- Lesson details
In this three-part series, Chris Legaspi covers everything you need to know about beginning portrait drawing, from start to finish. In this final lesson of the series, Chris goes over the last step in the portrait drawing process: rendering. Chris will do several demonstrations throughout the lesson, using a variety of different materials and stylistic approaches. Following the shorter demonstrations, you will have an assignment that will give you a chance to put these concepts into practice, and then have the ability to watch Chris’s version of the same assignment. The lesson will conclude with a three-hour charcoal demonstration of a male, allowing you to take in every step of Chris’s rendering process from start to finish.
- Sharpie Marker
- Drawing Paper
- Faber-Castell 9000 Pencil – 2B
- Prismacolor Verithin Colored Pencil – Black
- Prismacolor Colored Pencil – Black
- Ballpoint Pen – Black
- Willow Charcoal – Thick and Thin Sticks
- General’s Charcoal Pencil – 2B
- Hogs Hair Bristle Brushes – Round, Large and Small
- Kneaded Eraser
- Mars Staedtler Plastic Eraser
- CarbOthello Pencil – Black
- Conté Charcoal Pencil – 2B
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in the previous lesson we went over some of the basics of how to plan a portrait,
some of my thought processes. Now we're gonna really get in
do a nice, finished drawing. I'm gonna show you how to add light and shadow, I'm gonna
show you actual the shading, the techniques and the rendering in the demo. But
first we're gonna begin with the lectures, I'll go over some of my thought
processes on the actual lighting and shading and some of the ways that I approach
it and then I'm gonna quickly go over a few demonstrations. Gonna
use a couple different mediums and then I'm gonna give you an assignment so
you'll actually get to do some drawing yourself, then you're
gonna watch me do the exact same drawings so you can compare and see how I would have done
it. And then finally we're gonna wrap up with a nice, long charcoal
rendering of a portrait. You'll see from start to finish
So let's get started.
I really break it down into three
main ideas, really three main components,
communicating clear light side, clear shadow side.
So communicating clear light, clear shadow, or clear dark,
clear light, that's the first part is getting light
and shadow to read in and of itself. That's the main goal,
that's really the objective to shading and rendering is communicate
light and shadow. So that's the first part of it. The second part is
to control the values because as we know there's an infinite range
of values as we go from shadow to light, from dark to light, so
we have to control the values each step of the way, and finally
we also want to control the edge and edge is how we
communicate form. We communicate from hard forms to soft forms
to round forms. And it's all done with edge. Okay so the first
component of shading is communicating light
and shadow. Clear light, clear shadow. And
this is also commonly known as the
The box model is - our goal of the box model
is to communicate clearly
light and clear
One side is light and one side is shadow. And we call it the
box model because the box is
just the most efficient way
we can think about it, the crudest in terms of just a low poly
geometric form of box. And a box -
when you shine a light on a box,
it produces a clear light side and a clear shadow side. And that's
our first goal. Now of course a human being is
a box right? We have some steps to do but this is the idea
that we have to get across. Because without this read
really the whole illusion doesn't work, you know in fact
in my mind, the most attractive art,
especially representational art, this is what
grabs this first is this idea of light and shadow so
we have to get this across so to me this is my goal.
every time, 100%, every time I sit down
to do a drawing I want the viewer to see,
to feel this, to communicate this every time. That's why
you know I wanted to begin with this because this is the
most important goal. It's also known as the read.
And read just means a visual read, visually communicating
getting this idea across to get the realism,
to get more realistic form because we eventually, you know,
wanna get to a
to get to a more complex form like a face or any complex
form you may wanna be shading. To get here,
to get this idea, what we wanna do is once we
communicate clear light, clear shadow, we want to begin
how they relate and where they relate is at the edge.
The edge or the border.
And that's where we put all of our energy, 80 to 90% of your work
will have been here. And that's what we're gonna talk about next, how to get this this
to transition, to blend, to model,
to move, and to
the light, and that's how we get from the simple, crude box to a
realistic, complex form, like a human being, like a portrait.
So the first
thing we have to do is to get
from here to here, to get from box to realistic form. We wanna first
control the values. Now, there's an infinite
range of values, as we all know. When I draw or when I paint or when I make
pictures or draw portraits, to me the most
effective way to work is to limit
your values as much as possible and I like to limit them
to three values.
The three values is functional because it gives us
It's really that
simple. A light,
a shadow, and something in between.
Because remember, to get from here to here we need to
treat the edge and the edge, the movement from shadow to light
And in terms of actual shading when we begin to draw, we can
think of this as light, halftone.
You may be familiar with this term,
half tone, I just think of half tone as what's halfway between light and shadow?
So again, three values, light and shadow is our box
and then to transition, to get realism, to get form,
to get naturalism, we apply half tone. Something in between.
A point in between where they meet can of course just because we're limiting ourselves
to three values doesn't mean we can't get more nuanced form
or nuanced rendering, more complex in terms of value but
as long as we get each of these value
shapes to read as the value shapes they're intended, as long as the light
stay light and much brighter than shadow,
shadows stay dark and shadows stay much darker than light, and then as long as
half tones don't cross too far into shadow, they don't get too dark,
they don't get too light, we maintain that clear read.
Another way to think about it is we're going from a box
to a rounder box, that's one way to think about it.
That's really all it is,
we went from a sharp corner, now we added a plane,
and then light, shadow,
half tone, light.
Next we'll talk about how to make that even more realistic. When we actually draw
we can actually create
lots of nuances with our very simple
three value idea.
So of course this is - I'm using
a marker here to get a gradation but we can apply
gradation, we can - as you see as we draw,
you know we don't adhere to rigidly each shape,
you know, as we apply tone, we can get nuances
and shadow can become
a dark part of the shadow in this, the darker end of
the shadow can be like a dark accent, this can be the shadow itself,
half tone can go from a lighter half tone
to a darker half tone. Lights can go
from all the way to very bright highlights to light itself.
This would be like the form it light, this could be a
half tones, you can make lighter or darker versions of it, and shadow,
the darkest part will be dark accents. You'll see this a lot in
context shadows like deep crevices in the face, you'll get these dark,
the actual shadow itself. So I wanted to share
a photo that demonstrates this idea, this is a reference photo.
Now this photo has a beautiful, clear
light side and clear shadow side, it communicates
the box idea that we want. And it also has a beautiful half tone. If you notice
the shadow side is nice and dark, much darker than anything it
lights. It has that clear box idea and if you notice
on the light side, there's also high light at the very top so
in this case that would be our third value. So this photo, this
reference, is a clear example of these ideas of
clear light side, clear shadow side, and the idea of
simplifying to three values. And when you're beginning
to practice and draw at home when you do your homework, this is the kind of reference
you wanna get, in fact this will make your life much easier because
the more you can draw from reference like this with really clear
light and shadow side and a clear border, notice how clear the border
is, there's a clear distinction between the light and shadow side, there's a clear
border. The more your reference has this kind of lighting, this single
source dominant spotlighting, the better. And of course later
as you improve and as you get better with these concepts you can
explore more complex lighting. But definitely begin with this kind of lighting
because it'll make your life a lot easier. Okay the next principle I want to talk
about is controlling edges.
So edges like values, there's an infinite range.
So in exactly like - I limit
the infinite range to dark, middle, light. Edge can be
limited into the three most simple ways to think about it.
A hard edge, also known as a crisp
or sharp edge, soft edges, and
lost edges, and you know, there's an infinite range in between
but these are the basic ways that you can simplify
your edge work. Because when you begin to actually
draw, you can get very, very lost in the
process because there is an infinite range. When we draw
representational art, when we want to get that realism, especially on
organic form like a human being, probably 80 to 90
percent of your edges
will be here because, you know, realistically human beings,
organic forms don't have these, this is typically man made forms
but as artists we can use these as
devices to grab the viewers attention. So that's one way I like to look at
hard edges as to control
And you do also see hard edges in cast shadows.
That's really the one place
that you see hard edges on organic form
is cast shadows and you'll often see that for example when you
shine a light on a model on a portrait like you'll see
a cast shadow under the nose or one common example is that
cast shadow that the chin casts over the neck. You'll see this really hard edge and that
communicates cast shadow. But most of your work
will be here. In fact, typically when I draw, I draw
most of my drawing in this range and then at the very end I'll come in with a
with some hard edge accents and it looks really nice, really attractive
and it can create a lot of interest because there's
so much contrast. And
just to restate our first idea of the box model and the read,
really what we're doing with edges
is that we're communicating form
and remember the box, clear light, clear shadow. Now when we
add half tone
we can actually round the box.
That's what edge does, it helps to round
the way the planes or the
forms go from light into shadow or
vice versa. So we're communicating form as it transitions
from light to shadow
and then going back to the
previous idea of controlling values, all we have to do is describe
clear light, clear shadow, plug in
our third value, the half tone, somewhere in between
the value between light and shadow, and then now we plug in an edge.
It's either gonna be soft or lost. And the lost edge,
what lost edge really is it's just a very soft and gradual
turn. That's all it is.
So depending on how quickly it
turns so this type edge may be like on the nose or
a bony part or a cheek. This may be on the
forehead, you notice the forehead is this very soft
more rounded form or maybe like the curve of the next
or even the cheek or even creating that gradation as we go from
the highlight in the forehead, you'll see that a lot
when light is at the top, the highlight and the forehead as it gradates down into the
rest of the face, the curve, the egg form. Depending on the material and
technique and look and the idea you wanna get across
you can use the various edges but they essentially
communicate form and it's up to us to
communicate the nature of the form, that's what I mean by edge control is we want
to communicate harder forms
or hard muscle,
for example cheekbone,
or do you wanna communicate softer forms like
or maybe the entire
egg, the head, and these only occur
in cast shadows.
Rendering is complex
but when I think about it this way at least it gives me a starting point,
a way to manage that awesome
complexity of it and just, I just don't go crazy
because I know I only have to accomplish three things. Communicate the box
control the value, control the edge.
I think about actually approaching the process
of rendering, really there's only two ways
that I like to think about it. It's either we're gonna use a linear approach,
use line, or use tone. So we can call this
light versus tone.
There's more nuance to this but just
to keep things simple, you know, as you probably may have guess I'm
all about simplifying this as much as possible to limit
the possibilities, limit what we can use so we can get maximum
amount of creativity. So line versus
tone. Now they both work
and ideally you will
be using both in and out, you'll be going from line to tone and really
it's - which one you use to me depends on
what you're trying to say, on the story you're trying to tell, the idea
you're trying to get across. Because remember the first part really was
essentially about developing the idea we talked about observation.
We talked a lot about narrative and storytelling, communicating
your own emotion, your own idea, your own story
through a drawing. So depending on what story you wanna tell, that's the approach
you wanna use right. You wanna use line
or tone. So it all depends on you and what you're trying to get across.
And if you're a painter, if you've
painted before, you can also think about this as
alla prima versus
blended. You know alla prima would be like John
Sargent. Thick, chunky strokes, you can actually see the strokes. Blended
would be more of like those longer.
I'd say like a Gérôme or a Bouguereau, the full rendered
modeled, beautiful, blended forms. If you're a sculptor you can think of
chiseled versus smooth.
You know so some sculptors leave the chiseled,
they leave the clay marks, you know, so you can see the texture. Some sculptors
prefer everything smooth and modeled. The main concept
is that you either want to show your
strokes or -
you either wanna show your strokes or
that's really all there is. A line is
showing the strokes, you wanna show the marks that you make. You want the -
you want them to remain in the drawing. And
tone, you use the tonal approach you wanna hide the strokes, you
want everything to be smooth. So again depending on what you're
trying to say about your drawing, that's the approach you wanna use.
But generally you wanna ask yourself while you draw
is that do I want to show my stroke,
do I wanna hide my stroke. One way to think about it is do I want
Do I wanna go with the plane or against the plane? So what that means is that
remember, going back to the previous concept
of the box model.
When we shine a light on our
form we know we know we're gonna have a clear light, clear shadow. If we go
with a plane, that means with the plane where light and shadow
meet, in this case it would be the corner of this box, so if you go with the plane
we'll kind of have this idea, it's the long
axis of the plane. So if I went
around this box up. that's going
with the plane. And this creates a smoother
transition right, you can see how the long strokes create this smooth
And another way you could do it is go against the plane.
So this creates a more chunky,
more obvious transition.
It also creates some texture so you can see
it's a clear, even in this crude little marked drawing of a box,
you can see that they feel different right?
One has a smoother
idea, faster, one is slower, chunkier, more erratic.
Two different feelings so yeah that's why I think it's just - it's good
to simplify it this way because you can get a lot of mileage just by doing
these two things, just by playing with this idea of showing your stroke ,
hiding your stroke and going with the plane or against the plane.
Then you can get a lot accomplished, you can tell a lot
not just in terms of forms but in terms of story and narrative.
And I'll draw just a quick little
crude little face here so you can see. And later as we use more
tools I'll show you
this - let's say this is a
Here's another face here, light and shadow
So if you go with the plane,
in this case the long axis is the
length of the face and then
that can start to blend, transition from shadow to light.
Remember we're going from - we're using our three
It's going with the plane in this case
And in this case going against the plane.
And against the plane, against the
of whatever play you're trying to model, to round off
with the plane, against the plane, two totally different feelings. They both
do the same job, they both transition from shadow to light, they both
communicate the box, they both communicate the three value idea,
they both communicate an edge, a slightly soft edge, remember,
the three edges. But two totally different moods.
Two totally different feels, ideas, two totally different stories.
So you can see the possibilities. You can go in and out
you can go with, you can go against, you can go slightly darker, slightly lighter,
you can use blended, you can use
linear, you can show your stroke, show your strokes here,
maybe hide your stroke here at the chin.
You can see how you can get an infinite range of edges.
Infinite range of plane changes just by playing with these two ideas. So yeah
that goes back to the whole, the whole
crux of this lesson is when you're starting out you wanna simplify,
simplify, simplify, and try to get the most mileage. So that's exactly what we're doing here, it's the same thing
but just apply it to the actual method and the process of shading.
