatching on this area with our blending stump. Let's go through the hatching and crosshatching on this area. If needed, you can change the size of both the hatching lines and also the blending stump so you could cover a bigger area. Have a look, we're going through with it right now. Slowly go around. Just don't go all over. If possible, please follow my hand movements and where I'm actually adding the shading parts. The smile line area towards the cheekbones with hatching techniques and previous stamp blending layer. It's good to know that we could have the smile line here as well. You can see from the line, I added more color and then move towards the temple side of the head, reduce the pressure. We do have more light on the left side rather than the right side. Even for a skeleton we have here, depend how it's been photographed, our model. Depending on the photograph, you do have a certain lighting. Starting in the nose area, we shall have black parts mainly like the eyes. We could go through this area a little faster as well. Shading the nose area, it's really similar to the eyes shading that we have done. We do have really dark areas, mid tones and highlights, and you can use your blending stump and go on it. This is only the first layer that we have done. We can go on it later and add a few more layers to make it really dark. Completed the first layer for the nose with the 4B pencil and also stump blending or blending stump. You can call it both. Again, you can see from the line, I add more color. You can do this few times, even add the correction. Go on your outlines and correct the area. If you have followed me, you can do the correction here as well. It's good for practice. You can see even for the area, I keep my highlights. I don't go all over my highlight and blacken the entire surface making it looks neater. The line looks more organized. The jaw parts at the jawline needs to be darkened more especially next to the line. There are some darkness shading under the lips part, so let's go and create those dark areas using blending stump on the lips to darken it and also soften the texture of the pencil. If you're my previous student and you have already purchased the ultimate portrait drawing course, you do have all the materials including the suitable brushes and also blending stump in order to soften the textures. However for this course, I still advise just because of one lesson, you do not need to buy this and these ones unless you really want to try them for your portrait drawings that we're going to go through, and for this one. They're extremely cheap, you can buy the whole pack with really not a lot of money. Maybe maximum between $2 to $5 so depending on where you're buying it from. It is very personal choice if you want to go with it. As you can see, we use the stump blending around the lips area. The reason you're working like this is that we're determined to where everything should be, so we'll understand where are the dark parts, where are the light parts. That's why we put some areas darker and put some highlights and now go ahead with the onto the eyes one more time and blacken it again. It was just a general darkness. Now we're going to go keep using our 4B pencil. Keep going back to the eyes one more time and create a second layer of the darkness. I'm going through circular motion, look at my hand. They're all circular/oval motion. Mildly, we're going to go into the whiteness, but do not overdo it for this part. Mildly, it's like a touch base and that's it. Let it go. Look how and where we're adding the dark parts onto these areas. The darkness next to the nose should be more. When the pencil goes towards up, we should have less color going from here until the top, so reduce the color. Now we have to understand how to get all these parts mixed together, the previous layer and now the new layer. Have a look. This is important when you're mixing two layers together. One pass layer which especially being done with blending stump. Now we're going with our pencil 4B and we will go around darken more areas. You just have to refresh the darkness and add more pressure. Please do pay attention to my hand and direction and darken the area and continue it. Since you're going a little speedy here, look how I'm filling up the area. I mentioned once the left side is not the same tone, the same darkness as the right side so make sure you follow along. You haven't officially started the second layer yet. From here we're going to add some details so please watch and follow the eyebrow parts and also the lips and the teeth parts later. Even though I have mentioned this at the very beginning of this tutorial, first, you need to have an understanding where everything needs to be and do not add too much pressure. Keep adding next to the line more gray area. Let's move faster a little. The hatching parts has its own direction as well. Now we're adding the details for this area. Every time from the middle part, we go towards right or left the teeth becomes smaller. Have a look now, how you're going to give the detail for the lower one and also pay attention to the sizes. You can see both sides, both upper and lower will have the same. I was about to say, same issue but it's not an issue. It's actually natural. I would like to go onto this area a little with real-time speed so you can follow because this detail is quite important. Slowly adding the rest. After we are done with this area, later on we will complete a more accurate drawing and shading. We just placed the sketch, later we'll go on it and do a better job. Let's watch together and enjoy some music. Welcome back. I hope you enjoyed the music. For this area, we have to get rid of the previous sketch of the teeth part in order to draw better and harmonized parts. We'll start and go on the previous sketch, but this time with more detail and accuracy. For now we're going to look on this part. The upper part should go behind shading so they feel they belong to the same area. Look at here, I'm adding more shading on the left side. You can see we're not really putting too much pressure on the teeth part, just making some of them disappear with our hatching technique. For you to draw on jaw areas, jaw lines. According to the whole proportion, we're going to continue this area and shade it slowly, then with the eraser technique, we give some whiteness. Then more shadow around and also the more shadow around the eraser parts to make it really come out and looks more three-dimensional. Slowly, from the line and lower part, we're going to add shading. While we are shaping this area, we can go a little faster. Look where we have the dark areas, mid-tone, and the highlight. Now we are having both light and dark shadows in this area. We need to reduce the high pressure when we go up. After we have drawn it with hatching and line style, we're going to go on a bit circular motion; circular hand movement on this area. Add more pressure on the line drying so it pops out. I hope you followed and also enjoyed the music at the same time. We're going through the rest of the drawing it our fabric castle HB pencil, now hatching lines and blending the greenness around here. Create more depth. You can use either pencil eraser or an electric eraser. It just because we use lots of dark areas, we need to create highlights bit more a powerful eraser, which that will be electric eraser. We reduce some of the black parts and we are adding some grayish area around there. Have a look how we are cleaning the area. Every time you use an eraser on a pencil surface makes sure the border lines in the middle once they harsh, but you soften them with your pencil and less hand pressure and create a smooth border between the highlight and the shading area as we are doing right now. Now using some blending style brush for smooth purposes. For now, I'm going to pick up another one of my favorite music. Instead of speeding up, we can go through these together, and you can listen to some nice music while practicing exactly how we are shading. Just make sure that you understand how to use your pencil and where you should erase it and how you should soften the area. These are the points that we're going through right now. As you can see, you will have to make sure the pencils are sharp as well. Let's watch together and I'll come back to you soon. I hope you enjoyed the music so far. The music that I listen myself while drawing and painting. I draw on paper or Canvas or digital art that you should do. It really help me with focusing. While we are going a little faster onto this area, we are almost done with the layers. The layers that we're going to add would be like more shading, but same areas. You can add them and I'll let you watch it and follow along. The technique is the same. We are almost 18 minutes away from finishing this one. Instead of not showing it or going even faster than this, I'll let you to go ahead, watch it and practice at the same time, and I'll come back to you at the end of this tutorial. We'll listen to music for awhile and watch and follow along. Really looking forward to seeing your practices. You can see how much layer I have added. The left side, more shading, more layers, right side, less. Some parts you have to let it have some absolute highlight as you can see. Go ahead in different direction, add everything. Try to lift up some of the areas with kneaded eraser. Make sure you go on it again so it doesn't feel we haven't worked on those areas. Even if you feel like it's not necessary to have this eraser, that's fine. But kneaded eraser it's such a great tool to have for many mediums, and not just this for color pencil, pastel, etc. Going with real speed for the end part, we are almost really close to wrap up our skeleton. Also, we're really close to start facial features. I'm really excited going for those, learn about how to draw eyes. Freehand style, you do have all the outlines ready for you to download. However, I'm going to, as always, draw it in freehand style and shade it in a realistic way so you can follow along and get better how in old times masters used to draw and practice. We're going to go through the same techniques. The hatching for the draw parts, I'm really happy with it. It's the texture that I really like, usually the real texture of the pencils, really beautiful without either adding blending stump. Going to shade in between the lines and add more dark shadows. These little details that we are adding, the midtones are going to make a lot of difference on our drawings and shading. Continuing. These are really last touches wherever is needed. We're adding our pencil. If you wanted to only use maybe two or three pencils, that's still fine. You can use maybe HB, 2B, and 6B maximum, you don't have to go more than that. These are the last highlights we are creating which are needed or as a lifting some Some layers. This practice not just helps you with human face anatomy, but also we're happy with the techniques introduce you to shading step-by-step and boost your practice. Going through some of our lines drawings. You remember how we actually start our drawings? It's been initial sketching, how we figure out the freehand drawing, and also then we realize more detail sketches. Remember this area that I'm showing it to you needs to have a certain highlight, dark areas and complete darkness. The area that is dark, it's the two eyes, the temple size, and also the nose. These lines that we created, you can see the line, it's not really rough. We went on it with a different hatching shading style that you can see all over the areas. Make sure you understand the symmetrical shading for both sides. Make sure you analyze which area should be darker in these areas, and which area should be lighter. I hope you enjoyed this tutorial for now. Bye bye. 8. Learn the Different Face Shapes: Hello everyone. On today's topic, we are going to work on how to draw different shapes of different faces. You must have heard that some people have brown or diamond shape faces and different hairstyles and makes up with two different people. It all goes back to shape of the face. What shape of the face do we call round? What characteristics does it have when it comes to drawing and painting? I'm going to explain it to you based on the sample pictures. As we are looking at the sample that we are having in front of us, we do have oval, triangle, round, and square. Have a look at them. Slowly one by one, we're going to go through them. The first one, round face. In a round face, the length and the width of the face are almost equal and a circular shape can be seen in the overall shape and format of the face. Have a look how it feels like in a round face. The cheeks are full and the chin can hardly be seen. If you're going to determine an overall form for the round face, it will be a circle with equal length and have a look while I'm drawing for you. We are actually drawing a circle and showing you the equals to symmetrical feeling. This is a great practice for the future freehand drawings that we're going to go through. The next shape of the face will be oval shape. As I have mentioned before, the oval is the ideal shape of the face. Different hairstyles and makeup school really well with this. You can see it here on the picture. In this face, with the oval shape, the width of the face is less than the length of it. The face is actually longer. The cheeks are a bit wide and a bit of the chin is less than the round face. Actually, it can be seen. The forehead is the widest part of the face. It can be said that the oval face has the oval shape of an egg. Practice these shapes with me on a piece of paper. Or you can just have a look at this lesson and practice at the same time. You can see if they have more length and less width. The next form of the face you are going to discuss the heart-shaped, as you can see in the picture. If you pay close attention, the way the hair grows in the heart-shaped faces has the shape of the heart. In this type of the face the forehead is wide and the chin is pointed and sharp. The cheekbones and the width of the forehead are almost equal. The jawline are very thin. Let's have a look. This is the jawline. You can see how thin it is. If you draw a heart, it determines the overall form of the heart shape. Now, after this, the next shape of the face is a square shape. As you can see in the photograph. Also, this square-shape face is actually a square, can be seen in the overall shape of the face, making the face shorter and wider than the other shapes and the format of the face. In the shape of the face, the jawline is actually bold. The forehead is wide and the face is angled at the four corners of it. Look at the angles of the chin, even though we draw a square, but the draw lines looks like square as well. The view of the forehead almost equal. The bit of the jawline that gives a face it's a square-shaped. The width and the lengths are equal in this shape. The next one that we're going to go through and discuss is a diamond shape of the face. Then you can see in the photograph as well in the diamond-shaped face, the forehead is thin and narrow, the cheeks are wide and the chin is small. In contrast to the heart shape face in which the forehead is wide, the forehead is not wide in diamond shape face. Let's compare them with the heart. Have a look at the forehead and this one. You can't see the difference. The forehead is not as wide in the diamond-shaped face here. This is the diamond shape face in which the face is also long. If it draw a form like this, here's the length, and here's the width of the face. After that, we're going to go through a rectangular-shaped face. The face with a rectangular shape would be something like this photograph. While I'm going to show it to you. The jawline has a square shape, the length of the face is more than the width of it. The jaw is actually the widest part of the face. If we are going to determine a geometrical shape for it, it will be rectangle with more length and less width. These were the different shapes of the face view we went through. We are almost ready to go through the portrait drawing and learn more how to draw freehand purchase in the next tutorials. See you soon. 9. Learn the Unique Pencil Measuring Technique for Portraits: Hello. Welcome back to another tutorial. Here we are going through one of the most exciting lessons. Well, for me, it's very exciting. Every beginner's fear might be being precise when it comes to face or portrait drawing. There might be lots of questions when it comes to this lesson. These are the questions that we have received so many times in the past of couple of years. Today with this tutorial, let's get rid of all the fears, all those fear feeling and see how precise our freehand drawing [inaudible]. As you can see, we have a model. Let's see with our normal pencil. Let's go through our penciled measurement technique. We're going to learn how to divide the one-to-one feature. It means exactly what we see, we're going to draw it. I'm going to start drawing. You don't need to start with portrait, but with simpler shapes such as square or rectangular. But let's start with a challenge. The key to this tutorial is practice and persistent. Now, let's learn how to measure and apply on your paper. Of course, we have other methods as well, such as grids which we need to have exact rate the sizes that we have on the model to have it on the paper as well. But today, this pencil measurement technique, you will both train your eyes and hand on how to draw. As we talk, the questions I have heard a lot, how to start, where to start, do we need ruler, measurement? Should I just trace it? What should I do? Do I need my pencil to be a specific brand for me to do pencil measurement? No. Just go through this lesson, this tutorial and you will learn the most exact, precise way of how to do pencil measurement. We are going to start with guidance lines would be our horizontal and vertical line. Make sure they are straight and not shaky or curvy. As you can see, we have placed the pencil in the middle of the photo in order to make sure of your line being a straight compared to the edges of the paper. But if it's your first time, maybe just use ruler. It depends on your personal preference or choices. Compare all sides of the paper to make sure of the straightness. After a lot of practice, you won't even need a pencil even let alone a ruler. Now, we're going to go through the line drawing with horizontal and vertical lines and make sure that you use the same pencil for the pencil measurement. Either is HB or 2B for the beginning of this tutorial. Find the approximate middle part of the page and draw a line. Compare and analyze the face degree as well before drawing. Make sure. Look at my hand movements. I suggest you really print out this reference that I have put it on your downloadable resources of your project. Make sure that you have it in order to draw on an A4 paper. Like normal, look at my hand movements. How are we going to draw the line? This is the line and this is how it starts. I know it's not completely symmetrical and it's not supposed to be symmetrical. You have to find out the middle line and draw it, whatever the cost. Even if it's not the middle, that's still okay. You can make your line more visible by going on it as well. Draw the same exact line on your drawing paper. Go with it. Have a look at my hand movement, draw the line. What is important that at the end of the line, the lines did match both and be end of the chin. I'll just show it to you by actually drawing it what I mean. Look at the chin part. Here, you have to match the chin part on the other side. Look at my hand movement, how I'm actually measuring from the tip of the nose. Your nails and fingers, very important when it comes to this pencil measuring. Make sure you actually look at my hand movement precisely and do not fast-forward this tutorial at all. Let's size and see. Always double-check everything. One negative point about rulers, you will get used to numbers instead of trusting your eyes. For instance, realizing a two-centimeter distance not like this, but only by ruler's numbers. If you need more guidance lines, you will add them throughout the process. I know I have emphasized this a few times so far, very beginning, but every line even how I'm measuring it with my hand, in my nails with the pencil, really want you to follow at the same time. This is an extremely important tutorial for everyone who wants to get better at freehand drawing, pencil measurement, and how actually old masters used to do how. In university, you learn all these things I'm going to teach you. Next one is to learn the eye distance and measurement. Look how I place the pencil and ruler and don't forget to print out this model again. What we have to do to draw a line underneath the lower eyelid. Have a look. I'm going to actually show it to you with a line. Now, we have to draw it exactly on