Here's a quick overview of some of the materials that I like to use.
And to be honest marker's not
one of them but marker is fun for sketching presentations. But
remember we either want to
use line or tone, right, keep things simple.
And line obviously
pen is one of my favorite drawing tools. You can also, if you like,
line drawing one good, classic example
is etching so you can look at Rembrandt or Anders Zorn
they have beautiful, linear
renderings in their etchings and, you know, that's a
totally different process but, you know, we can get that on
paper with pencil and pen. As for tone,
the main tools that I like are charcoal,
pastels, now of course there's lots of ways to
get tone out. I even use brushes sometimes, charcoal powder
but typically when you're doing tone, and you can actually get
charcoal pencil of course for line as well.
But typically when you draw with tone you're gonna be using
a big nubby, kind of
stick. So it's also like a brush.
In other words it's like a flat brush,
this would be your round brush,
you know, if you're into painting. When you do tone you're gonna be using this big, chunky stick.
I have one here, it's like a
big chunky stick, it makes this kind of mark.
Makes this kind of mark like a tone.
So that's typically - and they can come in pastel as well, I like to use
white pastel on toned paper myself because it has a nice, beautiful,
blended mark especially when you smudge it with your finger.
So typically tonal tools will come in big chunky sticks when you're
drawing portraits when you go to the art store. Those are great
and you can use sandpaper to soften the - if they're like these blocks
you can use sandpaper to soften or even just soften it on your paper.
And you know the line tools are fairly
easy to find as well, fairly common. Now one thing that I use
when I was beginning to learn how to draw is
some form of charcoal pencil. And charcoal pencil kind of
lies in between a linear and a tonal because they can
do both. And here's what it looks like. Here's a little
carbothello. And what's
good about these is that
when you sharpen them it can create a lead,
a long lead, and you'll see this as well in the demo of course.
And with the lead sharpened this way
it's kinda like this long lead.
You can get both line and tone.
Obviously the point will give you the line and then the body
if you hold it to the side, you can get -
here's your paper here -
you can get
tone, smooth gradations and smooth tones.
So I'll just - here's the pencil that I'm mentioning, here this is what it looks like
magnified, you like that, very crude. So I can get
a linear drawing or
I can get tonal drawing by using
this side. So see the two different marks. I mean you don't have to
draw with the long, sharper pencil but that's one great way
to draw and you'll see that as well in the demo,
how I use this kind of pencil because it's just so versatile. And these
bricks and these sticks are versatile as well because a lot of times you can
also get -
you can obviously they're great for tonal drawing
but also great for line as well.
And you can even begin with a
line, right, begin with a
line and use your finger or another blending tool
to end up with tone. So remember the previous idea with
the plane, against the plane, this is another thing we can play with, we can go
in and out from line to tone, from
hide the stroke to show the stroke. So it's all kind of back to the same
the simpler and the more we limit what we use,
the more flexibility and creativity we'll be able to get and it just keeps you from going
crazy managing the complexity of
creating realistic art. Okay so those are some of the basic principles and concepts
of rendering and adding light and shadow. Now we're gonna demonstrate
some of these ideas and I'll show you actually how we apply these concepts
to a drawing.
of the approaches that I use. So remember
in the previous lecture we talked about
basically we're either gonna use some kind of linear approach
or some kind of tonal approach. We're either gonna show our strokes or
hide or blend our strokes. And we can also do something
in between as well or go back and forth. So first
I'll show you some of the materials that I like to use.
Now when we do a linear approach or we wanna show our
strokes, first obvious choice is
pens and pencils. So here's some various pencils, this is just a graphite
pencil and here's another pencil I started to use as well is
what's called a verithin which is basically a colored pencil,
and this is a Prismacolor black colored
pencil as well, and I sharpen on both sides
just for convenience. And it can get darker
the graphite, that's what I like about it. It has more flexibility. Graphite
can't get very dark so it's great for
doing light tones and doing subtle tones, it's excellent for that.
But it can't get dark so you can't get that contrasty pop, that's where
colored pencil comes in. So it depends, again,
what you're trying to say about your drawing. You know if you want that contrasty pop,
if that's a big part of the story you're trying to tell, I would say go for the colored pencil.
If not, if you're just like sketching and practicing, generally
graphite is a good choice, and graphite comes
very easy to find. This is a 2B, very easy to find, you can ordinarily
writing pencil you'll find works just as well. I also like mechanical
graphite pencil as well, those are very convenient so
both tools are great for drawing and the other's just an ordinary ballpoint pen. I got this from
a bank or something. Any ballpoint pen works good,
black or even blue works as well. To make tonal marks
I typically use charcoal, there's a lot of ways we can make
tonal marks, a lot of different materials but personally I enjoy charcoal. So I'm gonna
show you some of the charcoal tools that I enjoy.
When I draw in charcoal I really enjoy a combination of
sticks and charcoal pencils. So remember I said
that when we're doing a tonal approach a lot of times you'll be using some kind of big
block or big stick kind of thing. And this is a willow charcoal
in its long stick form. So this is great doing those
big, tonal marks. And willow also comes in these big old bricks.
This is a thicker version of it, and
eventually the more you draw, it'll get shaved down, you can see I'll probably
be using this in the demo. It gets shaved down into these
little nubs and you can also, with the point, you can get a line as well but this is
probably my favorite tool for creating a tonal type marks, tonal
type renderings. These big charcoal sticks and I like willow.
And I'll also be using
charcoal pencils, notice the point,
the lead has a little bit of length to it because you can use the point and also
the side as I mentioned earlier but this is the same
stuff as these sticks. This is a Generals charcoal pencil, very
easy to find. And to blend
my marks, there's lots of ways to blend, you can use your finger, very
common or a paper towel or a blending stick but I also enjoy -
so these are just some cheap, ordinary bristle brushes in
various sizes and these are great for blending and softening your mark.
And of course for clean up we got our good old friend
the kneaded eraser, this is the artist go to eraser.
And I also have this mars eraser and this is for cleaning
up. This gets more material off,
it's a little bit stronger. And this is also great because it erases
And finally the last material I'll be demonstrating is
the charcoal pencil. Now these are
carbothello, made by Stabilo and these are actually
pastel but the mark is very similar to charcoal. And notice the
long, needle like point, and that's because you can get
tonal marks using the edge of the pencil
or you can get line by using the tip.
These are very versatile and this is what I
learned when I began studying drawing
is to use these long sticks. They're very convenient
and this is a Conté. Conté
a Paris and so its a 2B grade and
it creates a nice, dark mark and it's very versatile and
yeah these are the two favorite brands I like to use.
And the main thing you want to note with these is to be able
to sharpen a nice, long tip so you get a lot of variety
in your strokes. And you'll see that more in the demo as well.
Okay so these demonstrations are gonna be fairly
quick, almost sketched type drawings. They're not gonna be
totally polished. They're anywhere between 10, 15, to 20
minute type drawings. And generally that's how I think
when I sit down to draw is how much time do I have.
You know if I know I have time and I wanna do a nice, polished drawing I'll probably use,
you know, more of the blending and the charcoals, a longer type
tools. If I'm doing sketch I'll definitely gravitate towards
pen and pencil and use more linear approach, more hatching
which is what I'll demonstrate first. So in this first
drawing we're gonna do a portrait, a female portrait. And this first
example I'm gonna demonstrate using line
so I'm gonna begin with the verithin
the colored pencil.
And I'm gonna start by doing a light
the structure drawing, a lay in, and this was
what we covered in the previous section.
And as I'm drawing I'm sort of trying to think of a
the story or the idea that I have in mind.
Now we always wanna go back to our
And I'm trying to draw very light.
though we can't erase colored pencil,
it is, in a lot of ways, permanent because it's wax.
It doesn't lift off that much. So I do have to
touch it as very lightly as I can. But I'll reinforce lines
as I go.
Just quickly indicating the features.
A lot of my
philosophy is to let the light and shadow do most of the work so I don't -
I don't really
try to spend too much time on a construction drawing.
Although it is important and probably
when I was starting out I did a lot more of it so this is actually not a bad
to give yourself a good construction drawing, nothing wrong with that.
Can leave the hair abstract.
Because I want to most of my attention
being the features of course, especially around the eyes.
And that's true for the construction part
that's true for the rendering and the finish
Okay. There's a quick lay in
Now I wanna begin
the shading process so remember that first we want to
get the read and the read is the box, what's in light, what's in
shadow, so I'm just gonna draw a real quick diagram
here on this side, just off to the side.
And this particular image has light coming from -
it looks like above,
there's not too much light in shadows. A little bit
here because, you know, we wanna focus on the border so most of the shadow
borders happening here at her cheek and at the underside
of her jaw there.
So I'm gonna draw a little box
model up here. That's the little box that
represents what we see and of course here will be shadow, to the left
and to the bottom, because light is above
and to the right. So that's kind of the
the read I want. Light from the upper right,
three dimensional form, shadow on the left, light on the right.
Okay so my first job
is going to separate light and shadow.
Now I'm gonna take a moment to squint at the picture and
decide on the value structure, the value arrangement. So remember
part of the process is to control your values and we
want to limit to three values: dark, middle, light, and
in this case, shadow\
will clearly be dark. I would say
light will be
probably most of her face is fairly bright. I'm squinting
now and it's fairly bright I would say. That means
half tone will be at the transitions and at the
shapes that are slightly darker
than the face in light, so maybe the side plane of the nose but
I'll show you what that means.
Something like this where
the face is mostly in light. We do have to handle it a little bit differently, a little bit more cautiously.
First I'm just gonna block it
in what I see here. The shadow - and her hair. Now she has light hair
but the hair is mostly in shadow, at least the left side of it. So
I'm gonna group that with the darks consciously. I'm gonna make that
decision. And I think that's a good decision because
it'll help me get that read that I want.
My main job is to communicate the idea
of light and shadow and form.
We do that by limiting our
values as much as possible.
I'm kind of gonna draw
the shadow shape that I see here.
And now I'm using the point
and I'm still trying to go fairly soft
I do want kind of a soft feel. Even though I'm using line I do want
a soft kind of feel in here. So I like that.
Okay and I'm gonna
punch in her eyebrows now.
So what I've done in there is I've
kind of grouped
this whole mass of her hair into this
one big shape and I'll fill that in in a moment. Then I'm gonna
draw the eyes. I'm almost
capturing the shadow into 2D
graphic shape. So in a lot of ways it's still
a two dimensional thinking.
Two dimensional idea. We still haven't got to the 3D
box yet. And that will occur at
the border, remember the border is where
we want to put most of our attention.
I like to think of the border as the core shadow, the
border of light and shadow. That's where artists earn your money
is how well you can communicate that border.
Good from great.
So gotta put a lot of care there.
And just making sure my shapes - now this lip,
this top lip is in shadow but, you know,
I may group that - I'm gonna group that with shadow.
I was debating whether to group it with half tone.
Maybe the lip itself will be
a half tone, the lip in the top plane of this lower lip.
So that's my first
shapes, shadow shapes. Okay now
I'm going to mass it in with a tone. So I need to
give them a tone and to use line what I like
to do is first generally stroke all in one direction
and just spontaneously off the top of my head I'm gonna go
this way up and down. Now you don't have to go up and down every time
but I think this is just a good call.
So it's gonna have that nice almost
Recently I've been looking at
classic illustrators and
specifically a movie poster artist
when they draw their movie poster sketches
they use a lot of a line it looks so cool.
So massing that in, I'm gonna mass in the lip.
In this case now
remember I said you can either go with the plane or
against the plane. Now here I'm doing a combination of both
general shape of the head.
It's a vertical egg
so most of my strokes will fall under
with the plane or going with the long axis of the form,
which is a vertical egg. Now for this
this upper lip
the long axis is actually horizontal but I'm going against the plane which is fine.
I think at this stage I'm more concerned about
continuity and idea. Because to me
line is more than just line, it's actually idea,
at least as when I make
my drawings, me personally. To me line and direction
is a way to communicate stories so I'm actually I'm consciously
just going to keep everything vertical. Or at least mostly
everything vertical just to tell my story.
Something to think about, you know, it's very -
it adds a little bit
of depth to your drawings more and you are very conscious about even the smallest details.
Now this eyebrow I'm clearly going against the form.
but it works because it's adding texture.
Going against the form, creating a different feeling and
also create a texture.
I'm using the mars eraser which is basically a rubber
eraser to get that little nugget
shape. So we're still fairly light here and
we do have our box idea, we have light
shadow, and we have light plane,
shadow plane, we have dark, light, now we need to add midtone
and we need to transition and we also need to consider edge. So I remembered the
the border is what we need to focus on next. So what I'm gonna do
is work on the border and the
clear borders that I see in this drawing are
the cheek. So in this case I'm gonna go with
the long axis of this cheek and with
the plane this just to give it that kind of a smoother gradation.
Also with this long axis here
and with the long axis here of the jaw.
one good thing about working light is that it still kinda feels soft
even though this is is like more of a linear drawing. I mean it is
a lot of line. It still feels a little bit soft because the value
isn't punched in yet, the contrast isn't quite there yet.
And that's good, you definitely want that in the beginning, you don't wanna punch your contrast
too quickly, value should be
brought up slowly and that way it'll give you full control.
The slower, the more cautious you are, the more time you take, the more
deliberate you are.
Where else can I see some transition. Maybe at the nose here.
Okay so let's see I'm gonna go along the plane of the nose,
plane of the nose
and the lip there.
Here I'm punching a little accent, going
with the long axis there.
Okay so now
I gotta consider half tone.
Now I've decided to leave
most of the face as light which is fairly bright so that means
I have very little half tone in this drawing. So what I'm gonna do is I'm gonna consciously
exaggerate the half tone a little bit in areas
I want. So for example the underplane of this
eye I want that to read as an underplane
a little smuggy there.
Underplane of this eye. So I'm gonna fill that with a tone.
And let's see I'm just gonna drop it nice tone here.