the paper as well. Please have a look how I'm going to measure it. The tip of the nose should be measured by the middle point. Now, we can measure the next part from the start of the hair root growth. Now, what we have to measure from the corner of the eye with respect to the middle line, see how we're measuring on paper now. Look at my hand movements. Very important to understand how I'm exactly doing this here. I always double-check. Look at the size exactly from that point and the line. With your HB pencil, gradually start drawing the eye. Also, measure the middle of the eye and where is it based near the line. Again, we have to compare the distance of all the eyes with the main lines such as upper eyelashes, upper line, and upper eyelid. There is this negative space which have been created here, look at it. Keep comparing both sides. If we keep comparing correctly, it will help you to reduce line drawings and come up with more precise sketches. We have talked about negative spaces a lot and applied on several previous lessons examples. After we measure the area from the upper line to the lower line, we have to draw the eyes distance from both corners and then quickly apply it on your paper before you forget the size that you measured with your pencil. Even your measurements are accurate. Make sure you draw it few times without shaky lines. Now, it's time to measure the right side of the iris. One important tip that you should keep in mind is that don't forget to keep your pencil tip the same size. Keep sharpening it the way it was before we start the tutorial. Now, let us start measuring the iris. I really hope you follow along. Right now, I'm sharpening the pencil in order to make sure the tip is the same size, but make sure you follow at the same time. If you need, pause the screen, look at it, watch one more time and then apply it. Another advice for complete beginners, if your drawings and sketching is not as strong yet and you are just starting this course, I suggest you draw with more guidance lines and make sure your eye, it looks rectangular for better understanding. After a while, you won't need any guidance lines anymore. Follow all the lessons specifically from the beginning until the end to make your drawing and shading strong. You can see how I'm going through the eye, the upper eyelid, how we have to measure the top part, specifically here. Keep measuring both sides and look at the distance from the two lines. Make sure the two lines, you understand it and you size a few times. You can see where we are adding the tear duct right now, the corner of the eye. It is time to make sure all the measurements and lines drawings are accurate before moving on. Double check everything, please. If at the beginning your drawing is not accurate, not precise, like how we are doing, don't worry. It's the first step. First steps are always the hardest. Again, follow my hand movements. Make sure that if you draw extra lines and you're not happy with them, you erase them. We're going to find out where the eyelashes should be. Measure it. Even the eyelash line, you have to measure it, how thick they are. This model has a very thick eyelash line. We need to make sure the size of the makeup line to be precise. Look at my hand movement. Making sure the eyelashes size one more time from different positions, from different angles. Look how I'm connecting the end part. I'm even sizing the end part of the eyelash line. Even if you think it's easy, I don't need to size it up. That's okay. All depends on you, but I do it like this and it usually becomes really precise. Hopefully you will follow and double check all your measurement. Have a look at my finger where I actually double check everything from the right side of the iris, and from the corner of the left side to the iris now. One more time. Making sure they're all precise. I changed it a little, small change, but I still did it. As we are measuring the lower eyelid, make sure to line is accurate. We can always use pencil eraser to make sure of it. Don't worry about erasing the lines. Just go for it, correct it, and then continue. Be patient guys. Make sure that you have the patience when you start drawing. This is the thin line below the eyes. Some might call it the eye wrinkles. We have to measure that one even too. Now we're measuring and then I'm going to draw the upper eyelid once from the middle part. I'm going to start from the middle and then go to the size, the left and the right and measure from the corner side of the eye. Look at my hand how I'm measuring it, and here, one more time. Real time speed, one of the tutorials I will never ever speed off for you guys because you have to even pause sometimes, watch it a few times and then continue. Maybe you're still doing initial sketches here. We're going to go on it and do our line drawings later. Pay attention how much I spend my time. Already 10 minutes and just simple sketching on one eye. Make sure that while you're going through it, even if it takes one hour to measure it, it takes one hour. No worries. Give it that amount of time. Still checking, skilled double-checking, triple checking before moving on. Now let's start to draw the pupil placement. I'm going to show the exact measurement of inside the eye. We have done the first eye sketch. Now we just draw the highlight. The highlight of the eye is really important. Measure the pupil size one more time from both sides of the iris. Look how I'm measuring. Even if you're not seeing it, it means the middle part of the pupil, I have a dot, and then I measure it until the end of the right side of the iris and the left side of the iris. Let's see how we should measure this one from the other side. We start at the right side eye. Let's make another measurement here from the center line until corner of the eye. Now from the corner of the eye until our main horizontal line, we have to make sure where we are drawing the second eye is correct, and therefore the horizontal line will be our main asset here. The two eyes are not very symmetrical photographed, so they are not on one line. Therefore, this is how we should measure it. Look how I'm actually going from here. I measure it one time going towards here. See how different they are. Exactly here would be our iris placement, but we need more confirmation. We will get help from our vertical guidance line, one more time to make sure about it. I can confirm the left side of the iris and also, instead of guessing the other side, I'm going to measure it. Now, here is confirmed. Now it's time for the pupil and the eyelashes line, the thickness of them. Have a look at my hand movement and how I'm placing it. This is the thickness going through. The size from the whiteness of the eyeballs until the iris will determine where would be the tear duct, the corner of the eye here. Now we have to go through that lower eyelid and size it up. Follow along slowly. We're going to complete our right side eye measurement. This is the pupil measurement from the iris. Have a look. We have to pay attention to the whiteness if the eye from the iris lines are close or far away, and then make sure that you draw the highlights. Highlight is really important because it's actually going to bring out the emotion from the eyes and makes the eyes livelier. After this from the corner of the eye until the nose edge part, we should keep measuring it from the corner here. Look at the corner and how I go for it. Complete the other side of the eye, the corner side. From the right side iris until the exact edge of the corner of the eye. Please be very careful when it comes to portrait measurement because with one single wrong measurement, everything can go wrong. Measuring the eyelashes length after this. Go on it, make sure of where you're are placing it. One point that maybe we all have heard a lot is that there is always one eye size in-between the two eyes, and that is the middle part measurement that I showed you earlier, but it's not like that all the time. It's not like a third eye exists in the middle. In a standard face, yes it does, but not all are like here between these two. We might have actually another eye size like here. I keep measuring the middle part, the third eye, I have to say, with our organic measurement. look at the corners, the tear duct. Doing the line under the eye right now. Bear in mind just everyone's face can be different, so it's not possible all the sizes in-between, especially the third eye, imagine your eye would be the same for everyone. Pencil measurement is the best when it comes to measuring. Just complement the lines, especially the upper eyelid, which is here from the middle part. It's very wise when you want to draw the upper eyelid, the lower eyelid, you start from the middle. You measure the middle part then you go towards the corner sides, both sides. If we draw a straight line here, you can compare the sizes. Let's look at the sizes one more time. On both sides, I'm going to add some details. You have to look at the angle and where are the details placed. Let me measure one more time making sure it's correct. From the tip of the pencil until my tip of my finger, my thumb, or its nail, that's how I measure it. Look how I'm doing my correction. Adding more lines around and just taking my time when I'm going through and sharpening my pencil. To draw the eyelashes, the way we should look at it, if we divide the face into three sections, eyebrows should be placed in the first one-third of the upper section, we have talked about this exactly here and here. Look at how we have divided it. With the help of our horizontal guidance line, we will size eyebrows from different places. Follow the hand mover and measurement here and start applying it. Now going through the exact size for the eyebrow and now in the middle part, the corner part, our model, even though she's a beautiful model, her eyebrows are quite close to the eyes. It's quite not usual, well, not for me if I'm comparing, which I should not compare myself. However, a lot of us our eyebrows, they're not so close to our upper eyelid; however, our model, it is like that, so it is quite unusual for me to draw such eyelashes so close to the upper eyelid. However, the measurements should be accurate and go through with it. Look how I'm measuring the middle part and add it. Measure all around the eyebrow and don't guess it as it's your first time practicing. So measure so many different parts of it and then draw it. Don't give it to the chance in a miracle way it's going to come out, no, you have to measure all sections. We are measuring the size between. Now we can draw some of the eyebrows hairs, the hair strokes. Follow how it looks like on our model. We have tutorials on how to do, the do's and don'ts, how not to do and we use eyebrows as our example. You can go to that tutorial, and make sure that that's the correct way of drawing eyebrows. Now I'm measuring one more time, double-checking. I think this time it's even triple-checking. Compare it to the horizontal and vertical lines. Make sure that you keep comparing it and measure a few times. Now, after this, after we made sure, and make sure that our pencil is sharp, I'm going to size the middle part of the eyebrow where the left part starts actually, and we're going to start drawing the left eyebrow. We'll go through the same measurement as we did previously. This is a great practice, but the other side. Interestingly, I do have, myself, even my previous students, we have a certain preference. Do we like the right side or the left side? Either when it comes to eye drawing or eyelashes or even eyebrows, we do have a side that is our preference. For me, interestingly, is the right side; right side eye or eyebrows, eyelashes that I prefer to draw. Left side is not the one that I prefer to draw interestingly. Maybe it's not that interesting. But let me know on the comments section if there is a side that you prefer to draw. However, it doesn't mean we're going to do lack measurement. We are going to do our best to put in even more effort on the part that we don't like to make sure absolutely it comes out the way it should. After this, we will start sketching the nose, so let's finish making sure the eyebrows have been done correctly. The middle part, especially one more time here. Now we can go start from the corner side of the eyelashes and the tear duct of the eye. We're going to start drawing the nose. And make sure that you compare it with the horizontal and vertical line where it should start. Those lines that I introduced to you earlier on this course. As we are going through the nose sketching, the top part of the nose in a standard nose should be placed in the top of one-third. Nose has different sizes and shapes on everyone. Now let's do another measurement from our guidance. You should do both sides at the same time for a nose. It's not like right side eye, left side eye. It should come at the same time. We should measure it at the same time. Look where I'm placing the corner side, the wings and also the tip part. It's very important to look at the nail, the thumb and the pencil, the tip part of the pencil, how I measure it? Just drawing additional line. The corner side from the two wings, the nose wings, look here. Usually this is the standard way, from the corner of the eye and the edge part of the nose. There will be a line on both sides, even though for this one, it's quite not symmetrical, but usually, it should be symmetrical. Now let's measure one more time and draw the nose wings. Understand the sizes from a few areas, not just one. Do this several times if needed. Do the correction before moving on. Even probably this part, the middle part of the nose. One more time we are measuring, really taking my time, to make sure that everything is correctly placed. We are going to watch together, practice and draw at the same time. However, I have to mention now the tip of the nose will determine where are the nostrils, like how here from the tip. Exactly this area which is not really in the middle, so we should not expect the middle line. Look at my hand, this part exactly. After that, we'll go through the corner of the nose. How we're drawing the nostrils, look at my hand movement where I'm placing it. One thing about pencil measuring is memory. Because when I'm measuring like here right away, I have to place it. Because if I don't place it, I'm going to forget where does my movement go, so I have to make sure I remember and apply it right way. Even the angle side, look how I'm actually measuring this part, it's very important. Eliminate the extra lines you don't need to. All of my hand movements, taking my time. If you draw a straight line here, the nostrils are actually not in line. You can see one of the nostrils stands higher than the other one. While I'm completing the other nostril, I'm going to measure a few times, and also from the other corner side. This way, the way we are measuring the overall shape of the nostrils and from the nose plate and the nostrils. This way we can see how important it is to measure every part very closely. If we draw our lines slightly upper or lower compared to our reference, the whole shape of the face will change, actually will not look the same. It will look good, but it's not going to look the same. We are doing realistic drawing course. Let's give it a try. Check one more time and do the adjustment on the nostril. We need to make sure even if we erase it, we draw it one more time. Even if we'd have to triple-check it. If you draw a straight line from the bottom, it can cross from the underneath of the nostrils here. Make sure you correct it. As your instructor, I won't expect your very first drawing and measurement to be exactly the same. You should not expect the same. It will be lovely if it happens. However, what I'm trying to say, do not force yourself to say, it doesn't look like that, is okay. Practice the second time, the third time and few more times when you're practicing, you're going to see the results. After this, we have the overall shape of the nose. We can start drawing the lips. Let's go through this part. Make sure first, the pencil's sharp. Sharpen your pencil. Then measure from the center point of our horizontal and vertical lines, that one until the very beginning of our lips. First outline. As I mentioned, for the lips, we are going to draw from this central point and understand almost where the lips should be. To draw the lips, we should use that exact central point and the axis line as our guide and find the right place from it. Look at it, have it go from the side of the eye and measure from the corner side of the lips and where it ends on the eye. This is exactly where it ends. Now I have my measurement, so here. These would be the corners of the lips as we draw, and if we draw a straight line as we did, we can exactly determine the corner of the lips. Drawing the lines is a great help to make sure each parts placement's correct. There's no limit in drawing these lines, how much you need to draw them. I'm not drawing a lot because I want you to get used to not drawing a lot of guidance line. But if you need to draw like 5, 6, or 7 of them, that's still okay. Look how I'm measuring the rest of the parts. All these pencil measurement will help your drawing skills tremendously. You'll see the result after a few times practicing. Continuing drawing the middle line, please follow the hand movement and go through both sides. As you can see, we have more volume on this side of the face, both on the nose and on the lips, the right side. You should also measure the length of the lips as well. Follow my hand movement where and which part I'm trying to double-check. The distance between the lip triangle and the guideline is a bit more, so we draw it higher a little. You can see we changed it and draw higher right now. Erase the areas that you felt it should be erased. It will all come together at one point after we have finished the overall sketch. Look how I'm correcting it. Actually it's good that I showed you the correction. Even my measurements, after so many years practice, still has flaws, so I'll have to double-check, triple check, and make sure that it's been done correctly. We fill this space that creates lips like this. Try to be precise with your measurement here. This is the middle line. Making sure I go through the rest of the measurement. At some point, you have to erase the unnecessary lines to avoid making mistakes. We don't need them. Not just a sketchbook, we want to create realistic drawing, so erase the extra lines. We measure the length of the lips again to see if it's accurate, which it is, and we move on to the lower lip part. Again, we will use our guideline to see where exactly it is placed. Here, in a second, I'm going to point at it. Start drawing the lower lip. There's an empty space between the lips, and because of the teeth, which we should consider and measure it, this is where it should be and we erase the additional lines. Then we're going to go through the side that actually connects the two; the upper lip and the lower lip. Still eliminating the lines that I don't need anymore , cleaning the surface. Here, this is the middle part. Even though it's not in the middle of the paper is still okay. Connecting the two parts here and here would be the rest of the lips drawing. As we observe, we should just do the adjustment and move to the corner of the lips. At some point, it feels like it should be a little higher so we clean it up. To determine where the chin is, we should draw from the middle of the central line and then start drawing it, also check the distance between the lower lip and the chin to make sure that the measurement is correct. After that what we should do now is to draw the overall shape of the face. Let's finish chin part now it will come the overall shape. I can even see the resemblance is really close so far, even we haven't started our hatching. In fact we learned about different shape faces and how many shapes we have, like we do have heart-shape, square-shape, this is one of the rectangular one and in fact the jaw lines equals the length of the forehead, we have talked about this before. So if you don't remember you can go from here guys before I actually explain which tutorial we should watch, make sure that you measure it like here , exactly this area. As I was saying, the tutorial about different shapes even though it's just explaining what is it is good to have a look, study different shapes. Have a look at my measurement, so the length of the face can be seen starting from the bottom and then beneath and then make sure that you size the other side, especially the jaw line. We should do our measurement one side at each and also from the corner of the eyes, make sure that the jaw lines, the corner of the eyes and from the lips. You do have a lot of different and there are a lot of potentials of where and how to do measurements like beneath the line