And what'll probably happen is it'll appear
almost as dark as the shadow
which means I'll have to reinforce the shadow, meaning darken the shadow
so separate it. So remember you have to separate the value shapes
as clearly as possible to get that read.
and I wanna get a little bit of that underplane of that eye and I'm still going
vertical at this stage, just to tell my story.
A story just emerged in my head as I'm drawing this, it's almost
like sadness, sadness.
You know there's like tears, I'm feeling the
idea of tears. I dunno, I dunno where it came from.
Because tears kind of drip down from your face so it's kind of a sad
thing and she has kind of a somber look on her face so
I like that.
Anyway that's the story I wanna infuse, your
interpretation can be totally different.
This somber kind of heave kind of heavy kind of sadness to it
So it makes the side plane of the nose
and also some of the top plane of the nose.
And just a
little bit of tone under her muzzle. I'm actually
going to glaze some
half tone very lightly, using - still using
line in a vertical direction but my touch
is going to change, meaning I'm not gonna press hard, very
subtly touch. So you may not come up too clear but
just sort of a quick
glaze of half tone because this picture is mostly in light.
The lighting on our model here.
So just a quick
glaze of tone.
Also a little bit the keystone.
I like to exaggerate the feeling
of the socket,
gonna erase some of these
lines a bit there.
So now I have
light, highlight is that little section on her head there
I'm gonna leave that the white of the paper and half tone
and as you can probably tell, half tones
almost indistinguishable. So what I'm gonna do is
I have to consciously darken the shadow now. So I'm gonna go ahead and punch in
some dark parts if the shadow. And this'll be
sort of the
conclusion to this little study.
So I'll begin with
the eyes, the actual focal point. And I'm not gonna do
too dark at this stage.
So that's probably as dark as this drawing is gonna get and I also know
I have to fill in the underplane of the eye, the little bit of
cast shadow going into there.
Okay so now I can begin to play with some hatching
or begin to play with a direction
of my line. So this is a linear
line drawing, style rendering. And I want you to see the
strokes, which is why I'm using line. So now I'm consciously
gonna use horizontals
because most of it will be in
verticals. Now when you see a
horizontal it's special. It's special so a good place to start is
the focal point.
So maybe let me wrap a little bit here.
Let's say she's a character, she's a heroine in our story and
the world is heavy, bringing her down. She's in a moment of contemplation,
a somber moment and
she, you know, she's trying to think
of a way out. She's, you know, maybe she's
stuck, maybe something heavy just happened in her life
I don't know. But now she has a solution to move
forward in life and that's what the horizontals represent. So the world is
vertical, heavy, sadness,
solution, hope is horizontal. I dunno I just made that up.
It sounds good to me.
But you know who knows, maybe
these things will make my drawing better.
I think it does, you know, it goes back to the first lesson, you know, telling
your story, making good observations. All goes back to that, so even as I
draw I'm consciously thinking about
how can I make my story better, make my drawing
more than what it is, more than some marks on a piece of paper.
And I think the best portraits
do that, especially in photography you can tell when
a shot has more thought, especially
like I love those candid shots, candid
portrait photographers. It's a lot of fun.
It's always often more than just a subject, it's definitely
a story there and that's what I'm trying to do here.
Let me get a new pencil here.
Actually we're pretty much wrapped
up with this sketch so I get a real sharper
I typically have a handful
of these four or five of these in my
on my drawing table so I don't have to sharpen too often
I'm kinda of creating some dark
You know even though I'm using linear technique, I'm still trying to
achieve some subtlety. Now this is a female.
I don't wanna go too rough
but I still want that feminine, that softness, that nice,
soft light. That's what I liked about this image in the first place was that soft
it was mostly in light so it lends itself to a softer idea.
The shadows are generally a harsh idea, especially the kind of shadows that
I was recommending earlier, the strong contrast
clearer light and shadow. That's great for artists
but generally the least flattering lights.
you know it's, I don't want to say ugly, but it can get ugly.
It's too harsh so
I want a little bit of my softness in my drawing so I'm not pressing too hard
almost down here. I'm gonna put in the last touches and you'll see how
I can play with line and the idea of line.
See those horizontal strokes at the bottom, almost draws too much
attention so I'm gonna neutralize that, I might even erase that
I don't like that - I drew too much attention.
It's so subtle, just that little bit
of horizontal is enough to
almost kill the, the illusion, the idea that
horizontal is special so I'm gonna try to
reserve it for the focal
point at the eyes.
Reserve most of my horizontals there. Or any variation I'll use
other variations as well.
And of course I can
go as dark as I need
you know to build up a value
just keep going over.
It's a little laborious this part but
one thing you can do is switch
to a different pencil. I have a
Prismacolor, straight up Prismacolor it's a lot
darker. This verithin is very hard for a colored pencil
that's why I like starting with it, you can get a lot of subtlety.
So now as I'm darkening I'm trying to pay close
attention to the value here. I wanna keep the
value fairly even because remember I want all the attention
to be on the focal point.
So one thing I'm gonna do now
as I wrap up this drawing, I think I'm pretty happy with how the value
is turning out. I'm gonna do another quick
glaze of subtle half tone.
Kinda want that half tone to show through a little bit.
Gotta be careful with these lower lids.
They can age your subject fairly quickly
and I definitely don't wanna do that here
I'm gonna reinforce this side plane of this nose before I
And so yeah that's pretty much it for
this little study. And to complete the illusion
I'll block in this core shadow real quick. I think the core shadow
you know I talked endlessly about it
before but actually the core shadow is not that important in this one. What's important
is actually the idea, it's coming across the eyes. And to finish this off
what I'm gonna do is add some embellishments. I'm actually gonna literally
punch in some line because remember I want you to see my line work
in this case. And I'm even gonna go
the hair, and
then I'm going to
roughen up back here just a little bit.
That way what appears in the center
the focal point area feels a little more polished but
as for this study it's pretty much done and one more
quick touch. Because I like
to add some line and variation.
And one quick touch,
darken the lip,
one touch of horizontal.
Just a quick
glaze and I'm gonna use a horizontal technique and that will wrap up
this study here.
So it's almost -
almost becomes an abstract
type of approach, abstract artist type of approach.
A stylized approach but you can see all the horizontals happening,
draws your eye right in to the focal points
because we starting with this vertical, linear approach. Okay so that's it for the
line style drawing. Next I'll demonstrate the blended
style drawing with the charcoal.
and this is a tonal. I'm trying to make a
soft drawing. I'm gonna start real light in charcoal
pencil just to do a quick block in.
What I'll probably do is
an almost ghostly
style approach as you'll see and
out or pull out the details
as well as I get closer to the end, closer to
And for this, this'll be
all charcoal. Charcoal does
erase quite nicely but you definitely don't want -
you don't wanna abuse the eraser
because typically because charcoal, especially these pencils, are so hard
they'll like eat up your paper.
Gotta be careful.
And let's see, I'm just blocking in this shape.
So these, all these lines, will be covered up, these little
hatch marks I'm making here.
This is almost a painterly style
what we're doing in this demonstration,
is typically when you paint, especially
alla prima or if you're panting from life
you don't wanna spend too much time on the drawing
you just kinda wanna
block in, lay in, that's what we're doing here, this quick lay in
and then get right into the paint. So that's what I'm gonna do here, just a quick
lay in and then get right into the paint, in this case the charcoal tone.
That's my quick block in so I'm gonna draw
just a little - the box idea so light is coming
from the upper left. So
the box, everything on the
left will be in shadow. Oh light's coming from the upper right excuse me
so everything to the left will be in shadow, that's all his face. If you look on the reference you can see
there's a clear border between the front plane of the face and
the side plane of the face where the light is striking.
Now I grabbed my little willow and what I'm gonna do is just smudge some tone
using my little willow here .
I'll smudge some tone and then blend it back with a brush
so sort of
fairly ghostly. And I'm starting with the
front plane of the box and you can see my construction
is getting covered up there.
That's why I don't wanna spend too much time on it. And the neck,
you can see clear shadow side
of the neck as well
the ear has a nice, big dark shape.
And his hair.
You know we always wanna simplify our values. The hair
I'm gonna group that into light as well
or shadow as well, excuse me.
And as far as our value structure,
light, dark, middle, I'm not quite sure yet what I'm gonna do with
the half tone or light.
Not quite sure yet.
But we can make
that decision in the moment spontaneously.
Okay now I'm gonna get my little brush here to blend the mark.
So remember this is the blending style
and the type of paper you use is fairly important too.
I believe this is like a set coal
type of drawing paper.
And I'm gonna blend, I'm gonna use
some of the charcoal that's already there to smudge my halftone. Look at the beautiful
halftones coming. And you can see the beautiful
ghostly like quality. I really like
this part of the drawing.
Now I'm gonna grab my little
nubby thing here
This is a big old willow stick. And what I'll probably do is start to pick out
some of the details.
Starting with the eye there. I probably won't be able to draw an eye
what I'll probably do is just kind of
get myself a
separation of light and shadow. So here I'm looking strictly
at the border. And I'm using this side of my
worn down willow stick here.
And the nose is in light there.
I may wanna pick that out. And notice I'm using line
as well for that cast shadow.
And the hair
I may leave the hair fairly like ghostly and
use line technique at the end. One of the things I like to do is like to
to combine ideas
linear versus tonal in the same drawing.
I think it's very interesting. And just like we did with horizontal
versus vertical it's the same idea, so getting that contrast
I'm gonna use that contrast to my advantage to help
sell the drawing, sell the focal point and things.
Gonna use my brush to
kinda blend back the work I just did. And what that did is just reinforce
the half tone, a gave a little bit more charcoal.
It's sort of darkening the - excuse me the shadow
tone, the core shadow - reinforce the core shadow
and working this way also
helps me create the illusion of
bounced light by darkening the core shadow.
And we can find the
contour at later stages.
Gonna give me a little bit more tone of this ear. Probably won't go
into too much detail. Here I like
ghosting that ear out and picking it back out with - I'm gonna pick that
ear out with eraser but this area I'm gonna use
a lot of the blendy look. So I like
this look that I'm getting here.
I'm switching to a smaller brush for these finer areas.
And let's see one more touch
because I think what I'm gonna do is make the face half tone.
And highlights will be light so the area's like at his head
and the back of his neck and these little highlights. That will be my light.
His only highlight. Just gonna smudge
some tone, just gonna darken the half tone region and then I'll use
the pencil to really create that
And you may notice just a little bit of texture now, which
is good, it actually works for this because it's a male.
Now I'm going to
just kind of punch in the detail areas.
I'm gonna start with the eyes.
So I have a fairly ghostly
kind of light and shadow idea here, my box is still there.
And now I'm gonna use my charcoal
pencil for detail and a little bit more control.
And you're gonna see me go
with the plane, against the plane.
For this example I'm not really too concerned with that concept.
What I'm trying to sell in this
drawing is the idea of emerging from shadow,
you know, emerging details coming out of the
murkiness of the shadow. That's kind of the thinking
I'm having here. So even though I'm using a pencil,
I'm using the side of my pencil here,
so what I'll probably do is punch in the line at the very end
like I did previously just to give me
So this one, unlike the previous example, we have
lots of core shadow so here I have to earn my money right.
I have to do it justice, make sure the marks are right.
There was a little cast shadow.
And here I'm going with the form to keep it nice and ghostly.
Nice and soft and blended
Nice and tonal.
Some of these
shapes may need cleaning up as well
as I go. I can always do that as I go.
Kinda picking out that that light shape of the nose there.
I totally missed that at the beginning, that's okay. The nose is - even though it's
in light, it's fairly dark. The local color, the local value of the nose.
Partly too much. In fact, right now it feels a little too bright actually.
I can tell it feels a little too bright.
So I'm gonna punch in the contour just so I know where I'm at here
shape wise. I need the contour to judge
these other shapes.
Forgot to use a
some kind of mahl stick.
I'll just use my - my blending brush is a mahl stick
so my hand doesn't smudge my drawing all over the place.
you're starting to see some line emerge. And immediately your eye goes there.
At least my eye goes there wherever there's line. So that contrast of
tone is creating a focal point
for line. Just like in the previous drawing, the verticals created a
focal point of horizontals
is becoming the focal point
for this drawing. And I'm gonna take
full advantage of that and punch in lines at the
focal point, the eyes.
So I'm pretty happy with how this
section is turning out. One thing I probably need to do next
is address the value control.
I still don't quite have that. I kind of
want that glowy kind of feeling in the
in the lights. I still don't quite have it yet, the highlights.
So I'll probably have to come in with an eraser just to erase back some of that
Now the line's giving me texture. That hair texture.
This cranium feels
Gonna expand this cranium with some tone here.
Here I'm gonna draw the ear
with my willow stick instead of the charcoal pencil.
It's almost creating a dark accent for me here.
As I go back and forth.
Gonna blend that back.
So it'll help make my
shadow side feel more like shadow by darkening it.
Darken this nose and
I'm gonna come back to that to finish up this little study
and then darken that shadow on the neck,
felt a little light. Felt incomplete.
So I'm blending some of that half tone and what I'll do is I'll pick out the lights
and it'll look cool.
Okay back to the
pencil. What I want is just to
nail the shapes, that's why I'm using a pencil. I need to nail my shapes
before I can wrap this up.
Because I wanna know what's important
in this drawing first so I have to lock down the
important shapes first, that's definitely the face in this
ear because this ear takes up so much real estate and it's so close
to the camera. I have to lock it in.
And I'm gonna erase that out in a moment.
Give him some line.
Get that hair texture. He has a lot of nice texture in his hair,
I definitely wanna take advantage of that. It'll also help
to make this part of his head come forward. And it will really come forward
erase out the highlight. It'll really pop forward.
And let me try that now - yeah look how bright that looks.
That looks - that erased part.
And a lot of ways even eraser can be used as a drawing tool, as you'll see.
Every great drawing teacher I ever had will use the eraser
as a drawing tool. So here we go, picking out that highlight and I'm gonna use the -
just a soft, kinda circular motion to keep it
blended. Taking out that highlight and then
back of the head, back of the neck, excuse me.
Back of the neck there. And then come in and
this kind of blend as I go down.
Now I'm gonna pick out the ear. And this
little study is pretty much done here. Little tonal here.
Typically for charcoals
they do take
quite a bit of time because it's -
in a lot of ways it's like the drawing tool,
it's like the high end drawing tool is what you get to get the
most polished drawings.
So for this I'm just picking up my highlights
so now I have my clear, dark, midtone, light, remember, I have my clear
box, shadow plane, light plane, and then the
highlights. And I have some variations
in technique. Little bit of line, little bit of line, mostly tone.
Mostly this ghostly kinda of tone.
Now I'm just gonna clean up my value
arrangement. Pretty much done here.
I feel this area, the
eyes feel a little flat.
They need some love, you know what I mean? Everything else got some love
except for the eyes, that's not good.
This nose feels a little flat too so I'm
what I'm gonna do is boom, put in that hard cast shadow.
It's a little too harsh actually.
And I'm gonna use my
pencil here to control my value. Get a little bit more
control - actually a lot more control with the
pencil versus the big stick. The big stick is very crude, covers a lot
of area that but not good for control, that's for sure.
And probably just gonna punch in the
the darks here.
Even though we're using dark, middle, light, only three values
you can get some gradation
variation in each shape,
as long as darks are darker than half tones. Half tones are
darker than lights.
You can create a lot of - you get a lot of mileage out of it. So that's what I'm doing here.
Making slightly different, dark tone.
Gonna blend that back a little bit
initial idea there.
He has very light blue eyes actually
in the reference. My instinct is
to punch in the pupil but the pupil is very light in this case.
I almost want to -
yeah I gotta get rid of that little highlight, it's killing the illusion.
And I'm gonna consciously leave this area kinda ghostly, in fact I'll even
leave it a little more unfinished.
I like playing with the idea that
seem unfinished and some areas
seem more polished and that's good. Like clearly this is becoming
the more resolved area and that's what I want.
So leaving this kind of liney and kinda abstract
adds to that - it makes what I did
clean up feel cleaner, more special.
Now I'm gonna add line
and because it's charcoal I can easily knock this
line treatment down. It's just - it's giving me control.
So you can knock it down here. It goes from line to tone.
Once you blend it.
And pretty much done here with this little study.
I'm trying to think
how much of his jaw line I wanna call
And I might even -
yeah I'm gonna erase now to
bring some attention to his - this needs a little bit of
softening there. I'm gonna erase at the hair
just to bring some of that
idea of light and shadow.
I also have - I have a
eraser pencil that I use for fine erasing. This i
great for erasing big areas as you can see. The big kneaded eraser.
A little smudge tone there.
A couple more touches of line here.
Line slash tone using the side
of the pencil there.
Now I'm going to kind of hatch underneath
and hint at the egg effect.
Yeah it's this very interesting light and shadow shapes, I don't want to get into those
Got a little sharper pencil there.
Yeah this study is pretty much complete, I'm just gonna punch in
some details that I see here
near the focal point.
And then -
now I got my
eraser here, all I'm gonna do is blend using my pencil eraser,
kinda blend these marks a little bit
just to create the illusion that this is a softer, kind of radial
Because the softer I make the highlight, the more special the line work that I have
in his face will be. So that's kind of
what I'm doing here.
Adding some of that detail.
I'm literally drawing
with this eraser pencil, pencil eraser.
And I'm gonna consciously pick out little, tiny highlights
by his eyes, just so you look there in these smaller shapes.
I still feel like you don't look there enough and I think that
should do it right there. One more quick
glaze of tone.
Using my pencil here for full control.
one more quick pass and we'll be all done here.
I wanna make sure I get these
accents in his eyes.
Almost forcing his eyes a little bit darker than they are and then I'm gonna
hint at the underplane. That
what was missing right there.
That cast shadow, a little bit of tone here,
and we're gonna use a horizontal
tone going against the long axis of that nose.
And I'm gonna smudge it out,
create that nice...
I love it when it breaks the edge like that, it's really cool.
Creates that variety. Some edges are there,
some edges are lost. Remember the lost edge.
Smudge that tone
a little bit there just to control that value of the lip.
Shadow is still not reading well.
With these charcoal renderings -
with these charcoal renderings they can go - they can take quite a bit.
But okay. One more touch.
One more quick touch. I'm actually gonna bring the eraser back
because this muzzle is catching some light so I want that
just real quick, boom, boom, boom, boom.
Just to show that there's a little bit of light hitting his hair.
And that should do it.
Okay so that's a quick tonal study.
Next we'll use the carbothello or charcoal pencil,
sort of the hybrid approach, the best of both worlds in a lot of way.
the charcoal pencil. In this case it's a carbothello, which is
a pastel, and we're gonna use the long needle point so I can
have soft edges.
Like what we saw earlier. And also use the point for line.
So that's the advantage of this. And this is a great tool for learning because you have
both. It's also great because it gives you good dexterity.
Okay so I'm
gonna begin with the lay in, just
a quick light lay in here.
And as I'm looking at this
image, getting an idea of
sort of line kind of approach and then
softening to the focal point. So it's almost the almost of what we did
in the previous example. We started with tone and we used line to create
the interest and focal point. Now we're gonna do the opposite.
I was getting a little carried away
there. And this is a great tool for
sketching. When I first learned
how to do proper head drawing and things,
I would go to a lot of workshops - life drawing workshops - I recommend
that for you as well.
And this is great
quick sketch or short poses so I'm gonna
try and treat this like a ten minute sketch,
ten minute - hopefully ten minutes. Probably with me talking it'll be like an hour.
This stuff is so
fascinating to talk about.
So just a quick lay in.
And I'm trying to figure out where I'm gonna put the soft edges.
I'm not quite sure yet,
I haven't quite decided.
This male has a - this model has a very interesting
bone structure, very defined facial features.
It's always fun to draw these kind of models and
is so dynamic.
Feel like a caricature.
This drawing can always feel stylized.
That's my quick little lay in, now I'm just gonna draw the shadow shapes that I see.
And this is
kind of like the same light as the first drawing. It's mostly light.
The shadow shapes are almost identical location.
The cheekbone there, side plane of the cheek,
and the bottom sections is the masseter muscle, that's what that bulge is.
Creating that plane. And as far as the
values, let's see - what I'm planning to do
I haven't decided yet. I haven't decided yet.
I may groups his entire face in light.
Sort of like the first example.
And this ear, there's a lot of subtleties and half tone in this ear.
I'm just gonna totally
group the top half in shadow and then put the little cast shadow
in his neck muscle there, sternomastoid.
Trapezius, excuse me.
Okay, so that's a little shadow shape. And I'm gonna fill it
and I'll try to make it nice and even and I'm gonna go with a vertical
So nice little even
tone there, keep it vertical.
And this is very
like painterly. That's what I love about
working this way, it feels like a paintbrush - it is exactly
how I would paint with a flat brush.
Feels very painterly. I like
the look it gets. Filling in that
little bottom plane of the - or side plane of the
bottom lid, side plane of the bottom lid.
Now his lip,
bottom plane of his lip, is fairly bright, so
I'm just gonna ignore that. Normally that part
would be in shadow. And already
you can see the nice graphic quality, I love that.
we have the box, remember the box, we gotta sell
Light, shadow, light, shadow, dark,
light. Now we're just missing midtone. Actually I'm gonna make
this whole side plane midtone. So this is almost
underplane. All these darks, this hair, and then
the part where it comes into shadow. Or the part as it transitions. It transitions
tone will be the midtone, so let me do that
now and this sketch will be pretty much complete.
So I'm trying to,
in my mind,
trying to simulate a life drawing session, a live session.
smudgy, very painterly.
I'm gonna reinforce this cast -
or excuse me core shadow here, create some of that bounce light.
Now I'm going to put in some
half tone, so I have clear light, clear
shadow. I have a little bit of core shadow going on for bounced light.
Remember you can add subtle
variation in steps, in value steps,
in your value shapes so in my
shadows, what I'm handling now, dark
I can go, you know, let's say dark, my dark, is a number
on a scale of one to ten it's at a number, let's say
it's at a seven. So I can add an eight,
I can add a six.
You know stay fairly close but give it enough variation so that
it's there, the subtlety is there but the value read, the
shape is there as well. Remember the read is king.
At least in my book. Without the read
you are nothing.
I dunno maybe it's because of my background as
a professional illustrator
working in entertainment
that was my commercial career and
the read is so important in illustration so maybe I
have that in many of my favorite artists.
My mentors also have illustration background.
Okay so what I'm gonna do is now I'm gonna
kinda smudge that
half tone, which is the
side plane where the transition - most of
the side plane is in half tone.
Even the nose, I'm gonna keep the nose - actually I'm gonna use -
since the nose is close to the eye, I'm gonna go against the nose.
Yeah. Against the plane, against the long axis of the nose.
razor stubble can be grouped with half tone as well.
So I promised you a ten minute
study, it's probably coming up to an hour now, who knows.
Gonna get lost here. It's okay.
That's okay. We'll come back.
So punch that in there, we're gonna
ghost in that ear tone, kinda lose it
back in the shadow.
And I'm gonna
that's what I was after.
Get that softness in
the focal point, which was the eyes. I might even use my finger
but I don't know if I wanna smudge it too much.
I'm gonna smudge
some of these glaze here.
Yeah this sketch is
pretty much complete now. As for the study what I'm trying to do is
give it some more
contrast and punch in terms of technique. Right now the
technique is kind of all this smudginess
and I don't want that.
There's nothing wrong with that but it has to have like
a rhyme, a reason. It has to help my story, my idea.
And right now to me the idea is that
what matters most is the emotion that he's trying to get across.
And the blending didn't work. The finger
blending is not gonna work in this case.
So let's see.
Okay so now I'm gonna wrap up my sketch. I got a little
sharpened pencil here. I'm gonna
hone in on the focal point areas.
So the nose.
I'm pretty happy with how the eye looks actually, I may hit it some more
with some tone and pretty much
coming to an end here.
I'm also gonna pick out some lights if I
And I like how that
looks in that area around the eye. Here's that beautiful
softness in that eye itself and it's surrounded by more
this rougher kind of technique. I like how that's looking
there. In fact I'm gonna surround it with more
And maybe get some of these wrinkles in the forehead, just smudge them in.
So clearly the light plane is happening here.
The shadow plane could use a little bit more
vale, a little bit more separation. They're separating
for midtone. But we could always do that - typically
I would do these things when the model breaks if I
was at a life drawing session.
Just a little bit more separation there.
Because what's dark isn't quite reading
in terms of value. And I'm gonna
smudge a little bit
underplane of the mouth.
there. Just so that reads.
And gonna put some
hatching on his chin. And this is
cool for when you draw males because the hatching
can also indicate hair texture. So it's a cool
two for one when you're drawing males.
In this case this model actually does
does have that.
Yeah okay now I'm getting more of that light and
I like that technique is looking cool now.
I can almost
ghost in this side plane where the line -
and as long as I maintain that
integrity of that soft edge - yeah I'm really liking
how that's looking. It's almost too dark but it's reading quite well in terms
of the edge. The value's not - could use
some work but the edge is good, pretty happy with that.
Side plane of this nose there. Get that
nasal bone in there.
We're pretty much
Real quick touch of glaze on the lower part of that
jaw to create that egg effect up there.
Light coming from above.
And one more touch.
And a little bit
of some cast shadow on his hair
to break that edge just a little bit. I really like
what's happening at the forehead. I wanna indicate a little bit of a core
shadow and we're pretty much done here with the study.
And now I can embellish. And by embellish I mean just
like these hair swirlies and
try and be conscious of them as well because what I want is to make
in a lot of ways it's kind of cheating.
It's a clever technique but
I wanna make the eyes feel more polished. I'm gonna make everything else around
it just rougher and like rrragh.
You know just add craziness and stuff like that.
Let me do one quick
touch on his nose and I swear I'll be done.
Okay and I'm gonna take my eraser and
pop out that highlight in the nose. And ba boom.
Not as quite as dramatic as I wanted. It wasn't surrounded by enough
tone. Let's try that again.
And boom, yay.
One quick touch and that's a
the example of using the brush. You can see so much
variety, we have line, we have tone. So that's definitely the advantage
of working with this charcoal pencil or
in this case, the carbothello pastel pencil, sharpened with the
So I'm gonna start with some graphites. I'll do a couple drawings
with graphite and this is just ordinary graphite, easy to find.
I got a 4B and a 6B and even though the
6Bs they just don't get that dark, especially if you have a light touch so that's one of the
advantages of graphite, you have a lot of control.
So it's great for doing homework exercises. Then I'm gonna
also draw with my buddy ballpoint pen.
It's just ordinary BIC ballpoint pen.
It's great, you can get a lot of miles. If you've never drawn with one, I would
encourage it. Super fun, you get a lot of mileage, you can get
dark. It does take a bit of practice but yeah,
still a lot of fun to work with and with experience you'll be able to get those light, ghostly lines.
Which is great. And then finally
I'm gonna draw on toned paper using
colored pencil and these are Prismacolor, verithin.
They are great, they have a lot of control and they can get dark so
I'm a big fan of these verithins for drawing. And to get my whites I'll be using
a white carbothello and of course trusty, kneaded eraser to do all the erasing.
But yeah these will be for the toned paper drawings.
Okay now I just wanna show you quickly the
toned paper I'll be using. And this is actually a pre-bound sketchbook, a Strathmore
toned gray. These are fairly easy to find, I got this at one of my local
art stores and I like this small size. They come in a few sizes
but I like this small size because it's portable.
Yeah, a little five by eight. Very portable
and I'll just quickly flip through some of the drawings and this is the paper itself.
And you'll see the paper in detail when we
do the exercise. And this paper takes watercolor.
And it also takes drawing materials
very well so just a few examples here. And this is similar to what I'll be
doing in the exercise. Prismacolor colored pencil with
white on top.
Show you a few more examples.
really enjoy this paper, this is my personal sketchbook.