of the nose, the ear from the lips, the corner of the lips to the jaw line. Here is from the tip of the nose until the main outline and also the other side. We're going to do a lot of correction so don't worry, if the jaw line is done is still not correct, we're going to go through it and make sure it's been measured correctly. Again as you can see we are measuring different parts of the face and then draw slowly connect each part slowly, having different angle, angle for the, look at my hand movement where I'm placing the pencil then slowly measure it on the other side. So if we need to measure it again and how we should adjust the carrier side of the face we should do it a few times, you saw previously we just measure from the corner of the lips to the point we could see the jaw line. Every time we measure we do the same thing from both sides and repeat the process. We go to the upper part and we start working on where the hair should be drawn, again where I'm placing the pencil measurement here exactly is where the hair can start growing hopefully. The hair grows from this exact middle point that we draw determining the overall shape of the face, the way the hair is standing and where it starts growing, so the roots part I mean. Look where is the angle of the ear and it's ending point. The ear can generally be drawn in the space between the nose line and the line underneath the eyebrow, we should consider the length of the ear and its details. Of course the hair goes above it so we don't have the full size of the ear. The measurement is almost correct we just have to eliminate some of the extra parts later. From every corner, every angle you believe that you should measure it please do so. I repeat the same process on the other side as well, please repeat after me. From the corner and the tip of the, especially the wing side, the part, the nostrils are the wing side. You can measure and make sure your measurement is correct. The oracle of the ear and the inner bone needs to be measured as well. So while we are going to draw the details for the ear, we're 90 percent through for the drawing parts. The next step would be actually more precise measuring and line drawing. Line drawing is the same the thickness and the thinness of our lines and where you put more pencil pressure and less pencil pressure. So I keep measuring the ear from the center line, make sure it's been done correctly. This one again is covered by hair, we should be aware of the hair volume because it affects the overall shape of the face and we're going to measure the length of the neck as well which would be somewhere like around here. Let's look from which side of the eye I started measuring. From here until the jaw line and also these two lines. These three points is quite important to determine where is the neckline. The same thing goes for the other side, we check one more time and if it's correct we move on. Even though the face is not really symmetrical it's such a great model for drawing. So the top part of the hair as I mentioned the volume of the hair is quite a lot here so we have to make sure that even for the hair drawing we're doing it correctly. Now almost the sketching part over, we're going to make just some final adjustments. Look how I'm actually holding the pencil here, it's quite different when I was making sure I'm being precise and holding it for exact measurement. Now the right side here. We're just adding the hair details, the strokes where we're having more obvious hair strokes and where we done. Then our sketching part is over. We're going to move towards the hatching part. Just making sure the tip of your pencil is sharp as always or it's the same size as it was when you started drawing. Follow this part as well. Simple pencil measurement we never expect that, wow, it's going to really come out correctly. Now actually we change our pencil to 2B pencil. You could use like H or HB pencil for the drawing parts. But now we can go for our 2B pencil which is a little darker, and with the sharp tip, we can draw the final dark lines on our sketches. Starting with the iris, but we are actually going to just point is adding line values. The line drawing that I always mentioned is our line value drawing, which is the last step before hatching, starting with the upper eyelid, and the corner of the eyes. Where I'm adding more pressure and less pressure. I will really like you guys so you could repeat after me. Again, make sure that your pencil is always sharp that's the most. These are the top part of the eyelashes. We just draw where the eyelash is located and the corner of eye using the hatching technique on the eye, we try to determine the overall shape of the iris before moving to the upper eyelid as we are doing right now. Understanding the space between the line of the upper eyelid, and the space between the nose and the eyes. We can hatch it right now. We can also determine the line of the lower eyelid and where are the eyelashes are located. The lower eyelid eyelashes, which is the exact overall shape of them. We can draw them later as well. Have a loop from placing it small just a hint of where they can be. Because actually our model doesn't have as much lower eyelids, eyelashes, more hatching on the iris. This is the pupil. Then we can just raise the guiding lines after that because we've got to go through the main hatching parts and we don't need them to stay there and keep staring at us. Whenever we are happy with our sketch, we can just erase our guiding lines. Then slowly after the outline for the nose, we're going to go through the nostrils, and the nose blade which are located from each other using hatching technique. Right now I'm going for the iris part of the left eye exactly the same way we did the right eye we're going to do this one as well. You should consider the corner, of the pupil of both eyes, the light, the darkness of the iris, the color of the iris as well, where the eyelashes are located and the overall space in which the eyelashes covered the eyes. All these factors are important in general, portraits, sketching. We have to care about details as well. Look how slowly I'm going to add more line value around here. Slowly going through the corners of the left eye on both sides, the tear duct. Just complete the tear duct whenever you feel this is a right time. After we completed the line value of drawing for the left side, we can delay the guideline for this area as well. Then later exactly how we did the other side, darken the nose, we can do the left side as well. However, if you look at our model on the right side and comprehend to the other ones. What's going on here, the left side doesn't have that special shadow. Look at the model like it's so bright that we have to consider this fact that the right side, we have to hatch more, we have to have more darkness comparing to the left side. We're going to draw the hair strokes on the eyebrows. We have learned about eyebrows and all other facial features drawing. We're going to quickly demonstrate it for you. But in order to go more into details, don't forget to go through all the shadings and also previous tutorials. You're not going to spend so much time on the eyebrow just to show you the general shape and the lines, do line value is our main point here. That's why we take away some of the darkness. Whenever we can with our eraser if this has been drawn too much. Why we are going for the second eyebrow. We have to start hatching the white part of the eye after this. Again now, we can actually delete all the guideline lines around here and use either pencil eraser or normal eraser. Then we're going to go through hatching the nostrils area. Now we can move to Dorothy lips after that. So have a look. Hope we are not actually adding another line on the nose for the left side because there's no shadow on our model. So we are not going to add that. A little soften the lines take away the darkest, then I'm going to go on and get our line value drawing. Look how I'm going to complete the upper lip and the lower one. Then of course, the middle line is quite important. Keep deleting the guidelines step-by-step, and go through the details of the lips. We try to make sure we get rid of the sketches that we don't need anymore. We could draw a more beautiful line, and more value onto it. Now it's starting to go through the cheekbone and the jawline and after that, we're going to go through the neckline as well. This part is quite easy part. Obviously and the right side, darker rather than the left side. Now it's time to go through the ear. We did a very thorough measurement for the ear, so just going through with it and going on the lines is enough. Now because we have drawn the entire face, the sketches, we can give ourselves the benefit of the doubt. Just go round, either go towards the neck, towards the ear, the lips suddenly. So you can move around because you don't have to be so precise anymore. Still, you have to be precise, but not when comparing when we were doing the pencil measurement. Make sure you sharpen your pencil every now and then. We move on to the other side of the face and complete the ear section. As mentioned before, this is line value drawing and technique has been thought in the previous tutorial, so make sure you follow all the practices. Slowly going through the hairlines and then the hair part, the hair strokes. Look how loose I draw it just without fear, but it's not that I don't look at my reference when I draw them. I try to trust the practices I have done and keep looking at my reference and draw what I see. So going around the face, a little hatching. We are not doing complete hatching as long as we give it a little color that's enough for us. But I will request that please put the hatching for now exactly where you see on your tutorial. More curvy hair strokes, we draw that like hair strands and complete the rest of the hair section right now. This sketching as I mentioned to you is called one-to-one portrait sketching for which I have given you all the needed information until now in the previous tutorials as well. Using this technique you can draw anything from portrait to stay alive and landscape. As you saw usin 10. How to use pencil measuring for front and side view portraits: Hello everyone and welcome back to another tutorial. In this lesson that I want to teach you today is about understanding sizes in portrait drawing. We're going to learn front view and side view approaches and see how this can be done. In the previous tutorial, you have learned about the front view portrait and we have drawn. This time we're just going to show it to you and compare. The most important point here is when it comes to the front view and side view angles, if you want to talk about most ideal form of the face, it will be an oval-shaped. Now, as we know oval is the most ideal shape, we need to divide it. We divide it from the middle part in which then would be the upper part and the lower part. Have a look how I'm going to divide it. This part and this part, upper part and the lower part. The eyes are part of stay exactly in the center of the face. Our model picture has been cut therefore, if we consider the upper part and lower part, the eyes will be placed exactly in the center. This is the same for the side view portrait drawing. It doesn't have the top part because the picture has been cut, but it's okay. Have a look, this one, and this one. It's exactly half, half. We draw the straight line and you saw I said the eyes in the center, you need to understand these forms in order to draw better. In a standard portrait size, the distance between two eyes can be filled with one eye. But most importantly, we should notice standard faces based on mathematics. But in reality, everyone's face is not the same. It's possible to have more distance between the two eyes in some people or they can be even closer. This is not a definite size for everyone, but with this measurement we are going to improve and be able to draw a standard portrait. Look at the iris ones, and very easily located in the center of the eyeball, the pupil located inside it and it's always dark. The eyelashes are located at the edge of the upper eyelid and lower eyelid. Upper eyelashes are always more than the lower eyelashes. Let's have a look. You can see if you take a look at the side of your photo, you can see it too. This is an eye which has makeup on and the lower eyelashes has been made up too. But for a natural faces without any makeup, we see the lower eyelashes very pale and thin, despite the upper eyelashes they're long. For women, the eyelashes are much more compared to men. Now let's learn about the eyebrows and where they should be placed. If we divide the face into 3 sections from hairline until the chin, the eyebrows locate in the 1/3 upper section. You can see if we go and count them. That's how it looks like. Now look at the eyebrows is actually in the top part and one part of the upper section, both of them so equal. If you memorize this, it will be really easier for the next tutorials coming up and how we're going to go through with them. The eyebrows crown is slope downward, eyebrows arch is here as you can see. Very in front view or side view, and at the end of the eyebrow, which is more recognizable in side view, we can draw a straight line. It passes from the upper of the line and makes our eyebrows archy. The eyebrows places in the first 1/3 of the face after that distance between the two eyebrows is variable. We can say that they are all the same as you can see. Have a look. The closer these eyebrows are to each other, the more eyebrows are like continuous. Generally in men, we see more fluffy hair around the eyebrows, but in women the iris are more in arch shape and clean with less fluffy hair. When it comes to actually the nose drawing after this, we go for the nose. It places in the second part of the face, the upper part was eyebrows and nose in the second part. It means that if we draw a line here, it should exactly pass from below the nose and ends at the end of the ear. Especially on the side view, have a look. I explained all the nose drawing before. This part is nasal cartilage and here's nasal bone. The cartilage is like that you can move with, but if you touch the bone part, it's hard and cohesive. Have a look at the Javier drawing and going through the T part and the top part of the nose and where all of them should be placed. After placing the eyebrows and nose, we reach to the final part. The final part is from the line under the nose up to the end of the chin, which lips are placing in that part, and a line under the chin is here. Keep actually having this picture in front of you and compare them. If I divide under the nose up to the chin into three parts, here's one part, two parts, and three parts. The upper line is where the lips start, the line between the two lips which we have at here and the line that forms lower lip and chin line. This is the middle line, and this is a middle line for the side view, as I showed you a few seconds ago. Look at how it has been divided and where everything goes. If you memorize a standard face shape, it will be really easy for you. From here, we divide the under nose to below the chin into three parts. The lips place here in this part. After the chin part, which we see is longer than this part, this means this part will be 1/4 and 4/4 for the part. Now the ears. How to measure ear is from under the nose until tip of the eyebrow. If you draw a vertical line from corner of the eye towards down from a front view should be parallel with the corner of the eye. Have a look, they're actually parallel. Generally the edges of the lips passes from the corner of the iris. It means that if suppose the corner of the iris and come downwards, it's where the lips of our mouth is placed. Have a look, I'm actually pointing at them. This composition, our variable, some people have wider lips, so the distance of this part can go lower and chin gets smaller. Some have concave chin and some have convex chin. Even for the form of the nose, some have arch under nose, some have a deep concave. All these that I told you, you can see in any standard faces. For specifying the hairline, if we consider nine parts from under the chin, so for instance, if you go from the hairline, and we go under the chin to the beginning of the skull. We've got the chin in here, which here on my picture doesn't fit completely in the frame. The first part from those nine parts is the hairline and where hair grows. These are all the description of how they should be placed and how they should look like. In the next few tutorials, we're going to go through real face drawings. Good luck, and I'll see you in the next tutorial. Bye bye. 11. How to Draw and Shade an Eye: Hello and welcome back to another tutorial. Right away, we're going to start with our HB pencil. First, with the help of a vertical guidance lines, we are going to start and then draw a horizontal line crossing the vertical line in order to create our center point, so have a look. As always, have your paper and pencil ready. Either HB or 2B is okay. Draw this cross here, and before starting I'm going to draw another crossline or plus line to show you smaller version of eye drawing before starting our model. Please while practicing, process in these ones at the same time as well. This eye is just a warm-up. It's not our main practice. I just want you to bear in mind it's going to just show you how an eye should look like in a standard way, but it's not something we actually follow all the time. Just let's draw the standard point. Well, we're going to go through the circle in the middle, then as you probably know by now because we talked about it before, the anatomy of human being eye is similar to a sphere. That's why we always spend a lot of time and draw a lot sphere for you. From size point of view, it's almost the size of a ping pong ball. When we start the front of the eye, and where the iris should be, have a look at my hand movement. I'm just going a little faster for this area because I draw it very slowly, so you guys have more time to go through the main eye drawing and shading which is going to be in real-time. We can now start from the right corner side of the eye, which is on the main guideline, and then drop off eyelids. Here you can see the shape on the screen and we draw another two-line cutting the circle in half, which will become a square. Now we are going to draw a square inside it, here. You can see this square is more visible now, look at the size of it. Now we're going to start going through the iris and then the pupil drawing, which should be in the center above the main guideline line. Eye drawing is like a signature. None of the eye drawings that you do looks the same, so don't worry about it. Try to practice as much as you can. We're done with the main eye drawing. This is a very normal, or we can say standard way of drawing eye, and now after this, we will apply this eye-drawing technique and draw and shade a realistic one. We are almost done with it, just going through the lines and bolden it. I really don't like to leave shaky lines around. Either if it's a simple practice or our main practice, make sure that your lines like being done neatly and with more confidence. That's very important guys. Now, let's get ready understanding the sizes, and move on. Let's start. Now, we're going to start drawing the main eye sketch, and after we finish the drawing parts, we will start with our pencil shading. Unlike the other shadings that we have done in the previous tutorials, we did learn in our introduction how to draw and how to shade different subjects. However, this time we're going to apply those techniques on our real eye and very realistic style. For now, let's start drawing the main eye. We start drawing from the corner, making sure the line is not too bold, and follow the hand movement. On your project or downloadable resources, there are all these outlines available for you to download and have a look. This complete the main outline. We are following what we have drawn before, a few minutes ago. We are going through the iris. If you need guidance, you can look up from the eye just we previously looked. We just brought the lower line a little up as we mentioned before on the examples you can see and compare them. Now we're going to understand where the pupil should be, which should be in the middle and the center. After that, we have to start drawing the upper eyelid. We are going through the upper eyelid now. As this is a drawing without having models, it will help you to boost your memory and imagination of how to draw eyes without reference. So we are not having any reference, however, the reference that are available for you to download actually is a finished work of this eye drawing and eye shading both the outlines and the grid. Tear duct here. Just follow my hand movements please and whenever needed, use a pencil