And I draw in these every day
and mostly because it's great paper and it's versatile, like you saw
in the watercolors. You can get a lot done. So that's my
toned paper. Strathmore
toned gray. And almost any tone paper will work but I like this one because it's pre-bound
in a sketchbook. So this will be the toned paper I'll be using.
So I'm gonna start with placement.
And I like this hair right away. Right away
I'm gonna make the hair part of the story I think, I dunno.
She has such a fun
I feel very sunny, that's the word that comes to mind, sunny.
So maybe this hair could be
I like that idea. Use this hair to tell a story. That's the first
word that comes to mind. Sunny, happy.
So the first
thing, once the placement feels good and it feels
pretty good. I wanna leave a little bit of room for the shoulder. Now I got
to get this up tilt - my god you must hate
me by now, giving you this up tilts.
But whatever, it's, you know.
It's good for you. It's fun.
So I'm gonna be quiet for a little bit. Forgive me here.
I wanna get this.
I wanna put more attention
to this shading. So I wanna get this done.
very important step. Get that addressed.
some beautiful light and shadow here. I love the
light and shadow, it's doing a lot of the work for me
actually so I can quite liberal
marks, at least at this stage.
I was feeling pretty good,
I'm gonna try to get through this quickly. I know, I always promise.
I always promise - you have to believe me. I'm like that
politician. Gotta believe me this time.
I will make it in 20 minutes.
That's okay if you go over a little bit too.
You probably won't be talking. Again.
And if you do that's from life. You can actually
do a lot of work in between when the model
I'm basically designing these
shadow shapes, sort of outlining. Sort of, not
100 percent because I'm doing my own personal interpretation
as I go.
Again, that's the first step. Once your drawing is
complete, once your drawing is set, and shading you got to
separate light and shadow. It's worth repeating 100 times.
101. Separate light and shadow. 102.
Feel pretty good about this so far.
Very heavy, the spacing work though to be honest with you,
kinda took a run and gun approach.
Skipped a few steps but that's okay.
AI can do that. I can do that because
I got a little bit of mileage, you know.
This is so cool.
So even though it's an upshot, I'm glad
I chose this.
Okay so what I'm gonna do now is I'm gonna take some liberties
with the hair
you can do that with hair. It doesn't have to be
you know oh that has to be a
29.6 degree angle, whatever
you can embellish on the hair, have fun with it.
And when I say liberties I mean the shape because the
my idea is sun
brightness. So I kinda want things to feel it's emanating from the
center in a circular fashion. So
what I'm gonna do is - well I'm ready to put down my marks.
And I'm gonna have a little bit of fun with this.
Yeah, why not, you know, why not? Let's see.
Have a little fun and I may screw it but yeah. Yeah. F it
right? F it, just go for it. Let's try it. Okay here we go.
So I'm sure
we're running a little bit
still on a schedule, hopefully. Because I'd like to get a few more minutes
to refine in the time I have. That will make
or break I think this experiment I'm gonna do.
I like these highlights here so
I'm gonna see if I can play with those, use those in my story.
Use those in my drawing to tell the story, to just make it more interesting. Yeah I can
see a pattern of light here, coming from the upper right. A series of
highlights and I think this will be a good natural
eye to use. So hopefully I save myself some time.
Okay roughing up. Anything away from the focal point I'm gonna rough it up.
Meaning just use use rougher technique.
It adds variation and it just looks good.
And it makes the
the areas that I will refine in that limited time that I have feel more
more polished. Shading trick hopefully
you're able to use that in your exercises.
See that added a
character - oh there it is again
Now they're antagonists or protagonists.
I'm not sure I gotta get my metaphors right.
The villain or the
the no so friendly guy. Not so friendly
And I'm gonna switch.
That's why I like sharpening both ends
So the toned paper
will give me the opportunity to add white, which we'll do last. That's gonna be a lot of
fun. Probably my favorite part.
At this stage I'm just making sure the drawing looks decent.
I think I've accomplished that, it looks okay. I still got
a little bit of time left, I didn't blabber too long on this one.
This one went fairly well even though it's an upshot.
I'm gonna add - oh.
Another character - the neck is a character now.
Oh kinda drag some tone
into the drawing now. Oh what's
happening to the story, oh no.
The main character.
The vertical hatching
has met the
maybe supporting actor.
The cross hatch.
I dunno I just wanna make that edge
I'm gonna wrap up this so forgive me if I'm a little
quiet here. I'm gonna try to get this done.
I kind of want this side plane even though
it's - that little underplane, the jaw there, I wanted that
and I want this
I should probably drop the tone now
while I'm still searching mode.
I'm still searching in a lot of ways for what's gonna
happen next with the...
Because the light just like the shadow
or the shadow strokes anyway
gotta decide which way. Well the lights
be - the highlights anyway -
will the lights be counter
to our story, counter for our hero? Meaning go in the opposite direction.
Should the lights be part of the heroic
side of the story. I dunno, we'll see.
Want this ear to sink back so I'm gonna kinda ghost some tone.
See how it pushes it back? So that's a cool
little glazing trick you can do.
Just kinda glaze it back.
Okay now I'm ready for the lights.
Let's see, so I'm gonna take a minute to see where the brightest highlight is
on her cheek but I don't have to
leave it at that and you know what I'm gonna make
I'm gonna make the lights
its own character, meaning they'll take on a life of their
own. Their direction won't be
defined as of yet. So they could even be
circular - wow, they can even be circular. That,
see that, I just made that on the fly? Made that
on the fly. How do you like me now?
Yeah maybe the
lights are circular. It kinda helps the idea that I had in mind
of the sunny kind of emotion and mood.
So let me play with this idea.
I like the idea that
the shadow is uniform, lights are organic.
Just play with it.
If you're after more of that realism
you can still
think and work in this way.
What would you wanna do is just soften and refine
the edge as you go.
You know me, I know this is just a quick
Still works and I can
soften that way.
Soften this way. Now I'm gonna punch in
bright bright. So to lift that off
and I'm pretty much done here actually with this
little study. Just gotta get some of these
light plains to work. There's a fine balance between picking out
or calling out light planes and, you know,
making the drawing feel
cohesive and stay true to you original
vision of what's important, the focal point.
The eye, we're staying to lose that, there's a lot of attention here but that's okay.
The highlight is close enough. I can always come back and punch in that
dark. Which I probably won't have time to do. I know I promised
I'll get this done
this one done in time this time.
That's what I love about toned paper. You can
do a lot in this. Carbothello is quite powerful.
Big fan of the carbothello.
And just gonna wrap it up a little bit here. What I'd like to do is
get this nose plane to read and I should be done.
There's a corner.
There's not too much light hitting the corner but I can
emphasize that there's a depression
here. So highlights occur at corners,
peaks and valleys where forms go in and when
forms come out.
Let's bring out some of that form there.
But we're pretty much done with this one here.
I think it worked out well for a quick little study.
I'd probably just keep refining if I had a little more
time, if this was a longer drawing. I'd go back in
with my darks now and punch in
some darks. I think it's missing a little bit of the contrast.
Punch in some darks, define this eye a little bit. Really nail down this
eye. I'd still want it to be the focal point.
And I can do thinks like this
you ready - boom, boom, boom.
Go against, basically adding, a new character, which is
tiny hatch. Hair.
Yeah that's pretty much it for this study.
Hope you enjoyed this little
exercise. I know I gave you a lot
to work with in terms of the
angle of the head.
But that's all good practice.
Getting that contrast to work
and we'll be done here.
I still need that little bit on contrast at the core shadow.
Yeah, it needed that
contrast, especially on this side.
One more pass I promise. One more pass.
I need more time.
Rough it up, rough it up.
Rough it up. Darken it up and rough it up.
Put some lines there to make
sure you look there.
one last pass and done. So
wait one last touch I promise. One last touch.
And a little bit of contrast at the nose I was missing.
Double check my contrast.
The form won't turn correctly without the contrast.
That's one of
the tiny drawbacks.
I don't really call it a drawback but one of the things to keep in mind when you're drawing on toned paper
is that you will have to consciously be more mindful
of your darks because the paper already has a half tone on it.
Got to be mindful of these darks.
A little bit of contrast left, then I promise that will be it.
in the side plane of the nose there, it just wasn't reading strong enough. Kept it fairly
for you. I want you to focus more on the edges. So
once you get the drawing ready, take a moment to
think about the values, whether you, you know, where you want to put your
darks and your lights, and then start to think about what you wanna do with your edges
and the rendering, the plan you have for that stage
and then that way, once you start to draw, you'll not only
have a road map but the drawing will be a little bit more personal and it'll give you
that little bit more interest and excitement in your drawing.
my turn so you get to see how I would approach these drawings.
Okay I'm gonna start with
just a light
get the gesture. Sort of get the attitude and mood
I'm always trying to think about adding
a little story moment if I can.
But at this stage I just want to get a nice gesture
and some good placement on my paper here, you know.
Don't want to erase too much even though this is pencil, graphite pencil.
Don't erase too too much.
hairline real quick. I need the hairline to get
that forehead. So there's a soft upturn.
To me I look
at the ratio of forehead to the bottom of the nose
and right now it's the height of the forehead to the bottom of the nose.
It's a little bit -
I don't have enough information to make
a good judgment yet. Because the angle
is a little tricky. I'm gonna take my time with this
stage a little bit.
So I hope you
guys enjoyed this little upshot.
It's a little tricky.
so that's why I'm taking a little bit more time here.
Now I'm gonna step back and it looks okay. I may -
mainly comparing the shapes, the height is the main thing I want. This height
relative to this height looks okay. Relative
to this height. This height should be longer.
This should be even thirds and
then the width. So I merely look at the contour width.
The width of this contour from the center line, the width of this
facial mass from
center line feels okay. So now I should be good to go.
So there's not a lot
of light here, it's okay.
in light. This image here.
Get rid of that shoulder there.
I'm looking for light and dark areas as clearly as
shadow here. Let me go ahead and note that.
Let me double check this distance here.
is important for the realism,
this distance right here
from the brow to the hairline.
So probably use quite a bit of time
already. I know this is one of the
I feel pretty good about this distance here.
I had to double check that. So now I'm ready to start dropping in some tone
I'm going to start with the core shadow here.
And here I'm gonna go along
the form. Notice the long
hatching marks that go along the long axis of any
get this a little bit of eye here.
And drop this nose. So I'm basically going to do a
a quick, I don't wanna say outline but kind of
give myself a
shape that I can mass in. What I typically like to do
is when I shade is first
draw or outline the
shape of the shadow and anything that's dark enough to
be grouped with shadows, like these lips for example.
As the time is expiring I know I can
always mass it in. And if you're drawing from life it's great too because you can always
do that on the break, when the model
breaks. That's a good opportunity to
mass in your darks and shadows.
So that's really the main thing
about good shading is good separation. Good
separation, good shape is not really so there is -
if you can do those things, you're good.
You'll have a good - at least in the short study -
a quick shadow block in, this is really what we're doing here, we're blocking in
the shadow. Not quite the full on render
yet. But that begins here.
I feel pretty good about that. Everything looks in order.
I'm gonna pick up the ear shape. Another ear shape.
Use it as an arrow
sort of to bring it back to the face. Okay so now I'm ready to mass
in and I think I'm gonna go this way - let me try to go this way.
Yeah this works
okay. So remember that previously
I mentioned that I like to stay very
consistent and be very deliberate with the direction.
It's part of my story telling at least in this stage. I can always change it
as I, you know, if I wanted to spend more time on this drawing.
But it looks cool actually I like the
look of it.
one of those instances where we want to show the marks
so remember we either want to be flamboyant
show off our marks or we want to
hide that marks, be a little more
polished. I think
I'm gonna show off what I'm doing here. I'm sure
I'm coming close to the end of the
And what I'm just gonna do now is just kind of
refine this core shadow because that's the
border is the most important. I won't be able to get to the half tones
in this little sketch. But that's okay
we don't need those at this stage anyway.
I'm gonna lightly ghost in some of the half tones just I can
call your attention to areas like the eyes and the nose.
And we should be pretty much done.
Should be wrapping up this quick little study here.
this was tough. I'll admit the angle, my god
We probably spent a good three, four, or five minutes
just getting that block in, that angle correct.
So not too much time on the shading but, you know, it's great
practice so it has to be done. And I hope you grew from this drawing.
I know I always do.
You can never draw enough of these upshots
They are tough.
They don't come easy, they don't come overnight.
And should be wrapping up here. Pretty much
done with this study. Just gonna put in a little bit of some
touches with the time I have left but yeah.
We're pretty much complete here.
the drawing from a distance as well and it feels pretty good.
I would say successful start.
Successful start to
the render, to the shading.
shadow block in.
And just one more
then we do one last little touch of glazing.
That's one thing I like about graphite, you can get
some cool effects like this just by glazing,
softening these half tones. I lied I said we wouldn't get to the half tones
but this quick little glaze is pretty much all I need
and one last touch on the neck.
And ba boom. Okay.
So that's the end of this
little drawing. Okay here we
have a male. I love this angle.
This angle feels so regal. I think that's what I'm gonna do for this guy.
I always love the
looking up. And because it's a
pen I'm gonna go a little bit
lighter at first.
he looks like a - I imagine he's like a
king or a aristocrat or a noble
and he's one of those guys that has a sense of humor.
It's that angle it makes him feel important, this upshot angle.
Because our eye level is beneath the model.
So like that I imagine he's like
you know like
a - what's that actor's name, the -
I can't think of his name. The guy always does the -
he was the fashion designer
in Zoolander. Will Ferrell. It kind of feels like a Will Ferrell
facial expression. Just very humorous, I like that.
So maybe that's a little bit of the story I'm gonna inject.
And this one should go a little bit quicker hopefully.
No promises though.
I always probably go way over
time admittedly. Just having fun.
My excuse is that I'm talking. It adds 20
minutes to my time.
That's a pretty good excuse I think.
And you notice I went right away into kind of the shadow
mass, it just felt confident this gesture mark,
felt confident about moving forward, I'm not quite sure why.
Just felt right.
Just felt right. I think actually the ratio feels pretty damn good.
I'll admit. Sometimes these things go
really well right away, sometimes they don't. Like the last one
I'd be super
cautious but sometimes you get it,
sometimes you don't, but either way keep moving forward.
And if you don't you back it up, back it up until it looks right.
So that's one thing
I've discovered is that there's really no such this as a mistake
you could say. There's no such thing as a mistake. You're always constantly learning.
There's no such thing as a mistake but
there is such thing as a bad drawing, how about that, let's leave it at that.
One of my teachers, I love one thing he said
to me about ten years ago now and this really
shook my world, shook my paradigm,
he said Chris, there is such thing
as good and bad taste. Because I always though taste was
subjective. I dunno do you agree? Discuss amongst yourselves, let me know.
I would tend to agree with him. There
is such a thing as good taste. So there is such a thing
as a good or bad drawing.
And he had excellent taste by the way.
You know you can tell if a person or an artist has good taste is you look at their library,
look at the books in their art library,
and that'll tell you everything you need to know about a person.
Or at least if he has good taste.
Okay so I said this would go fast
and I'm pretty sure I blew like
two minutes, just jabbering there.
I need some time here to make sure my drawing looks damn good.
I got -
I'm gonna take some liberties with this hair.
I love hair for that reason.
He has this wha bam kinda shoulder thing
go in there, this is fun.
I think I'm making good time here. I'm sure I got a few minutes left.
I'm sure I do, I didn't jabber too long.
I hope you had fun with this one. I gave you two
upshots. I'm cruel.
I'm so cruel, so hard. But the lighting is good and the model
is good, the bone structure, a lot of fun.
So this one I'm gonna leave the off eye and I'm gonna
also hatch - I know I'm gonna hatch this way, anti to the
gestures. So the gesture is here, right up and down
almost at a curve and I'm gonna hatch this way. Antithesises.
I think that's a word.
The opposite of the gesture.
hopefully you enjoyed this
pose as well, definitely review as often as you can
and try as many upshots as you can, my god.
Okay so I feel pretty good
you know. One thing I like about the
kind of drawings is you have a little bit of a margin
of error because it's a
male, he's like a really idealized male, got that nice
lean bone structure and he's making a little
expression, a little humorous expression. So it gives me a little bit of margin
Okay and now I'm going to
mass in and remember this one
I started with the plane so in a lot of ways started with the plane, now
I'm gonna go against the plane. When I say plane, the long axis,
I treat this whole face as a plane so I'm just gonna go against this.
Boom, boom, boom, boom, boom.
It's gonna create a lot of
action - the hatching alone is gonna create a lot of action and interest,
which is great, I like that.
It's gonna be almost a stylized look to
so it's pretty cool. I like the look of these things.
And typically I like to keep the
first pass of tone like this uniform,
in one direction. That way I can play off it later.
If I wanna add more tone and
add to my story a little bit. In a lot of ways this
these strokes, these first marks
is like an actor.
So as I build layers
onto this story in my drawing
I can add a new actor, a new tangent
to the story I guess.
So the hatching that's
the main antagonist or protagonist
and then the counter hatching will be
we can bring in the villain
right this is the hero and then we bring in the villain in another
stroke. But you know pretty much done here and I'm just gonna
continue to soften the edge. Basically
bring some of this tone over so it's not so stiff.
And because he is a man, I can add a little bit more
labor into the tones there, we're gonna use that
beard, that little stubble there, to add some tone.
Kinda round that face
I like how that's looking. Just a few more
touches and I'll be done with this little study.
So there we go, there is
another actor coming from another
direction. You see how interesting that is.
That wouldn't have been possible if I wasn't consistent
with the hatching direction so even though
this is a little study, you know, I'm setting myself up
in a lot of ways for the future.
Or the future of my drawing anyway
And one last pass on the neck, make sure his neck
is beefy enough - beefy meaning feeling
three dimensional enough. I want this ear to come off so
maybe make it more of an important character.
A few touches on
the dark accents there. Some of these areas need
to sink back a little more. And
I'm done, I'm probably taking a lot longer again. I know I
promised you this would go quicker.
And one last
touch on the neck to make it round.
And one last touch on the contour. I'm gonna bring some of that contour
back. It's a little bit interesting.
Amassing the chin and then one last touch
of the dark in the chin a little bit. Let it sink back into space.
that's the end of this little study and now we're gonna move on.
Slightly looking down. So this can be a little tricky as well.
Gosh you must hate me for giving you these.
I'm not a nice person.
Down shots, up shots, my god.
Take it easy on us man. Come on.
No you guys will be okay. You do about a thousand of these, you'll be fine.
You'll be thanking me.
So go ahead and gesturing up.
Got a good shape in mind, she's definitely
eggy. Gonna gesture up and then
let me try to go a little quicker. I know I keep saying that.
She has a little bit of a
smirk on her face. Her eyes look
big. Not quite
sure how I'm going to play this up or play it down.
We'll see as I go.
Should the main
star be the mouth?
I don't know yet. I don't quite got that.
I think I like what the mouth is doing and
I like the initial marks I made there.
Okay so the lower half is reading
quite well already. I'm liking it so far.
But I could still screw it up, don't worry.
Still gotta be sharp.
Gotta have our guns blazing.
Kinda of drawing
these little eye shapes there. So this
actually this image, the expression
she has is already kinda telling the story for me.
Which is great. Kinda this smirky
head tilt down kinda things. Pretty cool.
So the shapes are reading
quite well in my opinion anyway.
That's always a good sign.
Now this core shadow
on her cheek is very soft, there's almost no edge.
It's almost a lost edge. So I gotta be very cautious with that.
So I'm definitely gonna go with the
plane at first. And with graphite
you can be very subtle, that's a beautiful thing about it, it's light,
easy to erase,
This is a 4B
little graphite there.
though it's a 4B.
it's still very easy to erase. Later I'm gonna do a little
6B and that'll still be easy to erase but still be nice and dark.
I'm gonna try to make her edges as soft as possible.
I think that's kinda the strategy I'm using here.
Or at least it's my game plan for now.
So in terms of shading -
in terms of shading I'm going to go
soft, soft and then punch in the hard.
That's the game plan. Typically you wanna
have that in mind before you commit to the
hard marks. Eventually even in graphite these marks will not be
able to lift off or lift off completely so I gotta make that decision
as early as possible.
Okay so that's pretty much the base.
Now I hadn't decided if I should hatch
this way. My first instinct
is to hatch this way. Yeah let me go for it. F it.
Right. F it. Just do it. Screw it.
If it looks bad I can erase or dig myself
out of the hole. I like that.
And again it's graphite, easy to erase, no problem.
And I'm just kind of squinting as I go.
Eyes are pretty much in shadow.
Even the hair is casting a
shadow on the forehead.
Now this area is
very, very soft.
So it's going a nice
soft wash of tone here. Much, much softer than
pen. The pen
tone. Typically if I'm doing like a young,
attractive female, use tools
that can get soft edges. So graphite is great. Colored pencil,
the verithins, are great.
The charcoals are great. If you can
smudge and soften the edge.
So I'm liking how this is looking. It has that cool, exciting look. I really like this stage,
actually, it's my favorite stage. That part of me just wants to walk away
We gotta be professionals.
Now comes the hard part. And it's
hard because when you screw up here, as you darken and add tone
and value and things, your margin of error is
much less and your ability to undo your errors becomes much less so
the pressure is on, the stakes are higher.
You know it's just a drawing, what the hell.
It ain't that serious, you know. There's more serious things in the world.
It should be fun. But a lot of times, you know, as artists, you wanna -
you wanna do good, right? You wanna
post it on Facebook or whatever,
show your friends.
But maybe that's just me, I dunno. So I'm consciously
gonna ghost this off eye out for now. I know
I've probably burned like ten minutes just talking. For sure
I burned at least five minutes so far.
getting the construction right. Getting the gesture
right. That's time well spent.
You can spend a lot of time softening
with the graphite here. It's so much fun.
Graphite is a lot of fun actually. I enjoy it
quite a bit because you can get so soft - you can get so many subtleties.
And I'm trying
to come up with a lighting scheme. So I always want to get the egg effect,
the form rolls like a ball, away from the light as it
gets darker and darker and darker. And the brightest
brightest at her nose so the egg is actually more this way.
Rolling this way, tones roll that way.
So I'm gonna try to consciously recreate that. If I can.
It's a little tricky and usually those
kind of things you do near the end, near the end of the
The drawing is essentially complete
what I'm really doing is building up value.
And I like to do this very slowly so for sure
you won't see the complete value but you know it's just a little exercise.
I think. And I hope
it's helping for you to see the way.
I would approach this drawing in terms of the shading.
The main takeaway is that
at least for me, is that begin with
a uniform direction in mind. One
that helps your story or your idea
and then add counters to that
direction, this hatching. And this is
only if you want to show the mark. If you want
that kind of style. Which I do, at least in this moment.
And there's sort of a balance I have to strike here between
like personal style and
getting that realism.
But you know, it's working I think, in terms of the realism. It looks
Gradate this tone. This tone seems spotty.
This little dark mass I just did. So I'm gonna gradate it up.
with that smooth gradation so you don't pay attention to it. I don't want
you to look down there at all. I want you to look here.
Some very, soft subtle edges happening at the keystone.
And actually starting to come to life now because of the contrasting edges.
And my pencil is naturally becoming
dull, the point of the pencil is going away.
Which is actually helping me. So I'm not even worried about that actually. What I'll
probably do is complete this stage,
a little touch I wanna soften there.
Complete this stage with this little dull 4B and then
punch in with more line at the end,
sneaky, I know it's sneaky. So thinking a few
But the main thrust is there, right. The
unidirectional, good gesture, good construction drawing. Shading is
so far uniform and all consistent
and now I can add the flavor, the variation.
So it's kinda
like cooking, you know, the old cooking analogy I'm sure I brought this
up a few times.
But you know you wanna start with a flavor.
So let's say you're making some curry, you know,
I made some curry the other night. You wanna start
with one kind
of curry, you know, and one main ingredient.
And then, you know,
kinda go from there. So let's say you're making curry with
eggplant. So get the eggplant working first.
And then, you know, maybe add some mushroom, I dunno.
I don't know if that analogy made sense
but yeah this is
what I'm doing right now, I'm getting one ingredient to work, which is the
hatching. And then I'm gonna come back and add
some more ingredients, some more flavor.
Yeah this drawing's
pretty much complete. Just got to do a couple of these
See how that line
brings your eye immediately to this area because it got so
so smudgy and soft, which was a conscious choice.
You know, you know it's working.
I wonder how I can get this nose to pop.
draw on toned paper. When I see a nice, dramatic highlight I'll just take a boom
and just drop it in there, a light pastel
or a colored pencil. I don't have that luxury here.
The paper's so white.
Which is great too, you know bright, white paper. Especially for graphite, it's great
Because graphite you
can't get very dark anyway so bright paper makes graphite
look brighter - darker.
Maybe get a little bit of that highlight in her hair.
And what we're gonna do is consciously make her hair.
but just like that more line, more rougher
technique. It'll make this area feel more finished.
it's a neat little trick.
Lips are subtle here.
I wanna darken the lip but not effect the edge and now I'm gonna bring
in a little sharper pencil. I'm ready for this guy here.
I need a little bit more point to what I'm gonna do next.
And so this eye will
be the focal point, it's a natural focal point anyway
so might as well do a good job on it. Might as well make it interesting.
And dark. So I switched to a
6B here, a little bit darker. And what I wanna
mainly do is establish the corners
and the corner here. I still wanna keep it fairly
soft in most of the areas. So this point is
a little too aggressive a little bit.
There you go so back to my dull...
Duller 4B there.
Keep this area
soft and smudge because I'm gonna hit it with some
harder edges if needed. Looks like I don't need them right now.
needs a little bit of love
and we're pretty much done here.
A little bit of love. When I say love it means it needs to be a little bit darker
in this eye as well. I'm gonna go back,
now I'm gonna ghost back this eye, just knock it back
knock back some of that line work I did because I want this eye to be the focal point eye.
a lot of fun to do. Lost and found.
That's one of the cool concepts of shading
sometimes you wanna find an eye like we did earlier, sometimes you wanna lose it.
We're pretty much
done at this stage. I think what I'd like to do is
frame that eye a little bit.
And harden this
harden this cast shadow edge.
harden that edge, just to bring your eye to it. Slightly
darken this plane of the bottom lid as it turns away
and just a last bit of touches on this quick study here.
And from the -
and for the added effect
a little bit of glaze. A little bit of
glaze on that nose. Now I'm gonna add a -
now I'm gonna add a counter story. Now I'm gonna hatch the
other way, just a
little bit. I'm gonna hint at it and then bring you back to the original
And one more touch.
Help round her neck a little bit because it's a little flat.
Okay so that's the end of this little sketch.
I'm gonna be using.
This will be a charcoal so I'm gonna do the bulk of the drawing
in a combination of charcoal pencils. These are just
general charcoal pencils, various grades.
4B will be as dark as I go.
And I have another pencil, this is like
a very dark, I believe it's a 6B, it's a
pit charcoal. And I'm gonna do a lot of the work
with willow, this is just a little nubby willow
sticks. Willows come in various sizes. They come in those thin ones that are more common and these
big fatties. And this one has been worn down.
It's a worn down, fatty willow. And to do
blending I got some brushes here, which
is cheap bristle brushes. You'll see I use those for blending
and for erasing and clean up. I've got two,
typically two types of erasers. Kneaded
eraser of course does most of the work and then this - this is a
Faber-Castell eraser pencil, it has a point that I can sharpen.
So that's pretty much it for the materials.