mono eraser to correct any of the lines, because we don't want to have extra lines around. Always clean your surface. Now slowly we're going to do more value-line drawing. As we just make sure that the lines are correct, we should place the line under the eyes. Let's erase the guiding lines for now, and then after that, you're done with the main eye drawing, so simple. This is a 6B pencil. Very easily, we're going to go towards the darkest part of the eye shading which would do the pupil. Make sure you leave out the highlight and also sharpen your pencil. One point that we need to make sure of it is that we have to have highlights for sure for drawings inside the eye. It will really help your eye drawing and shading to become more realistic because eyes, part of very emotional section of our drawing, it will be really important to have those emotions showing through the pupil and the highlights. We have to leave it empty and not blacken it, and it will be hard because when you go on to do your highlight, it could be really hard to get the whiteness of the paperback and that shiny feeling will be gone. Even for this area, do not press too hard and slowly blacken the area. Again, still careful not to go to the highlights. Look at the difference between having a sharp pencil and a non-sharp 6B we were using. Now slowly we are going to start drawing the iris after I finish the pupil. This part important how we are giving texture to the iris part. Since this is our very first time, going through the shading of the eye, really careful. Even if you need to watch it twice, slow down, pause the video, practice, and then resume. Have a look. This area, the top part of the iris, always is the darkest, and the reason is the shadow of the eyelashes. I've mentioned that a few times, either on this course or my other courses. Any course, either it's digital, color pencil, oil painting, watercolor, these facts can change that this part should be darker. You learn this, you can apply it on any medium later. Also a few tips for iris drawing, if you are having an iris that it's black or brown, you need more shading but if you have a lighter eye, for instance, blue or green or honey color, or even light brown, you need to use less pencil on it and making sure that your hand pressure according to the color. We've been through a lot of color learning in the previous tutorials. I taught you how for instance the Macaron lesson was really the purpose of you to prepare you for this. Any of the lessons that I put here, they all have a reason, so I hope we follow them one by one. Go ahead and making sure that you actually practice. It will help you to get to the point to do realistic facial feature drawing and shading. Still, you can see we left the highlight area empty and using our 6B pencil going for the rest of the iris part. Drawing medium pencil layer and minimum pressure for the rest of the iris. Have a look line drawing from the pupil towards the outline of the iris. Keep changing your hand direction. Look how I'm adding and going through between the dark area and the top part of the iris and the rest, making sure that they blend well together. Keep adding layers and keep blending the previous layers. You can see this is second and third time I'm going through with it. Then we will add the eyelid line and start giving some color to the whiteness of the eye this way, it will not stay feeling so raw, even there are some, you feel there are whiteness on the eye. There's never white. You always need to shade those areas to make it feel more realistic. Like here, minimum pressure, do not add a lot of pressure and make it completely gray. We just want a hint of our pencil color on it. You see, I don't shade it all the same. Start from the little darker hint and go towards more lighter. Now we've started drawing the tear duct, the corner of the eye. A little bolder line here. Later, here we're going to start blackening lower eyelid, don't darken it too much please. Just control the pencil pressure all the time. The parallel line for the eyelid, this is the space, this is the area that the eyelashes actually grow. From here, keep practicing while watching. Look how I go back and correct the areas needs to be corrected, making sure they're all placed perfectly before moving on. How much I spend time on one outline, or here two outlines because the iris has two outlines on the side. However, what I'm was saying is that, you have to do the same and make sure that you take your time, practice and don't be hasty when it comes to outline drawing. Its very important. I keep sharpening my pencil. For a realistic drawing, always sharpen your pencil, even if it's taking your time for, for instance, 10 seconds, that's okay. Making sure we are having a perfect blending part. We're going to go through the iris parts one more time. We didn't completely darken the area at the very beginning, we went through the upper and lower eyelid. Why we didn't do it purposely is because it's better to shade around the iris as well and know our overall color and get familiar with it. Then add more color and layer to the iris. This way, we won't overdo it. With our mono eraser, we give some highlights and texture in between. Again, even if you use your mono eraser and pencil eraser, again, use your dark pencils such as 6B. From the pupil, start drawing and add line shading. Look, on some of the lines a little more pressure when I'm going, so this is like hatching style and shading drawing. When you draw the iris, you're almost half through. The rest, much easier. Just make sure your iris becomes perfect. There are some highlights in between the outline and the shading inside the iris. However, from the iris outline, give a hint of thickness to the iris outline. This way it will become more natural. Gradually, please do it. It will make it a 3D style, and feel more natural as I mentioned. Look how I changed my hand movement. This is almost feels like now cross hatching. Never forget the minimum pressure. Do not rush yourself to finish this as it will affect the overall drawing result. At some point for the highlight, if you need to use electric eraser to make sure your highlights stays intact, please do so. Have a look how I'm doing. You bring back the highlights that it's lost while shading. Even though you're not seeing it, try it on your drawing and you'll see the effect, how different it is. You can see, I'm giving some shading even in-between the highlight to make it look natural and blend its surrounding. This little details are the ones that makes your drawing to look different. Again, all these detailed drawings will help you to create more realistic style. After this, we have to still using our 2B pencil a little less color because, iris is a part of the eye shading that should be a little darker comparing to the rest except when it comes to the upper eyelid and the ones between eyebrows and the eyelashes line. Slowly have a look how I'm giving more shading with our less color pencil, 2B. Make sure you follow and maintain the same speed as me. Don't rush at all. Adding color to the white part of the eye. As we're shading this part a little more, you can see there's absolutely no pressure at all. After we're done with this part, we're going to start working on the eyelid. Prepare yourself. I'm really happy with this area so far. Just cleaning up a little because we're going to shade the lower eyelid. We need to make sure our line is perfectly done for our realistic drawing and treating. It means we have to try to avoid shaky lines. Try and make sure your lines are being drawn in a confident way. Drawing the upper eyelid now. Look how I try to make the line looks confident actually. Eliminate the shakiness from the line, you go on it one more time. Then after that, we're going to start using Faber Castell HB pencil to shade around it and fade it because you know this technique so far when you're using a darker color. Later, either with HB or H, you're going to go on it and fade the line and shade throughout that segment. Let's see, you can see it's becoming even more real. Follow my hand movements the way I'm drawing and where I'm placing the shading. Usually, the middle part above the iris is lighter and more highlight comparing to the sides and the corner of the eye, like dark, light, dark. As you saw, we can divide it into three parts, two parts darker and the middle part lighter. How we have to create the eyelashes. This is the way the curviness should go. A lot of my students draw this part really quickly and without any care with hair strokes. I would really like to ask you to slow down this part, practice the eyelashes before applying it onto your main model. Make sure the direction of the eyelashes is maintaining an a curvy way. Drawing eyelashes it has a certain technique as well. From how the curviness, how it should go and how we have to draw eyes like is it like curvy towards left, curvy towards right or straight. It means how you hold the pencil and how you apply it on your paper is very important. You have to follow these rules that I'm showing it to you on the screen. Look how natural it looks like. None of them look similar. None of them are too bold at the beginning. Look from where I'm starting, this is the area you have to start drawing your eyelashes. This dark front is from the line, not like somewhere else, to make it look natural. While I'm going through the eyelashes, I do get a lot of this question like, how long it takes us to master this style or how long it takes us to finish this style? It will all go back to your practices first and also how long do you want to give yourself and your drawing to finish it. For instance, if this one, one eye drawing and hatching takes half an hour if you want to do the whole portrait, obviously it's going to take maybe 2-4 hours depending on your speed. So I advice you give yourself that many hours. Our last two advanced portrait that we're going to go through they're really long ones and even though I prefer not to speed it up, some parts we might do, but most of them I'm not going to do it, so you can watch the real-time. Even though you cannot do it in one sitting, that's still okay. Just try to divide it into few areas like I'm going to do the eyes today, I'm going to do the hair today and finish it. Give yourself time and I'm not going to speed it up, so you can actually go through with it. Looking at it at the lower eyelashes, they're smaller and how you're doing it, some of them smaller, some of them are a little longer and some of them more triangle feeling. Start shading around the line. Please follow the actual pencil direction and hand movement here, how we are going through and observe the pencil pressure that I bring onto the paper. We're going to work on the shading for 10 more minutes and we are almost done with this tutorial. Slowly one by one we're going to go through facial features, how to draw them, how to apply hatching techniques on them, or shading style. For this area from left to right, make sure you create a texture but at the same time, a soft texture. Right and left-hand movement, very important when it comes to great technique and creating smooth shading surface. You can use 6b, you don't have to use 5b here. When you buy a certain pack of your pencil, any brand that you buy, I have some preferences, you can ask me and show me the brands you actually have already and I'll tell you they are good or maybe you need to rethink and maybe buy a new pack. However, do tell me and show me your materials so we can start with the right ones. You have to refresh some of the shading areas, you see just by retouch and giving a little more shading, it will become way more beautiful. Don't let paper graininess to stay on the pupil area, make sure your pencil is sharpened when you're working on it. We're almost done with the eyes dark areas, just going to go through all the dark parts that we want and we are done with it. Now let's see how much darkness we need to give to the eyelashes outline and please follow along and practice here. Look left to right, do not go in one line and finish it. Left to right and create that depth. Back here, left to right, left to right. I don't want to keep saying left to right, so please follow along and practice and change your hand direction still left to right but minimum pressure. Your pencil is dark enough, it's going to give you that darkness that the eyelashes line needs. We're done with the eyelashes, now starting with 2b. Working on the eye lashes again with 2b pencil adding some more nice color in an organized way. The more natural and better quality eyelashes you have the better your drawing will look. If you do a perfect shading, even iris is perfect in a picture, the skin looks perfect, however, your eyelashes looks very unnatural, the whole drawing can get ruined, so be careful of this. How much time I'm spending on it is quite important, I'm spending more time on it rather than the skin even. You'll see how important it is to take your time around detail area. If you're really happy with the shading, just have to go through the skin and the lower eyelashes. Eyelashes direction is very important, some of the attach some of them they cross each other. I'm going to show you some eyelashes at some point. That is the first and I'm going to show too how lower eyelashes position looks like. Look at this triangle v, most of the lower eyelashes, they have this part that feel like, they're having fixed together in front of it. I'm using a HB pencil. I like the console than before than go around. Look here from the line, I shade more towards the eyelashes and reduce the pressure. You have to keep some of the highlights in-between the shading. So far we have been watching it in real-time no speedy, so you will have time to actually look at it, and stop whenever you want and practice. Such a color is very good to go even on our previous layers, even if it's like eyelashes. Painting the line to make it look more natural, minimal pressure, barely touching the pencil, and just going left to right. I'm adding those layers I need without having too much pressure on the texture of the paper. Keep adding more layers towards the upper eyelid until it's darker. The technique of left to right is quite important, you have to make sure that you actually follow, and not just go any other way. So far we added more, we skip through the part that we keep adding. At least at those part at home while you're practicing. It means that you had to work around maybe 10 more minutes on that area left to right to add that darkness. You can use kneaded eraser to create more natural highlights without being too harsh. Using kneaded eraser, as you know by now, it's very subtle. I hope you really enjoyed this tutorial, we are almost done. After we created the highlight. We can go ahead, go to the next lesson and start learning more facial feature, how to draw them, and how to shade them. Make sure you remember you can shape the kneaded eraser however you want, making it really sharp, making it less sharp. That's the beauty of this eraser. Just add a hint of light highlights makes so much difference. Again, I hope you follow the long practice and enjoyed this episode as much as I did. I'll see you in the next one and for now. Bye bye. 12. Realistic Eyebrow Drawing Do’s and Don’ts: Hello and welcome back to another tutorial. Today we're going to go through some do's and don'ts and apply all those techniques and different eyebrows drawing. Have a look and we're going to start with our don'ts. We'll demonstrate the don'ts on eyebrows drawing then we'll go through a perfect realistic eyebrows, which is going to take some while unlike these ones. I think can see started the first example. This is the worst way that you can draw an eyebrow. Why? Is because you will see the main outline is flat without correct layering and hair strokes are too similar to get passed as a natural eyebrow, hair strokes, very bad. One of them is adding dark frame around the eyebrows. It means like whenever you have dark outlines, please don't do it. Have a look at the second don'ts. Another example of this wrong ways is when we've work on the initial sketches and actually doing a very good job as well at the very beginning. But when it comes to drawing the hair on the eyebrows, instead of drawing them in a dedicated and smooth way, we draw all the hair in the same direction without taking our time with a lot of space between them, and also without using any line value or creating shadows and dark spots in between the hairs, very bad. This is the next mistake that you should avoid doing it. The third one that after these two we're going to go through is when we are not considering drawing the hair and not drawing hair strands and only darkening inside the eyebrows outlines with pencil. This way we cannot show the texture of the eyebrows, neither it is going to look great and we don't have any texture, it will only look like we're having a dark frame. These are the common mistakes that I can see while drawing eyebrows in many of the my students like practices. Once for all, I wanted to create these do's and don'ts for you guys and make sure that you don't repeat any of these few mistakes. In the next few tutorials that we going to go through and we have advanced portrait coming up, we do not want to see any of this. Make sure even though you do curvy crown of the eye line fully and make it look like a circle, still very bad. Do your best, still these are not going to be sufficient for us. However now, what is a good version? Let's on to the real drawing and real hair strokes, the do's. Starting with our HB pencil and later I'm going to add the darker layer using QB pencil. The first thing we have to do is sketching the eyebrows. Have a look how I'm doing and follow along this one. The previous one, please do not follow, that's why I didn't say that. As I have told you before, we use the minimum hand pressure while sketching. See how slowly with no pressure, I'm going to go through it. Hold the pencil however you feel comfortable to be able to move your hand freely while you're sketching. Some people are more comfortable working in like this. I'm going to show it to how we should hold the pencil, some in this way, and some in this way. Holding the pencil like this makes you put too much pressure on your pencil when it's too close to the tip of the pencil. I usually hold it like this so I could control the pencil and dark parts. Have a look at how real eyebrows should look like from the thickness, the arch, the tail and they curviness, and where hair should be the end part and become thinner and moves downwards. After that we start adding the hatching lines, very slowly that can depict the approximate location of the hair strands. Then direction of the hair strand we're drawing depends on the curviness that we have, and the form of the eyebrow. Start with minimum pressure, just place them where we see. Follow my hand movements. For one I eyebrow, I'm going to take my time really slowly, and it's going to take us 10 minutes to go through this eyebrow. Prepare yourself for the next 10 minutes, we're going to draw one eyebrow and shade it, but that's going to be a hyper-realistic shading. That's when you really need it to learn for this course and how to apply them because eyebrows is one of the points that I have seen a lot of mistakes on it. For once let's go through it really slowly and learn all the tips and tricks on how to draw hyper-realistic eyebrows and shape it. Drawing a woman's eyebrows, which we do not have any makeup on, depends on the shape of the eyebrow, and the ethnicity of the eyebrows would be looked different. But in general, the eyebrows with make up on would be similar and seems regularly placed, the hair strands. While drawing eyebrows with makeup on, we might have a frame over the eyebrows, which have been carefully drawn, and colored by makeup tools. But in general, it will keep drawing an artificial feeling. Removing the natural feeling of the whole portrait drawing, and this round I'm going to erase those outlines, therefore. While drawing men's eyebrows with generally do not have clear cuts, scissor lines on these parts and the thinness of this parts compared to women, unless the eyebrows of the man had been trimmed or have makeup on. You can see how it looks like comparing it. Shorter ones, short art might be seen on around it in places. Usually the hair is usually thicker compared to female ones, as you can see here. This is a baby try like I say, maybe when we haven't hit teenager days. How finely eyebrows would look like the hair strokes. Still following my hand movements, you can see how slowly I'm shading it, the lines. I really expect one single eyebrows drawing, and shading from you guys. Look at the blonde version of the how it looks like no outline, nothing. This is the real version of how we should go through the eyelashes and eye