Before I begin drawing, I'm just gonna take a moment to soak in
the reference here, soak in the model,
and he has a very serious look on his face so I like that and
I like the idea that he's looking to the left. So it's gonna be this
kind of movement. So maybe that would be the theme
movement, moving forward. And he's also
like a lean, muscular male with a lot of hard edges so I'm thinking straights
and a lot of straights, a lot of this kind of
direction, that's the feeling I'm getting. And I can always add
more or less to that story as I go. And thinking in
terms of shape, definitely see triangles and squares. I like to keep
this very straight. And
what I'll probably do, my first instinct is to
show the marks. At least
I'm thinking maybe leave the shadow
soft and half tones and lights can show the marks.
Alla prima. I dunno just an idea. Well anyway.
Let me get started here so first job is placement.
Because this is charcoal
I don't want to - notice the top of his
hair, I need to know where the top of his hair will be.
Oh I forgot to mention
is Strathmore 400 series
drawing paper. Very easy to find, most art stores will have it.
Strathmore drawing paper, 400 series. Very common paper.
need a lot of straights here. I really like
or influenced by Russian academic drawings.
Think they're so cool and they use a lot of straights. Love the way
And ideally if possible I like to leave as much
of the white of the paper. I love the white of the paper because it'll get
super contrasty with the darks. And charcoal can
get - I'm sure if you've drawn with charcoal before you know it gets
super dark. That's one if it's main advantages and it can just blend
really well. It's very
blendy, very dark.
Feel pretty confident with this shape. I like the
triangular, the angle. I think to me this drawing
would be less about gesture and more about
line in a lot of ways. I think that's the first thought that
comes to mind is show off the line but in order for me to do that I have
to set it up. We'll do that with soft edges, I'll show you how we
do that. Hopefully it will look okay.
Let me get this construction
Trying to be as conservative as possible so I'm gonna
shut up again.
So I'm gonna make some adjustments to my
drawing so far.
little brush there. One of the brushes I have is a little bit softer.
I just use that for cleanup. Because ideally I don't wanna touch
down with my finger too much.
Not that there's anything wrong with that, I think
finger is great but I definitely don't want it at this stage.
Keep it clean, the oils are so hard to lift
off so it becomes almost permanent. I don't want that.
This model has a
I definitely need to capture that to get the likeness.
I'm gonna exaggerate a little bit too. Nothing wrong with that.
Get myself some
tone. So I'm beginning the
shading as I go using
this little -
this is a 2B. It's fairly soft for a 2B
Generals - if you've drawn with Generals before you may notice
some of the pencils feel softer than
what's on the
label. Sometimes you'll get a 4B that feels
very soft or hard. Sometimes you'll get a 2B that feels very soft
like this one. Typically the softer it is
the darker it can get.
Okay so his cranium is off.
I know right away that needs to be addressed.
So this distance is my next concern. I have time
on this one. It's not just a sketch, I'd like to do
finished a drawing as possible.
So I have a little more time to be
So I'd like to -
I think too, I'm thinking in my mind
that the shading will be quite
at least in my mind's eye, quite unique.
Quite bold in a lot of ways maybe.
Dare I say bold. Avant garde.
So that means
everything else has to look right. The
upper portions and things.
So this distance feels pretty good. Take a step
back. This slope
needs to be addressed. This angle right here.
This model also has a very unique brow
structure. So I'm
gonna emphasize that.
Yeah I'm looking how that looks.
And this area will be lost
in shadow. So I'm thinking
that's how I deal with the shading. Everything lost, dark, lost,
murky and then call out this zone. I think and that
cheek will come forward. That's the idea. That's the game plan.
So it's almost like -
maybe the story is, maybe he's
like a not quite a king, maybe he's like
a knight, I dunno. And he's in front of
the counsel or whatever
group of people he takes orders from.
Or maybe he's traveling
to another land, meeting the king.
He's about to speak. So maybe that's the
moment that we're in. Yeah, sounds good, sounds good.
Just wanna work out this eye real quick.
I know this eye will probably be lost, in fact I know it'll be lost
I'm looking over the drawing so far and
you know I could always make corrections at the end but it has to feel right at this stage
in order for me to feel comfortable moving forward.
And it's still light enough where
I can erase if needed. I think it's okay
I like to take as many breaks as possible
actually when I do these long drawings. A lot of them take me a few days.
Most of that time I spent looking.
I'll set it somewhere in my room
near my drawing area
and I'll just start at it for hours.
And then make
changes as needed but
I like to do some work and even come back the
next day, it's always good practice too.
So that's kind of a note
to self there that this thing has to feel round.
And let me touch on this.
Something not quite
right about this.
Maybe it's the angle.
Yeah I think it was that
angle. Gotta capture this muzzle.
Alright I think I have enough here. One more
I think if any
thing it just feels tall. His head feels very tall
forehead feels tall.
That's okay. That area is gonna be smudgy,
as you'll see in a minute. I wanna smudge the tone.
Okay that feels pretty good now.
Getting a lot of
fun with this hair, you'll see I love using the hair
so a device, as a
So now what I'm gonna do is mass in
the shadow. And use my little nubby stick here.
My little willow.
Actually I'm gonna go this well. Well
my first instinct - yeah, you know what, I will go this way.
I'll do the other direction with the half tones.
Half tones can be a character too. Doesn't have to be
only shadow or light, light and dark.
I can be fairly liberal
with these marks here.
So I'm very conscious even
direction at this stage and just trying to get
the idea unified in my mind. I'm kinda thinking a few steps ahead even though this is just
charcoal, it's really tough to erase actually. You don't wanna erase
that much. I'm sure I've said that a few times.
You don't wanna touch down on the paper. Paper's like a
little baby, you gotta be careful with it, you know.
That tone adds a lot to
the drawing. Almost helped the likeness quite a bit.
Helped the form for sure.
And we're gonna leave this kinda
Leave that edge soft, call it out later.
So it looks like a big old mass of stuff.
Of charcoal. And I'm gonna bring my brush
in to soften this tone, start to drag some of this tone
in. So I think
what I'll do is I like this direction that's happening
I'll do the half tones in pencil to
get more control.
And these guys I can - I could always
with other techniques later but
I'm thinking in terms of shading. So this would be
the shadow pass.
And then the
half tones - the half tone pass which is coming now.
The transition tones first but then half tones later.
The half tones will
be another character that will occur
in this zone in the light.
And it'll make more sense as I go.
This little 2B I was drawing with.
So where to begin,
where to begin.
Big old smudgy mess of tone for this, the
the highlight bright spot will be here.
What I'll probably do
is get the transition tones to work. So from shadow
to light. So since this is mostly light, most of that work will be done here.
We can start with the eye.
Using my pencil as
a mahl stick. And mahl stick just
means a stick so you don't touch down.
It's a painters thing. So charcoal is actually good
training for painting.
I'm being a little more deliberate with these
And in terms of edges
so edges are a big part of this, the shading
pass, the shading phase. I like
to keep everything murky and soft. Right now it's kinda nice and
soft and then call out the hard edges.
Later use them as a device.
that's what I like about the
There's some beautiful
soft edges happening here.
And these core shadows, this little
the lid there,
beautiful hard edges here at this wrinkle.
And his muzzle.
I could definitely use that.
I'm just gonna keep that soft, I'm gonna set that up.
I'm gonna set up all my hair edges.
Meaning surround them with soft edges, as
much as possible.
And his mouth is a part of the story I wanna tell.
A man is speaking.
What if our
character here is
traveling down the silk road, back in
the silk -
let's say and he's
meeting with the great khan, the king of Mongolia.
I don't know.
This model does have a, maybe a
Arabic, ethnic feel.
That's my guess. East Indian maybe. So yeah
looks like a character from that time
if we were casting actors.
can be different from mine, that's the beautiful thing about art.
The best art is the one that leaves it open to interpretation in my opinion.
It invites the viewer
to inject their own meaning.
And that's kinda what I wanna do here. Leave it open to you.
I like that a lot
actually. You wanna invite the viewer
to have a dialogue with your drawing or your painting
will stay nice and murky for
now. I can always call it out later.
Just wanna reinforce some of the darks in there.
Oh forgot this.
This is a very hard edge here.
So I'm gonna try to use that as a set up
Okay that means keep it soft for now.
A little mole detail in the model.
And we try to get that eyebrow back.
That brow bone. Just so I know where I am
in the drawing. I could keep it lost or not.
I haven't decided yet and that's okay.
Just so I know where I'm at in terms of shape. Okay so now he's starting to come to
like, the tone really
Just need to know where the heck I'm at. That's why they call
those shapes out. And this hair
can be a lot of fun
We'll use that for sure.
I may clean this up, I may not
I'm not 100 percent sure yet but that's okay, we'll figure that out.
I think in terms
of where I'm at in the drawing
the neck kinda got away from me a little
bit, yeah it did.
Yeah it did. The thickness of the neck got lost there.
It's okay, just bring it back.
This is my little undo.
There the neck feels a little thicker. Good. Good, good, good.
Yeah this model is quite muscular so I wanna keep that
Call out this edge
I may keep that loss I just need to know where I'm at
in terms of anatomical landmarks. I need
to know where that shoulder is, where that clavicle is.
The hair shape, just a general mass
of it, okay.
tones need some love down here
I also wanna address where I'm at.
My game plan is soft, soft, and muddy
Or not muddy but murky is the word. Murky
in this kind of shadowy softness.
Even, yeah, let's bring some tone here to this neck. This neck doesn't need to be
that bright. I think that was hurting me and for sure these
tones here don't need to be that bright. I was losing some of that
egg effect so I'm glad I stepped back and
And typically if I'm at home
doing these long charcoal drawings, I will
probably take like a long break at this stage. Well not a long break, but you know,
go get some coffee maybe, drink some water. Just to get my eyes
off it. Ideally that's what the purpose
of that would be. Just take your eyes off it so you can get a fresh
clean perspective. Okay so now
I'm liking this lower half, just needed some
tone, it was just way too contrasty.
And some of that -
the direction of the hatching is going way which is good, kinda
wanted that as part of my game plan.
Have to be a little bit careful here. So this will be my
area where I show off the focal point right here.
Keep that nice and bright for now.
And let's see
this tone needs some love
Start to look really wonky.
And what else needs some love?
The underplane of this nose, just a little bit of love.
The nostrils area, a little bit of love. A little bit of tone is what I mean.
A lot of times too if I'm working at home, I'll have
a few of these going, maybe
a painting and long charcoal going so
you know if I do take a break I can keep working on something else. That's a good little
area needs some tone but I'm gonna use pencil for that.
Okay so another evaluation.
Yeah this area definitely needs work, that's too flat for my taste.
Not feeling that at all.
Bring back that
Get this to roll right.
The half tones
weren't working there.
feels a little flat for my taste but
that's what the pencil's for. I'm gonna
try to get this half tone plane
to role correctly
to feel right.
You know just a bunch of back and forth. Probably need to go back and erase
I try my
pencil eraser here. I gotta get this plan to read
correctly so that's why I'm paying so much attention to it now.
It's not reading correctly now. That plane
change yeah, from shadow to half tone to light.
Gotta get that to read correctly.
The hatching looks good, it's drawing a lot of attention but that's
okay. That area is close to the focal point, it's close to the eye.
Okay so let's see if I can work some magic here
and get this to feel right.
I wanted to get a sharper pencil because this area
is my focal point.
I want you to see me
get a nice sharp pencil.
So what I'd like to do is get this
zone working. Bring it up
to a near finish, if possible,
move on from there. So it's a little bit like window shading.
Which is a style of rendering where you render one thing.
Build up one area
work off that for the rest
of the drawing.
I won't be doing that here. Which you can probably guess
I like to do the - build everything up overall.
So this eye is lost in shadow, that's okay.
Now we have a nice half tone.
So a lot of the
base of the drawing feels like it's working
you know. I'm still
not happy with that forehead but we'll get there, we'll get there.
Oh yeah, that forehead's a mess.
I just took a step back and I just saw how
it's just way too dark and contrasty, I think that's the main problem.
That edge is too contrasty.
I do need to erase some more.
That's making that forehead turn.
Okay it's better now, okay good.
It's missing that roll.
Missing that roll into the
light and I'm using this pencil
eraser pencil, just for control.
I'm gonna overly brighten
this eye, yeah, I was just
feeling way too flattened.
his cheekbone here.
I definitely think this will be an interesting
idea. I dunno if it will work to be honest with you.
But yeah, who cares? Worth a try.
It's worth a try man, you know, this drawing's just
a drawing. And
in terms of idea I mean making the cheekbone, the focal point,
popping out, I dunno. It kinda goes against
the convention, against the mainstream
right. But F it, we'll try it.
And we'll kind of like do this kinda thing. Focal point one maybe.
two and then three will be the hair.
One, two, three, maybe. Or one, two, three, one two,
three. Yeah I think we'll be one, two,
here, somewhere up here. Get that
going. If I can, if I can, that's what I'll do.
I'm kinda thinking about the rhythm that I want.
That comes later. I'm just trying to think a few steps again, get ready.
Thinking like an oil painter, you know.
Which is weird because actually in oil painting you have more
undoes. You can just keep painting on top until you're satisfied.
In charcoal you have less undoes.
So maybe I should be more cautious with the charcoal,
I dunno. What the hell.
Yeah this is fun so. I'm gonna have fun first
and then worry about the result later. I think that's not a bad strategy.
What do you guys think? Are you with me, let's have some fun.
Drawing should be fun.
And you know what's exciting is when you come up with an idea like this and it actually works, it's quite
exhilarating. Now if it doesn't work and your drawing looks like crap, then
you feel terrible about yourself but, you know,
pick yourself up off the ground and try again.
you know. It's like anything in life.
Typically if you try something new in life, get out of your comfort zone
the result won't be as planned.
Oh look at that, look how sexy that looks.
And you can make noises too when you draw.
I don't do it in public of course
but you can if you want.
I only do it in public when I'm paying for the model. Haha.
That's selling my idea. So let's break here. I made a lot of progress.
I'm gonna take a step back and just breath in where I'm at.
Okay so right away is
again that forehead.
This time it's the brow. This is not reading correctly, I'm not quite
What it probably
needs is a dark, dark. I think that's what I'm missing
is a dark accent. Because I can go
a little bit darker than this. I'm not going to
yet, I'm gonna wait a minute here.