shading, which just looks lighter. Look at more towards Middle Eastern eye, or when you have a lot of makeup and brown features. Now I have started up and down. How I draw the hair strokes is extremely important here. This one is very important, you practice, you pause the screen, practice a few times and resume it. As I showed you a brownish eyebrow, we're going to go through the Asian ones, maybe through the China or Japan, or Korea. The hair on the eyebrows are usually shorter with less volume and care, as they generally have the crown of the eye, which moves upwards rather than go down, like how we are drawing right now. We do not see the tip of the eyebrows most of the time unless they do a lot of makeup. But generally, they don't have that part. What we are doing right now is sketching a simple eyebrow that most likely a female style. We are going to draw each strand of the hair individually using back and forth movement of our pencil. Look at the back and forth, how we are doing. Back. I cannot say left to right, that's okay, but we're going to call it back and forth. At some point we can change the pencil we are using and start using 2B to create darker lines and use more without using pressure, actually, we can use a darker pencil. The original frame that we draw at the beginning can still be seen because we are going to fit all the hair on the eyebrow within these outlines. Before we really reduce the hand pressure to create the shading surface now we can increase the pencil pressure in order to create these hair strokes that we can see from the first to start thicker parts, then it's slowly go up to thinner hair stroke. When it's reached to the top it should be very thin. Also, we want our hair strands to be seen better, so that's why we have to increase a little our hand pressure in-between, not all the way, but in-between. Draw the lines separately while the hand pressure decrease and increase from the starting point to finish line. Which means more pressure near the root and less pressure near the tip part of the eyebrows. The most important part is not to exaggerate while drawing the dark hair as it may move the work away from looking realistic. We never draw the initial line of the eyebrows and then fill the empty space between them. We need to draw the hairs one by one with the same pencil pressure and all in the same direction. Try using lines in different ways while shading it. But be precise when it comes to light and shadow in between the eyebrows, the hair strengths. It is not a complicated process, we just need to be patient to achieve a good results. The eyebrows hair and the crown would be here, like you're drawing are facing upwards, that is why we are getting to the bottom. From the bottom to the top and from the top to the bottom movement. We should pay attention to the shading and diversity of our lines while drawing the crown of the eyebrows. At this point, I'm going to remove the guiding lines some of them while I do the beginning because I can clearly see the initial lines of the eyebrows at this step. Going to consider the tip of the eyebrow to be lighter and make it darker here, as I reach this part look how I'm adding even more pressure here. We are going to draw some more strands around to look more natural. The hair direction from here and to the crown or the tip part, if you compare them they all have different hair and drawing direction. Please pay attention to those and follow. If you look at your face in a mirror, pay attention to your eyebrows and how the hairs are located. Study your own face, see how the crown of your eyebrow looks like. Also take care of your eyebrows, the direction in which the hair grows and where everything goes. Slowly we are going to get rid of the main outline, the very first mistake we did while we were doing the tones. Some hairs are darker and thicker in your eyebrows and some are exactly the opposite and are more smooth and delicate. Study different pictures as well, pay attention to the eyebrows on different faces, not just only yours, maybe your parents, your partner, anyone around you have a look at their eyebrows. Not in a weird way, just ask them if you could look and study their eyebrows. This will help you become more and more aware of how eyebrows are and eventually get better in drawing and in sketching portraits and achieve better results. For more practice, you can either start drawing from drawings or photographs. I suggest that you start doing it from drawings, it will help you to understand and then photographs. This is a perfect course for you, start from the drawing, from actual drawings and then we go through the references and the photographs, which would be a little harder for you to analyze at the very beginning. If you look at this eyebrow right now, it looks extremely hyper realistic. This is what you have to do and how much effort you should put when you want to do realistic drawing. It's not hard, actually you're learning all the techniques here. The only thing you need to do is to practice, continue with the lessons and the guidance and send me your practices so we could go through it together and then step-by-step, you will become a master. Continuing here. How I try to use references of actually good masters following the best footsteps rather than find some online drawings. Say, this is good, I'm going to follow whatever he or she is drawn, I'm going to do, it is better you know who you are following and who's the model it is. If they have done mistakes, you don't practice from mistakes, you actually practice from someone who knows what they're doing, that's one of the other tips that I ask you to do. Another do's and don'ts point. If you ever wondered, how can you find best samples to work on these days, we all have access to the Internet and we can easily find out who are the best portrait masters, those who know facial features very well. This is a good practice from those type of masters that they had years of experience. For example, among European masters, I have to say Leonardo da Vinci sketches can be amazing for your practices. Don't be afraid to start from his sketches because I'm not saying paintings or other masters that he has done so far, I'm talking about his sketches. That's really good to go from and keep working. What works of art you choose to practice from is very important. Now we have sketched this type of eyebrows, draw the hair of the eyebrow by controlling our hand pressure and the direction of the line. You can see some parts gets much darker and some parts no. This is how a realistic drawing should looks like. I myself really enjoying drawing this and also looking at it again and practice even from it. I hope that you guys enjoy watching and practice at the same time. Drawing should not actually makes you furious or make you like say, why can I not do this? It has to make you say, I'm started practicing, it makes you happy. We have reduced the hand pressure. When we reach the curve of the eyebrows, the direction of the hair should change. Use the back and forth movement of the pencil on the spaces above the curve of the eyebrow. Now have a look, like here, see how I'm doing from here to here. Make sure you follow this direction, this hand movement. When we reach the tip of the eyebrow, the direction change from the top to the bottom, this curviness, and at the very end of the eyebrows we reduce the hand pressure here. There are some soft hairs on this part, which we are going to draw using the minimum hand pressure. We create a small, delicate and irregular assures or hatchings. I'm quite happy with the results so far. However, as you practice more and more you will like to keep working on the pace to make it look even better. We're going to later on use our eraser on some areas and draw maybe some highlights, you can do that as well. However, you can use the whiteness of the paper as your highlights and not just go on down with your pencil. You can keep the natural highlight of the paper. Have a look how we are going to use, add more hair strands and use some highlights. It's better to use the mono eraser rather than this one. However, we didn't have it in hand, so we are using electric eraser at some point. See how we are reducing the colors at some point, you don't have to do this we are almost done with the area. After we cleaned up a little, we can even use it and put more pressure on it and clean the whole surface. I hope you enjoyed this tutorial, a very realistic hair drawing and I'll see you in the next tutorial. Practice and send me your practices and for now, bye bye. 13. Drawing Ears from Different Angles: Hello and welcome back to another tutorial. Today we're going to start drawing different ears from different point of view. First we're going to start drawing the human ear from the side view. We should know that human ears can be similar to the shape of a question mark. Our drawn line is similar to oval-shape that becomes thin and slender at the end. As we had started, look at this question mark very curvy lines from here. We have a very soft spot circle line at this point. From that we call the Oracle or Oracle. We are following all masters as well as you can you just saw on the screen. You can pause the screen, study the picture and then follow. This is the place in which the ear the hole is located and we go up. Draw the rest of the lines. Make sure you're following at the same time and practice few times before starting our hatching point. Follow my hand movement. It's almost like a heart shape here. Since this is a free hand drawing, make sure that you do it freehand as well. In my other courses, I have taught how to do it with circles and ovals and with guidelines, but this is a free hand drawing course. Again, this is how we should draw it and each point it should be exactly how we draw right now. While drawing more details, we are going to complete our sketch now. We start from the upper part of the ear that has a curved and soft texture after this. Finish the side. Let's start from here. This is the line drawing, the value line drawing. We always tell you to do it either with 2B or 4B after you use your previous sketch. There you're going to put more pressure and less pressure. Make sure you go this, even this small curviness that I draw, they're all details that we need to follow. They're not there just by chance so make sure you actually go through the curviness, even the small parts that you can see around. If you studied different types of ear, for example, on men, women, and children and also among different ethnicities, you can see different types of curves and curviness, especially when it comes to this 4B area. This soft parts some of them it's like they're connected and some parts they are not. The soft part of the ear in some people this is attached to the head and in some people is actually separated. It means that the oracle is either free or attached. Difference that come from different genetics in different people. We're going to go through the rest of the drawing. The nostrils or the ear hole is going to be here actually, and from this part we enter the internal parts of the ear that's why it should be darker. Let's shade this area so we can see it much better. Slowly connect the curvy lines in each other. Going up, you can see my speed not going to speed up this tutorial, it's quite important you follow along at the same time. I'm using my 2B or 4B pencil on a very novel A4 printing paper. We don't have to use expensive paper for this or any specific paper, with this one is okay. I use hatching for these areas that needs to actually show some dimension. Look how I hatch and the direction of my hatching and follow along. This is for the time you see the human ear from the side view. That's why it feels like it's actually a profile but is not. Look at here, this is actually the front view. We were working on the standard face types of human and portrait if you recall, it was mentioned that the ear is located at the sides of the head, on both sides, and it goes from the bottom of the eyebrow to the bottom of the nose. We're almost done. The next one would be three quarter ear drawing. The next angle we're going to draw is there and you see the ear from the, as I mentioned, three-quarter over in the face when you face them. As a person are standing in front of us. How much of the ear we can actually see in this angle depends on how much the head is tilted or turned to the side. When we see someone's ear when we are in front of them, there are some people whose ears are popped out and there are some people whose ears are actually flatter. Now we're going to start drawing it. As we are sketching, we have to follow along the details. Look how they're being connected with each other. Which look the same here in the previous. While we're going through more details here. Connecting the lines. Look how I'm going through and the difference between the two of these with each other. This is how actually even though it's three-quarter, this is how we can't see it maybe even your mother who's standing in front of you. Slowly going to go round. These are the lines, goes towards the neck line and also the hairline. We have drawn these parts as they are supposed to be, so we have a glimpse of what is actually going to look like when placed in the right position. We are going to start using our line value drawing. You are pretty sure are familiar so far what is a line value drawing and the upper part of the leaves, the helix. Hopefully it's called the helix [LAUGHTER] if I'm not wrong. We going to start at the same time doing simple hatching where they should be. You can compare to the next model on the left side. Increase the shading between. Look at this part, which is almost a heart shape. Here actually let's find out where is that shape on the side, which is here. This is how it looks like. It is almost like a distorted heart [LAUGHTER] I can't say. I'm adding more pressure here, the curviness add some hatching. The main point here is to practice while watching and not just one time, but many times. I've connected lines with each other. This is standard way of actually creating these things. One-by-one shade the right area. The rest of the ear that leads to the ear oracle, which I have mentioned area it can be attached to the head or it can be free, so we have two ways almost how it looks like. Behind the ear now. The next angle, as I mentioned, you're going to go start drawing it. When we look at the ear from the back, we do not have the shape of the question mark. We did previous example. Look at the ear from the side from here and compare it to this one. How it looks like when we're looking at it from the behind the ear or from the back. You call it the ratio if you feel is correct. However, let's see how it should be drawn. Compare this is the same area we are drawing. I can keep showing it to you and you can compare it with the models next to this one. We draw the oracle and the neck line. Hopefully it's called headline around here. As I mentioned, back of the ear, which has the overall shape of a teardrop. Have a look. This one looks like a tear, that is curved of at some point and has a very sharp ending. Any how is like a teardrop. [LAUGHTER] This was ear anatomy from three different angles side view, front view, and from the back. Hope you enjoyed this tutorial and I will see you in the next tutorial. Bye bye. 14. How to Shade an Ear: Hello everyone and welcome back to another tutorial. Here today we're going to sketch and shade the side view ear. As you can see, we're going to start using HB pencil, we start the overall sketch and the ear shape. In the previous tutorial, we learned about different versions of ear drawing and now today we are going to draw this one, this outline that you can see on the screen, and you can find it on your downloadable resources or projects being attached to it. Please follow the hand movement here to draw. There's the ear is located and the cartilage, and we also determine, where is the oracle of the ear. Slowly going to sketch, have a look how I'm holding the pencil and going through different areas. We learn about different ear drawing in the previous tutorial, and you'll learn about the lobe or the oracle, or where are the bones are, where are the shapes, the heart shape of the ear, which we are going to have again here. Now have a look. This place that we are going to draw, after this would be lead towards the nostril, the ear hole. This is the general sketch that we are going through. Of course, when drawing you can use eraser, and areas that you feel like needs to be erased, go through with it. Don't limit yourself if you don't have enough materials, we don't use a lot of materials. Instead of this, you can always use normal eraser instead of electric eraser. Any kind of materials you have, it's fine, especially for this course. Now I'm just getting rid of the extra lines the sketches that I have done at the very beginning. This is very loose sketching. Remove the rubbers if you can with your brush, a brush that is not dirty, it doesn't have black pigments on it or a tissue. After erasing all the extra sketches, all the lines, I'll start drawing our line value. You know about the line value of wherever we should have put more pencil pressure or less pressure, the thickness or thin lines. Follow my hand movements, and we're like here, I'm adding more pressure. Then I'm going to reduce my hand pressure. This area is quite important that you follow at the same time and draw it in the same way. We are determining also the hatching areas, we'll know later where we are going to hatch or shade in realistic way and I will show it to you, such as here. Now we're just going through with it slowly, the first layer. This is more hatching rather than shading. You have learned very realistic shading, but we actually were doing the eye drawing and shading in this course even with the eyebrow, so you know how to do a hyper-realistic shading. But now we have to do a realistic hatching, which we are going to learn here. This area, we have to do even use more black hatching comparing to the rest this area will have more black pigments. I believe this is called tragus, and then this is the inner canals of the ear we're going to go through. Look where I'm actually adding the hatching at the very beginning, near the lines. All those near the lines would be the darker parts of our drawing and hatching. Look at the shape and how we're going through, like a shape of a question mark. I have a question about drawing. I know it's not funny, but I hope you can see the art and drawing refreshing, so can continue. In these lessons in the past tutorials I tried not to speed up at all so if this is a 20 minutes, both sketching, line drawing, and hatching, if you feel this's a long lesson for you, obviously you can make it into a free section, like this sketch parts and the line value drawing part and then hatching part. However, if I were you, I would have done it in one sitting and finish all these three different elements and practice. Look at the direction of my hand move and the hatching that I'm going through, please follow the same. You can watch it a few times before actually applying it. We talked about these hatching techniques before. You can study it after you have downloaded them and see which ones you want to experience, which ones you want to add on your drawings, and actually just after you obviously you follow these and practice your shading. You can go through those ones, new techniques. Using 2B pencil right now, going to create even darker shadows after HB starting from this part, and at the same time, we will add darker and hatching layers. Again, the tissue or a clean brush, get rid of the rubber parts. Look at the difference between this hatching and the previous tutorial hatch that you can see above this and how they are different. Look around this here. Here I'm adding more pressure. Almost you can see they are, I'm not saying they're parallel, however, the same areas. You have to make it darker because here we have a concave point, so it definitely needs to have some hatching layers few times hatching layers in order to create that. When I say these areas are dark, it means the between the line when it goes up and from the other outline when it goes down and create that concave feeling for us. The areas that should be darker I'm adding right now, so please follow along and how I use the hatching, please do the same. Make sure that your hand direction is the same as well. Look at the pencil movement, and we are adding more pressure left to right. It's up and down however it's still left to right. More hatching so when they actually get close to each other it will be crosshatching, however, we still adding different direction. It will all come together at some point, we have started the first layer of hatching, and this is how it should be done. Since we are starting shading near the helix cartilage area, we will try to use medium shading, so we can add our various layers of shading if it was ever necessary. Look how I'm changing the hand movement near the lines, both sides of the nights and lines darker. This is very important that you follow along. Now we have passed that crosshatching. Now even though it's called medium shading, we haven't started really giving a lot of color, but also you have to make sure that the heart shape and actually the heart shape is the area of our highlight. We have to careful how are we going to shade those areas so still they stay as white as possible but still they're not too raw. Raw it means it doesn't stay as the whiteness of the paper. Look how we are going through. How I'm using the pencil is barely touching the paper. Then here when we add a little more pressure it's completely obvious. Using free lines. Do please pay attention to the direction of each shading area. Here from now on, it's all about adding a more layer of shading. From medium shading is going to go through like complete hatching. Let's go make sure that we have enough color on the areas that we need to have.Very softly and calmly, I have to say we add now more darker layers. You can see this area should be much more darker, we increase our hand pressure and pencil pressure. Look how much darker it got. You're still using a 2B this area should actually get darker as well. We have created a wide range of dark and light shadows using just one pencil. It all goes back to your practice layering and be patient. You can see me change the angle of our hand if needed. We are going to darken this part as well in order to show a better form. A curvy form that should have been created here. Then in-between you can see we'll reduce the pressure in order to blend the colors well. We have the technique using darker hair and then with H or HB we go and blend the color, blend the black layer. You can use the same pencil. This is another technique for those who doesn't have a lot of materials. This is another technique. With one pencil you can add more pressure and pencil pressure and hand pressure. Create a layer and with the same pencil, use less pressure and blend the previous layer. For now, we both darken the lines and next we will be creating more hatching in order to ensure a better form. Look at the areas that we have to create dark layers as we're moving from this part, we are slowly going down, slowly at the dark areas. Make sure you understand where the highlights [inaudible] dark tones and [inaudible] the mid tones. If here is light, here should be dark. In the middle, we do have some mid tones in-between. We should have those things. It cannot be from black to white. I would need those different mid tones in-between to create the perfect drawing and hatching. Which at some point is called a realistic drawing. We're going to add dark layers to this work completely to make it looks concave as possible. You have to understand where are the concave feeling, where are the convex feeling. Moving our pencil back and forth, add layers. While doing this, look left or right as much as needed. When I say as much as needed, with practice this comes to you, however, for now, you can see how many times I do this. Pause the video, practice the same, and then resume. Adding more dark areas in this point, which obviously, even when we look at ourselves or people around us, we know that these areas should be darker. It's [inaudible]. Keep adding darker layer. Then it goes up, reduce it. So far we have darken the areas that need to, we are just towards the ending of this tutorial. These are the last touches, last hatchings. Adding more layers to the edges parts helps us creating the dimension that we need in a better way. You can see near the line, we add small hatching, really small tiny lines. Almost it's between hatching and shading.These are the details we need to create. Line details. Adding more layers around them. Minimal pressure here, minimal, so try not to add too much. Otherwise, all the area's surface is going to look like are very dark parts. You can't see it I keep consistency. When I go around the areas, I change my hand movement to how I actually started doing it from the very beginning. If I see a section that needs to be layered up, I'll do the same like here or here, or even here. Adding more of darker links, the whole point of going through these areas. If you see that there are areas that we really need highlights such as this. Obviously, we can create them with eraser, which would be three areas. Look where I'm going to add them. Then when you add them, obviously you have to go around them and reduce the harsh edges that have been created by pencil eraser. As I mentioned, after using eraser, we shall leave the areas too white. As I call them raw, so we need to go on them and get the sharp edges away from those shading areas. We're almost done with the eraser now with our pencil maybe 2B, go round and fade those edges, like how we are doing. It's more natural. I hope you enjoyed this tutorial and while practicing alphabet for your assignments to come through so I could see them and we share with our fellow students. Even practice more. We are done as soon as we have completed all the highlights and their edges. We can say goodbye and see you in the next tutorial. Bye-bye. 15. How to Draw an Old Master Style Portrait: Hello everyone and welcome back to another tutorial. In this lesson, we will sketch and shade a human portrait together. In order to start sketching, we will draw some lines that are going to guide us throughout the sketch. First, let's draw the guiding line here slowly. After we are happy with our guiding line such as this, the portrait we're going to draw for this tutorial is going to be a three-quarter angle wise. However, this is a very old master drawing feeling. I'm going to introduce you to the artist who drew this later on. Stay here, start practice at the same time and then we will go through those information one-by-one. Patiently and slowly using very light lines, minimum hand pressure with the sketch deeper at this part, starting with the eyebrow. You have access to the outlines and the reference on your downloadable resources and projects, please download them. Be ready whenever we start any tutorial. I think now you know all these steps because I keeps saying them, every time. As always, we will have two sections: a drawing sketching section and shading section. Now we're going through the freehand part, follow along. If still you have some hard time going through a free hand drawing and create similar drawing still, even after looking at this tutorial, I'll advise you to go through the outlines I prepared for you to draw an outline, not just a grid. You will have access to the grids as well. The grid means the picture, the regular reference on the grid so you could draw with your own measurement. However, you do have access to the outlines as well. You start from the corner of the eye here. First we start with eyebrow, determine the approximate location of the upper plane and we should do it very lightly in order to be able to fix anything afterwards. After that, we move on to the edges up there appropriately, upper eyelid where the eyelashes are actually located. Then we draw the corner of the eye and draw your eyelid. Now we are moving towards the next eyebrows and eye drawing. As I mentioned, this is a three-quarter face drawing, so make sure that you pay attention like the angle wise, and if it's a smaller or bigger the size and how it should be placed. Those are important factors to follow. Determining another approximate location of the eyebrows and also the eyes. Of course, after we draw the eyebrows and the eyelids, we're going to go through the cheekbone and then later the whole thing. Slowly look at the iris drawing, how we are placing. Look at my hand and how I'm holding the pencil. How I move my hand around and how I complete it. The location where I'm drawing now might change a bit later so we have to add other parts in order to understand the whole thing. That's why we are using minimum hand pressure. Now this is the cheekbone that I mentioned to you, we have to go through. Let's go through the forehead and we're going to start drawing the hair part. Have a look how the eyes and also the forehead should look like, the highlights where we going to hatch and body position and everything. Now we have started the hair lines going slowly towards the entire hair area. After we placed this part, let's make sure is done correctly first because the initial sketch is always the most important part. You have to make sure everything's sketched properly before you go through the line value drawing and shading, which I assume you know by now because we have been doing this throughout the whole of this course journey. Now we're going to go through the nose drawing, where approximately can be placed. We're going to sketch the nose area and then where the nostrils can be placed. Since we have already done a lot of nose drawing in a sketching, you should be familiar with this special one which is a three-quarter angled ones. One of the nostrils are completely visible and one of them we cannot see. If you haven't been through those lessons I advice you, before you go through a whole main advanced portrait drawing, complete those tutorials and then come to this lesson. Your hands are warmed up, you are more confident to go and place all the facial features. Also, this is another one-to-one drawing that we talked about. What is one-to-one drawing? It means when we see a picture of reference or in real life drawing that we are doing, we're going to draw exact size. If we do exact size or we do a little less smaller, that's okay. But then we do a bigger size from the reference that we have that's more towards exaggeration. Now, we are going through the lines, the middle lip line. When it comes to shading, this area should be darker, the middle line. Slowly, then lower lip. I'm still holding the pencil in a way that is easy to sketch and it's not going to be so strong that is going to damage the texture of the paper and also is erasable. Now, what I just did, I actually doing the size from the corner of the eye until the lips. You have learned this in a standard portrait drawing that we have done and you should be familiar so far like how everything should be measured. Even if it's like a side profile, a three-quarter profile or portrait ones, they're all the same standard we've to do. Have a look from the side from the ear. How ear and where it should be placed, we have learned this as well. Now we're going to slowly cover. Be careful when it comes to sketching, try to make sure that everything is placed perfectly. If you have done anything in an incorrect way, try and correct it. We can see where the jawline, and where the neck part, the line neck goes. I'm trying to make sure that it's been done correctly. Follow my handbook and try to practice at the same time. Have the screen in front of you, have the reference in front of you, maybe print it out or somewhere else on your phone. Keep looking at it and try to pause the screen whenever I draw it. After I draw, you can follow and practice at the same time. Now we have a sketch, overall placement of the whole portrait and these features. Just going to make sure I go around and see anything needs to be more precise. Almost our initial sketching is over, so we are going to slowly to start darkening the shadows, and the areas that needs to be darkened starting with the pupil. Now, after that, have a look. Even now, I'm looking at my reference, making sure that I understand what I'm seeing in front of me, study it, analyze it, then I start on the main paper, main model. This part always the darkest one when it comes to the pupil, we have done eyes drawing, so you should be familiar how actually we should shade it, which area needs to have more highlights, which areas needs to be darker. Don't forget the highlight inside the iris and above the pupil. Usually the highlight is very important to make your work looks realistic. This is quite a long tutorial, it's almost two hours. So if you feel like you need to have some rest in-between, I suggest you divide this into three sections. The first section, obviously it was like a 10 minutes that we just did. It was drawing parts. For you, it might takes a little longer. So it means you need to analyze your reference. Now as you can see, we're going through the outlines of the iris. This is a little, not really focus on some parts. I'll try to focus, but the camera might really lose its quality. So I prefer to show you overall shape, and how is it, but you know how we should shade that eye. In the meantime, we always start from the iris of the eyes. Whenever I actually put my hands in front, it means trying to look at the reference more, and try to take my time to see where actually we need to place more dark areas. Continuing the shading of the upper eyelid. I had the line that the eyelashes actually grow. We create medium and shading an overall part of the eye, and then later we will add intense dark shadows as we move on. What really matters here is doing this part but with your patience as a portion we are working on have a lot of layers and shading, instead of just hatching lines. Parts like a cheekbones and the upper eyelid, the format of the eyebrows, this ones we can actually apply hatching styles. This is a mixture of shading and hatching together. We do have to understand the hairstyle and that one will only be understand by the highlights and the dark parts, the same way goes for the eyes as I just showed you on the screen. Where the highlights can be placed either a head, eyes, the nose, the cheekbones, really important. You have to have that patience in order like nothing goes wrong later. Slowly we continue shading. I'm just going to place a paper underneath my hand so that the work doesn't get messy while we are working on it. Slowly continuing the shading, look at my hand, left to right. Then without any pencil pressure, we continue going up. We are now moving towards hatching instead of shading, upwards slowly. From shading, I slowly changed the technique towards hatching. Then we have to see this area should be lighter, the middle part. The distance between the eye and the eyebrows are a little too much, but because its initial sketch we have done lightly, we can fix it quite later. We'll shade the edge of the upper eyelid as well using hatching technique still. You will see that middle part above the eyes, in the middle part should be lighter, that's why we are not using that much hatching for now. Slowly going on it in order to maintain that highlight areas. From the corner of the eye, we've reached a place near the lower edge of eyelids part, the corner part. Look, I even slow down the technique. I slow down my hand movement to make sure the detail comes out correctly. Move on towards the hatching part of this area as we are adding more layers of shading underneath the eye. Have a look how we're slowly adding this areas. These are layers. Now we're up to third, and continue going back, and we're going to maybe even add a fourth layer. But you have to understand, you need to go round and consider the darkness around the latter part of the surface, and then gradually add more layers rather than just in one place add as much as you can. Add darkness as much as you can, then you are like, "Oh, I shouldn't have done that." We don't want to hear that, so it's better to gradually add shading part. Now as I mentioned, we need to correct the eyebrow a little. It's okay because we did it in a subtle way, so it's easy to place it correctly later. Erase it with the pencil eraser, so it doesn't affect the hatching areas, the shading areas. Look how we're changing it, we brought it a little lower. While we are doing it, we just shaded a little. However, I told you once that when it comes to really realistic shading, be careful of the outline. We did have a do's, and don'ts lesson for the eyebrows. Make sure you go through that and follow. This is not quite hyper-realistic eyes , it's realistic ones. I'm just going to make sure that it's dark enough, and then slowly add the hair strokes on it. Minimum pressure. Do not add anything extra that it doesn't need to be added. As you recall, we've worked on the skeleton, the human head anatomy once. The place where this area should be done. During that lesson, I've explained this areas too completely, above from drawing points and also shading points. If you don't forget, and it's been a while that you have done it, go through it and let me know which area you do find easy or you have problem, and I can explain to you more. Using very light and soft hatching here in order to be able to add highlights later on it. You will see how we're going to add those highlights, placement. For hatching these areas are pencil tip, doesn't need to be very sharp because if you recall, I always tell you that you need to have the sharpest pencil when doing hyper-realistic. However, first, this is a different technique because this is all master style and you need to give that antique feeling to your drawing. That's old master feeling with a certain technique and certain hand movement, slash shading. It doesn't need to be precise and make it look so modern and so detailed, so it doesn't need to be very sharp. We are using softer hatching techniques that are at the lines are closer to each other, a bit more here. Eliminate the guideline lines whenever you don't need it anymore. We will not leave the white parts of the eye untouched so we should use a little shading on it. It looks more natural, I think I mentioned this a lot in the previous tutorial. Sorry, my apology, I keep repeating it. When it comes to the whiteness of the eye, especially on both sides, you need to add some shading layers on it. I'm not saying like too much, but enough that it doesn't stay raw. It feels like you have to spend enough time on it and looks more mature. We just added it and work on the iris outline a little more so it pops out. Always make sure the top part of the iris is darker because of the shadow of the eyelashes. We will work on it even more later. Bit more reputation and while you are doing slowly, each areas results going to come out better. Never hurry give yourself enough time make sure before you start the drawing its first half divided your time so you don't have to do the whole thing in one sitting because I'm used to finish drawings in one sitting and you have to say you're used to do something. You don't mind to sit for a long time somewhere. However, if it's like your first course of trying and you haven't done my other courses it's okay to give yourself some time. As I mentioned, make this lesson into three section and then go through each one. You don't have to hurry and finish the parts faster, this way you haven't applied the techniques you have learned before. we've work on the eyebrows again, moving our pencil back out for and using darker shadows in order to create those hair strokes that you need. This is one of the actually don'ts that I mentioned to you. However, our reference, it's like this that's why we are following this way. However, if you wanted to do a hyper-realistic style of eyebrows, which he said do's version for me, you can't go through that tutorial and practice after that. Make sure you study your reference and also when it comes to the detailed areas, you need to have a sharp pencil. Don't get confused between the hatching areas on the surface on the skin and the areas which should be very detailed drawing such as eyes to nostrils, lips, they all needs sharp pencils. Adding more shadows, starting to remind the place that the nose is located in order to shade it correctly. I'm just making sure it's done precisely. Please keep continuing my hand movement, we are shading day second eyebrow. We have to keep comparing the two eyes together, if they are placing correctly or not, and if they're aligned as well. Begin hatching above the eyelid, and below the eyelashes so they get blend well with each other. This part we have to keep it much lighter. After we cleaned the area a little more we continue. Keep looking at my hand movement how I'm creating the eyelashes. We should draw the eyelashes slightly curved towards outside. After that, we have to start shedding the forehead a little bit. For now, look at the iris outlines that you're trying to complete like the left eye. As you can see it, I'm going through the process a little faster, after this. For awhile, we are going to watch how we're doing. Again my hand movements left to right, slowly going through the whole thing. Now since we are really familiar with one side, we did it very slowly with real time speed. It is okay to go a little faster so you can progress and you don't have to sit down for three hours for a lesson. Let's see if we can go through it. It's going to take one and 1/2 hour even with this speed, but that's okay. We still have to correct our lines, make sure none of them is shady. I have my hand. We are still going with the same speed, so do not change from your side. It just is good that you see and progress a little quicker. The outlines for the nose. It should be mildly done, so it's not too bold but it's still is showing. The width of the nose has some more darkness. Let's look at how we are shading the lips. Shading of the lips should be similar to how we shaded the eyebrows. The feeling of what we have throughout the whole drawing would be the same. We are not really putting a lot of pressure so we call this a medium shading. Again, as I mentioned to you, this area, your pencil doesn't need to be sharp even though we are going for the hair section. But the outline for the hair, we have to be extremely careful because now it's going to determine which part should we crosshatching, which one should be only hatching, how we change the direction of our hand movement. Anytime you can pause the screen, follow the hand movement and continue. Look how many different direction I'm using my hand changing the pencil movement around. Now this is almost a second layer on the cheek area; the cheekbones. Now layer by layer, one part, darker, one part lighter. Just correct any lines that you feel is not done precisely. Now we change from HB pencil to 2B pencil. The fact that whenever you want to add a darker layer, you can use either 2B or 4B depending on how much you can control your pencil. If you don't have that much control, I suggest you use 2B pencil. Almost we have started completing the right side eye. We have a long way to go in order to color the eye part. You can see now the right side looks much better than the left side because we are adding a 2B pencil on it and we haven't added that one on the left side yet. Look at the difference just by adding a few more layers and taking our times and keep layering will make lots of difference. Keep using the same direction that I'm teaching you here. Look which areas I'm leaving to have more whiteness on it. You can see there's no harm in correction. The nostrils, darken it. This part should have a little sharper pencil. Make sure when you're going into details your pencil is sharp. There are the eyes highlights quite important, especially upper eyelid. Now we're adding the 2B on the left side of the eye, on the left side. Let's see the difference what we talked before and compare it to the right side eye. Feels like it's coming out, it just makes it becoming real. Now shading the lips a little more. It feels we're applying lipstick on it, but just make sure, you know where to apply the highlight in-between as well. Again, apply more layers on the hair area. You have to make sure you show the curviness on the hair part. Now, any area on the hair that needed to be darker for the first time, I added it. Now you can either keep using your 2B or start using 4B. 4B would be better for this area if you have it. If you don't have just put a little more pressure on your 2B pencils. Look how I'm holding the pencil. It is where your drawing will look more old fashioned. After this, since I really like my students to watch in real time and also I have explained to you how actually we should shade about the hand movements, hand pressure, and pencil pressure. Also if we have gone through the drawing and the first few layers, I'll let you to listen to some of my favorite music that it makes me focus and go through this drawing with real time. Then I come back to you almost at the end of this tutorial with more comments of what we have done and what we learned so far. Before we actually go through some lovely music and watch together and also practice at the same time. Do not just watch this, practice at the same time. Look at the needed eraser, you can actually shape it in any way you want and you require. Adding correct highlight in-between the lines. This part, you need to keep it empty guys, it makes your drawing look more realistic than you keep the highlight. I really look forward to receiving all your projects. Whenever you apply your projects, I can guide you better, tell you what it needs to be done and what it needs to add on, especially when it comes to this curvy lines that I'm showing you too on the screen or any other questions you have when it comes to pencil shading or hatching and even the brands. You can ask me what kind of brands can you can buy or the existing materials you can have. You can actually let me know and I'll guide you better. You have to make sure that you go very softly around this area and get rid of those sharpiness around. Look how I'm adding the pencil eraser. In these areas you have to make sure as I mentioned, you get rid of the sharpness of the outline. As I mentioned, let's watch this in real-time with each other. Now I have just went back to the real-time, slowly going to continue adding layers and complete our shadings. Enjoy, and I will continue our comment and what we have learned during this real-time time. At the end of this tutorial. Enjoy the music, and keep practicing. I hope you enjoy so far the sense of some nice music. Hopefully, you liked it. If you didn't really my apology, try to choose some of my favorites and some of the ones that actually is okay for studying and focusing. A little looking at it from further away to see what we have done so far. Again, going with a little speedy speed. You need to spend this amount of time on it in order to create such old master feeling. Otherwise, it's not going to really reach to that level you want to. Slowly this area and this top highlight, I'm just pointing at the areas that need to have highlights. Adding more color next to the pupil and inside the iris and around the eyes. These are the last touches that we're going through. Very detailed drawing and shading right now. You need to create this white and highlight effects on your eye. If you wanted to watch these parts complete in real-time, it will be around three to four hours. Do comment me on the comments section say that if you really want to watch some of the areas in real-time, and I will send you those links so you could actually go through them. They're all free links that are available for you. It's just, I do have lots of comments that when it's too long, it will be hard for you guys to do the whole thing in one sitting even though this might be too much for a whole sitting because the real thing is actually around three-and-a-half-hour in drawing and shading. As this is completely Old Master realistic style, it's quite different, so it needs to give lots of time. Therefore, I look forward to your comments. Anyone that wants to get access to the real-time, please do send me. Now, these are the main details. We're going to make our drawing looks beautiful, hopefully. The areas that you need to add much darker will be the middle line of the lips. Make sure you keep the highlight. Continue with the lips. We need that eraser. It would be the best medium, but the best tool you can use to create highlights, to lift some pencil layers, and if you dealt creating harsh outlines around it. Because for instance, just imagine you're using pencil eraser and you still you can use it for highlight. Or you can use normal eraser. You still can use it. Or even electric eraser. They're all completely defined. However, the kneaded eraser, if you haven't created really harsh surface and there still can be lifted up, I will suggest you do it with kneaded eraser. I'm just adding the very last shading layers. Make sure you do it so many different areas curvy shape. Just add more layers. Again, since we are almost through the whole this part, if you had any questions, do let me know because this was a very long tutorial. If you require complete real-time videos, just either message me or tell me in the comments section while you're sending your projects and also your assignments. When you're posting them say if you require the real-time speed of this, I will send the link of those videos. Almost done with this part as well. Look at my hand moving. I'm going a little slower for the very last part to see how it's going to go. I just did a pencil measurement technique here. Even though you cannot see the reference, but I had to make sure how long is this area? Is it going to come out? If you don't know what is pencil measurement technique, you can go through that lesson. See how we use our pencil, our hand, our reference and measure everything and bring those sizes onto our main model. I really enjoyed this tutorial, I hope you enjoyed as well. Really looking forward to hear from you guys. Whenever you send me your practices or even if any comments that you have, it makes me really happy. I'm going to go through them. I get the chance to be on this journey with you guys because it's quite rewarding to see you going through my tutorials and liking it and progress at the same time. See you, everyone. Next episode will be our last tutorial of this course. I cannot wait to go through that one with you. It's not a long tutorial so I see you soon. Practice and bye-bye. 16. Learn How to Draw Keanu Reeves: Hello, everyone. Welcome to the last tutorial of this course. First, I have to say congratulations before we start. Right away, let's jump in starting with our sharp HB pencil, and the rest of the pencils that we are going to use today such as HB, 2B, and 6B. We are going to go through this last tutorial together. As always, I'll try to start very slow, real-time speed, with these pencils that you can see starting this sketch, making this into a few different parts. First, start with a sketch and pencil measurement, and then slowly, we are going through different materials. I'm showing it to you right now on the screen such as electric eraser, mono eraser, monatomic eraser because it's quite round. We do have other parts that are square. We might use a little blending stump. However, you know that I don't advise it a lot for this course. We do have them. You can see they're quite not used because for this course we didn't use it that much, so it stayed untouched. Our kneaded eraser, one of the best erasers that would be out there, so we could use. Right now, as we're going through the very last episode, one point that I would like to make is that we are going through a pencil measurement that you have learned in the previous tutorials. However, in this course, because it's such a long course, a long lesson, I do have it real time. While we do have the real-time, I'm going to go a little faster on this one for people who want to finish this in one sitting. As you can see, I've started a pencil measurement here. Whoever wants this tutorial real-time, just message me or leave a comment and ask me for the video; the link that leads you to the real-time experience of this tutorial. Now, let's officially start. These two points that you can't see on top from here to here is our guidance line, the center line that I always tell you we have to have it as our main guidance line to help us throughout our pencil measurement drawing. Have a look how I'm going through. This is the line. If you need ruler, please use ruler. It's just because I've been drawing a straight line from here to here a lot and even not just practice, maybe sometimes for tutorials for myself or for you guys. I practice this a lot. If you want your lines to come to you in a very straight way, practice as well. Look how I'm holding the pencil here. This way, I'm just going to make sure the forehead, where the lights going to be, and also, later on I'm going to show you to how to measure everything just by doing pencil measurement method. You do have the references, and because this is the last tutorial and you have learned how to do this, I'm going to show you the sizes on the screen. But it's your time to actually go print out your reference because it's available to you. Print out the reference, and then do the pencil measurement that I'm showing it to you here. I don't have the reference next to me, like the tutorial that I put the reference next to the model and I showed you how to actually do it. Now you know that, so I assume you know that. I'm just going to show it to you how to determine the locations with my pencil and my thumb. Look how I'm doing. You can see the actual sizes. While I'm doing this, every time I'm measuring the references is in front of me, and I assume you do the same thing. You can't see it on the screen how it's being done. Either follow it with our reference, follow the screen, that will be fine as well, or actually do the same thing. Get help from my own measurement, but have a double-check with your own reference. Continuing with this part. We have already drawn the hairline. We know where is the forehead. Now we have done the eyebrows with the help of our pencil. Look how I'm actually making sure all the measurement is correct. The previous tutorial, before we go through this one, we learned how to do free hand and also I have to say free eyes drawings because we didn't do a measurement, but we draw it with how we look at the stuff. Now, this is completely realistic drawing and very different from the previous one that we did. A lot of just looking at your reference and drawing it. No measurement. See, it's like complete life drawing, see and draw. Now here you can see the tip of the pencil and my palm, how we're actually measuring everything and how we should hold the pencil in order to do it properly. Some arches draw the basic sketch on the paper and then transfer it on paper board the other way around. If you're afraid of doing it on paper board or you think that you might use eraser a lot, you can try it this way. Just bear in mind excessive cleaning might damage the texture off your paper. This area that you saw is the area that we have to have our highlight. Just make sure you do the correct measurement. I just showed you a black rectangle shape in the middle of the forehead. We're entering the other side of the face which is from the minus space that I showed you. It's triangular shape. Look at it. What I'm doing, I'm just simply measuring what I see on the main reference and just apply it here. It is very easy, it's not hard. It just really needs practice. Assume for the first practice, it's not going to come out exactly looking like your reference. That's okay. However, later on, after a few practice, you will get there. As you know, the most common tool for measuring is actually ruler, but it does have some advantages. You see numbers on the ruler and it makes your eyes not to get used to the size measures, but they're only numbers. If you don't actually see numbers anymore, you're like, "Oh, I cannot draw anymore, I really need something." It's really not good when it comes to creative stuff or anything. You make yourself to get used to something so much that you cannot actually live without it or draw without it. Look at my hand movement, keep measuring now, going through the eyebrows. As I mentioned, we are going through a real-time speed here. In a while, I'm going to speed up and let you listen to some of my favorite music that keeps you focused but you still can practice at the same time. You already know all the techniques so far. There is both one-to-one measurement. I have talked to you in previous lessons, you know how to do shading and hatching or all of them together, and also even when it comes to facial features, you have been through all of it as well. From then, it's just a matter of practicing. All the skills that you acquired through this course which I'm really happy. I cannot wait to see all your assignments, all your practices, and your artworks, to see how they look like. I'll let you to listen to some music with real time. However, after that, I'll come back to you to go through some speedy parts and some comments. Again, if you needed the whole paint, which is a four-hour tutorial, I'll send you the real-time speed so you can just watch it without comments obviously. Watch the whole thing, how everything is done, but everything has been explained on the screen for you. Starting with the nose, look how shape, what is the shape that we started to go? The reshapes and also the side widths. This is the approximate spot for the nose that I chose. Make sure that you measure the nasal blade spot and also the nostrils quite detailed, do it few times when it comes to measuring. Look how careful I am when it comes to this area. We want our sketch to be exactly like a model that we have in front of us, so make sure that you measure every detail. Because we are drawing from one of my own drawings, I will make sure that you have access to that copy and you can print it out and draw from it. Measure the distance between the two nose pings. Doing the measuring both partial and general, so it means both detail and in a general way. I'll make sure that both the detail is correct but also they are placed in the right location. Look at the sizes, how I understand the length of the nose, which is the bone side nose bone we call it. Maybe it's called nasal bone. Really not good with the names when it comes to these things but from drawing parts, I know it's correct. Hopefully, you forgive me for my lack of sometimes words. We had a complete nose anatomy at tutorial. Have a look at the measuring for the eye started already. After finding exact spot for the eye, we start from the corner of the eye and go down from there. Create our curve a line. For more accurate measuring get help from the guidelines that I left for you. Which is exactly in the center of the paper. Now when it comes to the eye, I really take my time, not even moving a little. Slowly with patience, measure every inch and start drawing. Make sure from both sides, both are detailed and general and also from the guideline and also from the hairline. You understand the eye and also the little details on the eye like the eyelids, the eyelash lines, the upper eyelid and lower eyelid, which we're going to go through. I didn't mention, he's one of my favorite actors maybe that's why I chose him as our main model for the last tutorial. I'm not sure if you like him or not, so hopefully you enjoy this drawing as much as I did when I was doing it for you guys. This is what I'm talking about guys. Drawing needs to be enjoyable. You need to enjoy actually drawing. When I have physical classes and I do have students come into my classes, I asked them, "What do you want to draw? What do you want to paint?" They have iPad. What do you want to actually animate? We do have digital courses that teaches animation. If you wanted to know more about them, do ask me, I'll send you the links. Going back to the topic. You really need to enjoy what you are drawing. After you learned all the techniques, obviously these are the models I chose for you. But you do have access to a lot of this. Internet is millions of references out. We do have royal free references like Unsplash or Pixel Bee. If you want to actually access to those websites, do ask me for the link as well. I'll send you the ones that you can download the pictures without being worried that it belongs to someone else, so you can use them. When you draw if you feel they're not done correctly, make sure you correct them before entering your shading part. This part, you need to measure up and down, left to right, and make sure it's correct. Eyes doesn't come out right. If they don't come out right, the whole drawing is going to looks bad. It's okay that eyebrows a little like not okay or even the lips but make sure the eyes you take your time. Look how slowly I'm actually moving from the center line, both understand the measurement until the eyebrows and the line. What shapes you see actually? If you see circle, you see triangle, you see oval, you will understand those shapes around. Usually, when I start I analyze, I study. Not just depends on measurement once. First obviously, I'll tell you one by one, which one I understand. When I look at the reference, first if it's colored, obviously I have to realize with myself that if it's black and white, which colors should be darker, which color should be lighter, and how I'm going to play with the black and white color on a colorful reference. That's the first question. If you struggle do turn your picture black and white. There are lots of ways to do this, either online on the Internet or on your phone, a bit different apps. That's the first thing. Second, before we actually start measuring and realize that, it's just where we have absolute blackness. For instance, here on the hair, we have areas that you need to use 6b. There are areas like pupil, you need to use absolute darkness. So, you understand those things. You come in peace with yourself like, okay, I know this area should be like this or like that. For instance, I just mentioned the eyes is brownish black, so it means I have the understanding that the eyes needs to be very dark because it's not green. It doesn't show colorful on this specific reference for me. If it's for the complete colorful mine is black and white. I would have come to another conclusion, but this is not. Then the last step that you need to analyze would be actual pencil measurement. At the beginning, you don't need like me straightaway, just draw a freehand line in the center and that will be your only guide line. You can draw actually a lot of guide lines. It means first, understand where is the center on your reference picture and draw it on your paper, then at other guidelines or even use your grid. The grid can really help you and you do have free access to it because I've already done it for you guys on your downloadable resources. These things will help you to go through this drawing much easier. The only thing you need to do is to do your analyze, to do your study, then start with one paper and three pencils, that's it. Even two would be okay. For instance, if you use only 2B and 6B, that will be enough. You don't have to sketch with HB if you don't want to. Making sure that the lower eyelid is correct. The way our actor are looking. His eyes quite shows small here because we are doing canneries. We have to make sure that we capture the intensity of the eyes and how he's looking at us, so keep measuring. Again, since we are talking, make sure you understand the negative spaces. Where are the negative spaces? I have already talked about what is in negative space. You need to watch all the tutorials if you haven't and understand those points. Don't actually skip through. That's the only thing I'm asking you. Slowly we did the corner of the eye which is would be here and here dark later. Now from here we have to start looking at our reference. For the other eye size and measurement to see where left eye that we see should be placed almost symmetrical. Have your placing it. Slowly measuring from the eyebrows to the eye part. From here, it's very important to follow my hand movement and also follow what you see and follow your own hand movement. It's good to actually change this sentence that I keep saying follow the hand movement. It's because you have learned so much so far, and I assume you can, you have the ability if you have followed actually all the tutorials and went through all the assignments and done all the practices. Now, you can follow what you see and follow your own hand movement and pencil measurement. Any questions, do let me know. I'm here always to answer you. From here is double-checking, even triple checking, that will be fine, going through the corner of the eye. Look at the differences between the right side and the left side. We haven't done the pupil ones yet, and you will know the reason why is because even though we're doing very realistic drawing and shading here, but it's still the eye that I'm drawing, it's not that realistic, not in terms of our drawing, but what we see. It's showing all the details, it's just a way we draw because it's resembles so much to what we're looking at we are calling a reality. All these descriptions look like what we are doing and how everything looks like, it means we might not have a normal pupil and iris drawing, as we always have, like how we create details for the iris, ringing out the textures. I think lots of tons of highlights onto it, either with pencil, minimum pressure or maximum pressure, and a lot of highlights around. All those things, actually going to make sure we do have realistic or hyper-realistic drawing. However, this is a realistic, but it doesn't mean we will have all those details. How we measure and how we create the resemble, that's important. Double-checking, making sure all the lines being done correctly. We need to keep comparing the two eye sizes and also measure the distance between the eyes, the end of the eyes as well, both from the corner and also the end past the other coordinate sides. This goes for both, you need to measure left eye end line towards the right eye, and after that, measuring the end line of the right iris, and the end line of the left iris. Just double-check, go on your already drawn lines, measure the degree of openness of the eyes and measure the eyebrows. Also at some point we have to measure at the top part of the eyebrow until the under the eyelid. Now, a little, we're got to move faster through this part, look at the size from the upper eyelid and the hairline and a lower eyelid and the hairline. Keep measuring, look at my fingernail, actually where it holds when I'm holding the pencil. Because when you do so many times check, you will actually come to the main, how should actually looks like. We are here, we are drawing the iris. We had to determine approximate spot for the eyes and then measure the distance from the nose and the eyes as well, and also from the distance of the eyebrows to that nose. You have two points. Like here, the way you do, you do have lots of different ways to measure, it's not just one line. From that single line that at the very beginning you start, you can start easily to go through the main hairline. That hairline going to give you a lot more guidance line, and from then you can do the eyebrows, the eyes, the nose, for instance, the nose, then the size between the tip of the nose and the eyebrows and the tip of the nose and the eyes can give you the guideline for other part of the drawing. How we look at it, and do the measurement, we have so many options. It just you have to understand this and do practice few times and you will get the hang of it. Even if we do a complete measurement few times, we still happens that we need to erase our mistakes and do it one more time. Now it's time to go through the lips area. Let's see how we can start measuring from the tip of the nose in the nose up blade area. We start going through this part, start with really minimum pressure. Slowly add the details. While we are going for the real-time face drawing because it's all about pencil measurement and everything is very obvious from the screen, so I would like you to follow. Let's go through it until we start shading the eyes and I will come back to you when we start the eye shading. I hope you follow so far and enjoyed some really nice music. Even from the nose until the hair you need to do measurement. We're really close to complete our face measuring and drawing this sketch part and move towards the shading, the exciting part, create the real thing. Just double-check everything, complete your sketch. When happy you can either with your 2B or 4B and start drawing. While we complete it I prefer to start with 2B pencil because I can control it better. But again, it's personal choice if you want to start with 2B or 4B pencil, whatever you have is fine. You can complete this drawing even with one pencil and that will be 4B and a little 6B. However, it's your decision how many pencils you use. If you want to do really professional, I suggest you sketch it with HB or H. Then you add some line values and the first layer with 2B or 4B, and do the maximum dark parts with 6B. As I mentioned, the iris for this eye is not like a very realistic eye, so we can darken the area. We just have to be careful where the dark parts, the mid-tones and the highlights. Where I'm placing each area is quite important. Even though you see a lot of dark areas, it doesn't mean that you have to darken everything so quickly. Just take your time. Make sure you place the dark areas in the right place. Don't take away the whiteness of the paper for the highlights. But when it comes to the white part of the eyeballs, you need to actually gray those areas so they don't stay too flat. Look how slowly we are adding layers. Even slower than that, we're going to go for the line drawings and give some value line effect onto them. Slowly go for the eyelid. One point I would like to mention, especially to whoever and draws really advanced portrait right now. When you start and you feel you're drawing doesn't look good. It doesn't mean it's not going to look good. You need to have the patience until the end part, until the very last layer of shading that you're bringing onto your model. For instance, right now you might feel this is not going to come together. What did I draw, is the eyes look even correct? Yes. It will be. It just if you have done everything correctly, especially from the eye measure part, you will see that all of this going to be correct and very hyper realistic drawing and shading. Especially when I have students in oil painting, because I do have course has been there in oil paint and they send me their oil painting artworks and also acrylic. They are, we could have finish it because it doesn't look good. It just they didn't have the patience until the last layer. Even though this is a completely different medium, however, the feeling is the same. You might think that this is not going to look good because of this, because of x, y, z. It does as long as you trust your pencil measurement and you keep correcting the measurement and double-checking everything, you will a big fine. I might even think of myself, is the left eye correct, is a nose okay? Did I draw the lips in the right place? Yes. Because we checked a lot and we followed every step. Though everything will be correct at some point. We started shading the eyebrows. Slowly, slowly at the layers, when it comes to eyebrows area. Look how I'm holding the pencil, when I go up I reduce the pressure so I can create depth feeling of the shading around the skin and also those small hairs around the eyebrows. Not connecting the skin. When it comes to drawing these areas is quite easy. It just does practice and making sure that you understand how to hold the pencil. For most of the skin part, I'll let you watch and we go through a very long video tutorial with lovely music. However, I will come back to you around the hair drawing course, hair shading part. Let's see how we are going to create the skin. Slowly go around the eye and create the 3D version that we need for this area. Look how much we grade this area. Contemplate with yourself if it's okay, or you need to correct it at some point. Whenever you want to lift some areas, use your kneaded eraser as always. This skin for this model, I can erase. It's very different from the previous lesson because that was, first of all, old master feeling and also we did hatching technique skin. This one is realistic shading technique. Slowly keep adding layers. Just reduce the areas you don't need to. Maybe because it was too much or you want to actually correct it. It depends on what's your need and you go through those areas and lift up the skin with your kneaded eraser. These parts is all about going around the skin and how we're going to add. Let's watch the rest together. If you couldn't understand any part, message me and screenshot the area and I will explain to you later. I hope you really enjoyed long time music and also practiced at the same time. With our 6P pencil, we're going to go for the hair area. Until now, we've watched with real time. However, this is the easy part because we have already done the main part for the hair so we're going to make sure that it's dark enough, the areas that needs to be darkened. Look how I'm going through and sometimes we circle our hand movement, creating a highlight, look how we are creating it. Then we're going to go round and we have to make sure which part needs to go to the right and left. Slightly start adding the shading. Keep being persistent with your pencil measurement. This area should feel like it's been done properly and it's complete dark. However, I have mentioned in the previous tutorials, even though you give a lot of darkness, it doesn't mean it's going to be black because graphite pencil will not give you utmost black color. Near the lines always the darkest part and this actually proved my theory but I keep saying it, darkened whenever you are near the lines. The extra hair we draw next to the main part of the hair will give you that realistic effect that we need to. One more time, if you need this tutorial in real-time, do let me know, please. Slowly creating the highlights, you can do this with pencil eraser as well. Look how I'm adding sometimes shading surface and sometimes just hair strokes. It feels like we are filling up the gaps that needs to be filled. But however with different pencil pressure. Here move a little slower. Look at the real speed of the hair, how slowly we are going through, so if I want to actually show you the whole process in slow motion like in the real-time, it's going to take 4-5 hours. That's why I go a little fast sometimes. But this is the real speed, I just wanted to remind you what is the real speed we are going through. Now going back to being speedy. For this one, either your pencil is sharp, but it doesn't have to be that sharp except when it comes to the last layer of the hair and you needed to create those hair strands. Your pencil can stay the same way it is. However, make sure you do have highlights, the highlight needs to stay around and if you don't put too much pressure on your pencil and you can keep creating those highlights, that's the important part. Look at here, I keep adding black and highlight black and highlight different areas on organized way. If you keeping organized all the time, it's not going to look natural so try to keep moving around. See, okay, does this area needs more, the other area needs more? What should I do? What do I see in front of me on my reference? Do that like here, the hair strikes that we add here, requires to be extra careful. Even change the pencil to HB for a second to create those hairlines and then you can go back to 4b or 6b for the other really dark parts. I suggest 6b or even HB for this area, but if it's 8b, do not overdo it because it gets too dark if you don't have control on it. Slowly creating the highlights. You [inaudible] pencil measure and pencil eraser because we want the highlighted strands to be more delicate thinner. Take care every part of this area, you need to create it bit a really black areas and mid-tones and highlights using HB pencil for the extra hairs around. Using 6p pencil for the really dark areas. Sounds almost like working between 4b and 6p now we can go through this one. Just look at it real-time and see how it's going to feel like reminding ourselves of the real speed at some point. Slowly, left to right different hand direction creates that depth and dimensional feeling over here. Look how sharp my pencil is when it comes to drawing detailed hair. Slowly going through the area. Creating hair strands over and over again without rushing myself. That's how your hair going to look realistic later. You can create these really fast, even in five minutes or spend one hour on it. It's really personal choices, how you want to go through this drawing. Well, I decided for you guys to go through the one hour only on hair. If you do that in real-time and spend one hour on your hair, to do your hair for one hour, I think few people might say, hurry up, but here I will say, don't hurry up, just take your time. Look how we are creating the curvy part here. It's lovely creating that feeling between the forehead and also the hair parts just by adding more pressure. Drawing can be very simple if you know the techniques and you know how to implement them. First is starting with sketching, then line value drawing, and then applying either shading techniques or hatching techniques that you have learned all of them, and if you do them right and after all these practices, I promise that you can draw anything especially from a live drawing versions, because a lot of us wants to go somewhere, sit down and draw so that's actually give us the advantage. It gives us the opportunity to learn all the techniques in one class and go through the rest on our own. Start going in so faster here again, so we are going a little faster. The reason I said all these things is that if you had other practices that was close to this and you want it to show me and ask my opinion and how we should do it even others in pencil measurement area, the shading area, the hatching, and which part you should do more hatching, which part you should do more shading, I would love to be there to help you. One of the actually things that really makes me happy is to hear your positive feedbacks. When I feel that what we have done had a very positive effect on you and you're like timed when you were practicing this, it just the best gift that I could have received. [LAUGHTER] I really hope you feel the same. You enjoyed so far and learned at least something from it. I'm not saying like I'm teaching everything out there. However, I try my best to give the best results. I hope you've enjoyed it. Here make sure that your hand direction is quite important. The curviness that you create and the unorganized way that you create a hair strands is quite important here. Completing this area, slowly going around. After we're done with the hair area, we're going to complete the neck parts and the close bars. However, I believe that how much I could tell you all the details and all the techniques I've talked to, so I prefer to play you some really focused music and let you go ahead and practice while you are watching this. Even when it comes to hair drawing, make sure you do pencil measurement especially when it comes to curly areas. Adding more layers, creating dimension, [BACKGROUND] slowly, and filling the gap either with shading or with hair strands. If you practice this hair, I don't think there would be any hair that you won't be able to do it, so this practice will make you a hair drawer professional. Look how we're still measuring everything. Even now, we made a mistake because we've wanted to do hyper-realistic, we want it to exactly looks like what we are seeing, and draw that. I'm not saying it's not creative, it is still, it has creativity in it because we are creating something from blank paper. However, you want to do every replica, this is not something from imagination so that replica needs to do maximum measurement techniques, so do make sure that even when it comes to this simple hair drawings to do your measurement. The end parts you need to add more pressure. I'm almost near my commentary end because we still have a long way to go, we still have at least another half an hour to work on this drawing. However, I will let you to watch it more in real-time at some point and sometimes with speed. But lets you to practice while listening to some focus music. The more you apply layers the better your drawing will get. Left to right, sometimes less pressure sometimes more, or on organized way of drawing is very important when it comes to hair drawing. Look how much better it goes from like 20 seconds ago. This is a real speed, so even if we were going speedy and I fill up with this area, but this is the real way you have to go left and right, keep moving your hand, and pencil like this. Minute goes near the skin, you have to make sure there's no extra color, the pigments should disappear around here because this part are really tiny hairs that actually appears on the men's skin. For those like shadows, and tiny hairs, you need to make sure you do not apply too much pencil pressure. [inaudible] how it's going forward. If you wanted to learn any other medium at the same time, do let me know, I do have other color pencils drawing or even pencil drawings. We do have pencil drawing courses that they focus on different subjects. Sometimes they're only purchased drawing and realistic like facial features. Sometimes it's more towards still life drawing and also, I do have quite advanced classes which is going to teach you a lot about perspective architecture, and also fine line drawing because there's nothing better than drawing with watercolor, and fine line, and create really beautiful artworks. We do have all of that, and also digital arts if you want to have a look and see how actually you can learn digital. I have taught with Procreate, IbisPaint X, and also Sketchbook, so any of those that you really love to draw, drop me a note and say where we can find this course, and I will lead you to the link. The more we know about our media, the better, hopefully. However, if you want to stick with one medium, that's okay to get from beginner to advanced level. But however, when it comes to realistic drawing with pencil, if you want to learn everything up in this course is sufficient, you just have to keep doing it, and keep practicing it the same. Even the same references until you get really good at it. I just want to create some textures that's why I eliminated some of the areas in order to add layers on it one more time. For this part, we will continue, and I will let you watch the rest. I really again enjoyed this course with all of you, so drop me a line, any questions and any comment. For now, bye-bye.