I'm not even quite sure
where to put it to be honest with you. Probably at the pupil wouldn't be a bad place to start.
This part of his hair.
The rest of the drawing
actually the rest of the details will be filled in by the viewer.
So that's kinda my game plan here is to leave it ghostly
most of the drawing
and then hit you with detail, control where I want you to look.
That's some high level stuff right there.
And that works with design, it definitely works in shading
Now I'm starting to ghost that edge. This core shadow is way too
hard right here.
What I'd like to do is set this up for one or two
crisp razor sharp hard edges.
So I'm gonna save that until the end
and those are a big gamble because
they for sure you can't lift off. So I've gotta be a
hundred percent sure that I know and I know right away one's gonna be
here for sure because this is the focal point.
And the lips, I'd like to soften them as much as possible so
I'm using a
some counter hatching here.
Yeah a lot of times if I do these drawings it can get
so damn serious. Forget to relax.
Which is why I
gotta keep taking breaks. If I get too serious it just stiffens up, looks like
crap. Or it looks decent but it's boring, you know,
something expected you might have already seen in a drawing before. Not that
anything wrong with that but I'd like to
yeah you know what this is just too dark.
That forehead's gotta go. It's just
too dark man. So what I'm gonna do - let's see, I'll go this way.
Just kinda lightly
glaze some light back to that forehead. And then I'll call out some more
details. Yes, okay that's
always good. That's a little better. Yeah
that was just way too dark.
forehead tone that I laid down. Yes, working now
thank god. It's so weird, it's always like
one or two areas that just like mysteriously
problem areas, you know, in the drawing or painting.
Or sculpture even I'm sure.
So I'll show you, check this out
this will look cool. Hopefully my pencil's sharp - yeah, okay, good. Still sharp.
See how your eye immediately
goes to this area.
Yeah okay so my dark accents will go there.
I think I can make a better decision about this forehead
value. Right now it's 100 percent value. So my edges feel okay
my value control, at least in the forehead, is meh.
Is all the meh. Needs some help.
That's a big part of rendering. Oh okay, I like that.
Little smudge there.
I like that little smudge that happened there.
I think in general these feel a little too.
In general, just too hard.
let's see, something's not right here.
This edge. Yeah, just a little too hard.
So I want to see if I can
leave this bottom area soft and murky and unfinished
looking. That'll really help sell the focal point.
not quite sure how to develop that.
What I should probably do
is punch in a dark just so I know where I'm at value wise I think.
Got my little
extender. I think this shape
needs - yes.
it's reading like an eye, that dark accent
Keep the edge
murky if possible, soft.
Dark accent there.
Okay so now I'm in business. I know, I definitely
know what to do with the forehead now, I at least have a better idea. Still too
bright or too dark.
there. Dark accent at the mouth.
A little bit at the underplane of the nose.
I definitely can use it here.
and here. This ear needs to be frame
by darkness. So what I'll probably do is -
I have a bit of a
a 6B Generals - this is
Generals, exact same as the pencil, just a little thicker.
Because I'd like to
frame this hair
in dark - or excuse me
get the dark of the hair, frame the ear so I can evaluate
Starting to feel
good, the contrast is there.
Knock this back a bit with my
It's like painting in a lot of ways.
Okay so I have a good idea
of the darks.
Then I can adjust my
drawing accordingly. Most likely now I need to come back in and lighten
things. Lighten things. I think even in the
shadow it's gotten as dark as it can go, it should go.
Let me see if this 4B helps at all.
Light plane needs to be called out.
Can work out magic. Probably needs more erasing than tone at
this stage. I'm gonna drop it
a dark edge. See if that helps.
It helped a little bit.
It has this kind of stair step feeling to it.
Smudge, smudge, smudge, smudge, smudge, smudge, smudge. Yeah I think
need to do some erasing. I think that's what's next here.
Feeling fairly dark.
in like this dark world right now.
Don't want that dust
That's such a cool look.
when it's blended with a brush.
And those darks really
help to solidify the composition.
And the contrast.
A lot of tone in my brush now, I can just smudge it everywhere.
Can always pick it out with an eraser.
I want this edge to be soft and murky so see that
how I used the brush to drop in that plane.
Oh yeah now it's feeling good. I think it was just little.
A little harsh area where - yeah.
The edges felt so stylized. It needs to be softened, yeah, good.
Good, good, good, good, good.
Oh yeah, I'm liking where this is going now.
Let me see if this
bring some of this tone in the underplane
of the cheek there, yes.
See that like glowy spot, I like that.
I'm gonna reinforce it.
I want this whole area to kind of like
to roll correctly so this tool
will help a lot. This big old charcoal
in a stick.
My good old brush
just to smudge that tone back into
that light, create that beautiful half tone.
Oh yeah, oh yeah, oh yeah.
I'm liking that
area I could do with a stick actually it's good be cool.
So let me smudge this back in.
Just to soften that, add tone, and
keep the edge soft so I used the brush.
this may or may not work. What happens if I do this
call out the forehead.
This totally spontaneous
And it may work, it may not. I dunno.
I can always bring it back too with charcoal.
Yeah it looks okay. Kinda like that.
Leave that lighter for now
I can always lose that edge, combination of brush and pencil.
Let's see where I'm at here. So the forehead
is a little too big. The brow
That was a conscious choice because the model has a fascinating brow.
I'd like to call that out.
So now some of the hair needs to come
back. Gonna use my stick for that.
And I'm gonna soften this as well
with the brush.
Just drag that tone to the forehead.
So what I'm gonna do now is do some erasing and sculpting with the eraser.
The focal point
area feels good. I just gotta get this forehead to
That line helped a lot.
area's a little shelf there.
Little shelf of light. Tiny little shelf.
So I wanna get that reading correct.
And most likely I'll come back
with a pencil, a charcoal pencil, maybe an HB
little lighter grade.
Really flesh this area out so this is in full
completed yet. We'll do hatching there.
But I'm liking some
Oh yeah gonna go up.
So I'm gonna keep my strokes uniform. The
light strokes go up
and down. And that's a purely stylistic, artistic choice.
You can do whichever direction you like with
the plane against a plane but for me this is
more about my idea right now
And you'll see these little kinda things make your drawing.
Which is more interesting in my opinion
That underplane needs to be defined there.
The underplane of the cheekbone, the zygomatic.
And I'll do that with the pencil. I'm gonna soften this passage.
There's a lot of work that needs to be done still.
Here I can
add some texture to that hair line.
Down here I can start
to glaze my half tones.
Yeah I may use a
HB for this.
So the mouth, edges of the mouth,
should stay relatively soft, same with the eyes.
Through that hard edge there is my
little hey look here
kind of announcement controlling the viewer.
Okay now I have a super sharp
HB charcoal and what I'm gonna do with it, I'm gonna
try to define this area.
What I need to do is pretty much
is take it to a level where I feel it's quote finished.
Because that'll be
at least that was the plan anyway, to make that the focal point area.
I'm gonna use my willow
here. And I'm just gonna kinda glaze some tone
that later I'm gonna smudge with the brush.
So hopefully it'll work
in my favor. Now that
tricky part about this tool, this willow stick
is you have a lot less control
the edges have so soft and beautiful.
Can be so soft and beautiful so
it's a little trade off you have there with the
General's sticks - or the pencils - you have more control with the edges
are a little bit harder, a little bit stiffer.
So I'm gonna bring this
back into that murky zone that I hadn't
from the beginning, which I like.
So too much embellishment
at this stage, it's not just too much, it's not
purposeful. It's a little kinda everywhere. And I want it to be
So I'm liking
what just happened here.
You see that forehead feels a lot better here.
And I'm gonna take - I'll take this brush.
I'm trying not to touch that little zone of white. I'll leave that
my super hot spot. And then just
smudge everything else
with my brush and my charcoal smudgy.
Okay so that area's reading a lot better.
This eye is not sinking deep enough. This model has
quite a brow. So I have to make his eyes
sink with tone, meaning sink into the socket.
It's not quite deep as I'd like.
I just took a step back. It looks okay.
I like the fact that
it's back to more softness. The edges will just
a little too rough and tumble.
So now I have the balance.
The brightening. I'm brightening what I'm doing, the work
I just did with edge.
some practice I gotta admit.
work on that myself.
The value control, the edge control. All of it has to be more
like this big symphony and there's only one way
to get experience at it. Let's just get those reps in.
I'm liking some of the values
they're working in my favor.
as I was trying to
some story into our little drawing
I kinda lost
My little pencil's dying on me, I'm going to have
to sharpen it again.
Lost some of the major forms, they weren't reading correctly.
Or they were reading but not as well as I'd like. The edge
a lot of times the form reads but the edge is wrong.
So you know you have to address that right away.
the value is right but the edge is wrong or
the edge is right but the value's wrong. So that's a
thing you have to juggle.
My eraser pencil is starting to come unglued here.
that edge, bring it back to soft land
eraser to bring it back to get the brightness.
It has a nice glow to it
I probably can't do that too often. It's probably gonna be the last time
I'm gonna work that area. So I may just leave it
I may just leave it because
that's kind of
the idea that I want. I wanted to put all that stylization, the technique,
the flamboyance in this zone.
So that stylized, almost too hard, almost metallic
highlight is a conscious choice.
I bet a lot of
realists, hyper realists will be like oh my god it's terrible.
What's wrong with you? They would shun me, not invite
me to their parties. Maybe, I dunno.
Oh it's dying so I'll probably
have to resharpen that in a minute.
Which is good I'm actually at a pretty good stopping point.
What I'll do is just take a few moments to reevaluate
where I'm at, get my eraser back, I'm gonna need that.
So I'm just trying to use my kneaded at the moment
Because I like to use hatching. It's gonna
be my coup de gras. The end of this
drawing will be with hatching. I just like
hatching. It looks cool.
See I used my finger there.
Sacrilege in some circles.
I tend to come from whatever it takes.
You can use a text you can use a -
I dunno you can use a
bulldozer if you want.
As long as it looks
good at the end. Whatever it takes to get that end
result I say.
Lifting off some of that
Oh that helped a lot, quite a bit.
right here at the end of this
drawing here. Or at least
I can wrap it up actually it's quite
a bit of charcoal already
on here, I think we have more than enough information
to complete the drawing.
So I just gotta get it to look right now.
I have to get some of these forms back.
So forgive me if I don't talk too much.
is all - it's very cerebral right now.
Cerebral meaning I gotta make some good decisions.
Gotta make some good decisions.
value control at this stage.
And at this stage I'm not worried too much about technique.
I just gotta get
it to look right, gotta get these forms to look right.
Start to come back to realism.
Gotta get a little serious here,
can't have too much fun you know. Can't be too crazy
and artsy. Gotta
reel myself back in.
And that's good. That's a good experience. A lot of times you learn
so much when you get into trouble. So I almost got
in trouble actually with this drawing
which is why I think I'd like to do more
lifting off than adding at this stage.
Because I feel it's at a
pretty good stage actually. It's nearly complete or as complete as
I will take it in
a few hours time here.
In my attempt to be a little bit
bold and you know stylistic.
I lost track of the realism.
Starting to bring some of that back.
Start controlling the value a little better.
Control the edge a little better. And right now controlling the edge means
softening. Controlling the value means lightening.
back and forth, back and forth.
One thing I like about this paper, this Strathmore drawing paper,
is it takes quite a bit of abuse. So
I'm able to go back and erase like this.
I think overall just a lot of the tones
got just a little too dark. Even still the forehead
is still a little too dark.
This nose is way too dark and way too hard.
There you go, wow, that made a big difference right there.
Then brightening up that nose,
calling out this eye by erasing
And I can still do some cool
embellishments at the end there. I like to do that with the off eye.
And notice I can't lift this off.
I have to get like a
one of those mechanical erasers, pretty strong, the ones that
But I'm liking this edge, I could play with this edge a little bit.
one thing I'll save for the very end is play with the
eraser to get cool marks. You'll see
if I have the opportunity with drawing.
And what I really want is
this. My little
nugget right there.
It's gonna act as my
one of my focal points that
hair, back of the hair.
So if you hear footsteps, that's me
stepping back from the easel here.
Stepping away from the drawing, trying to get a nice, full view
of it, evaluate it.
Because like I said, I'm really close
actually, I'm really, really close.
You know to be honest I don't want to overwork. There's
one thing that I love about drawing is - good drawings -
is that freshness. It's, you know, it's
hard to attain actually to be honest.
That's one way to kill that is to just
overwork your drawings like that.
That's my goal right now is to avoid that.
at all costs. So that's why I wanna try to
wrap this up as best.
I could either bring it to a
finish, satisfactory finish,
or, you know, I have to
pile on the rendering, which I don't wanna do for sure.
And you don't wanna see that.
It's almost alla prima. Alla prima painting,
that's kinda the way I look at it. Alla prima drawing.
Alla prima painting. Fresh, spantaneous,
minimal, looks effortless. I think that's
the better word. Make your drawing look effortless.
When you put too many
marks down it just looks more laborious. That's what I'm trying to avoid here.
Desperately trying to avoid that.
Evaluating where I am.
what I've decided to do
is to go
a little bit away from my original idea.
I might now
do a sweep this way. I think that's a better
choice because - yeah, kinda do
this kinda sweep. Change it for more of a vertical
idea to maybe more of a diagonal idea.
really close, I'm really close to wrapping this drawing up.
I'm gonna smudge
some tone down there.
Gonna erase a little bit
here just to soften this edge.
That edge and then I'm going way too hair. Especially that part of the nose
that's cartilage. I think the value needs to be knocked back
a little bit - yes, beautiful. Okay starting to work.
Now the edge - value is better, the edge is not.
Oh yeah. Oh yeah.
So when it works it makes me happy.
Consciously breaking that edge there.
Feels pretty good. A lot
It's always good to take a moment to evaluate where you are.
Add some of this
stubble detail in the mouth.
Yeah that's looking great.
That's one thing I'll often do when I -
when I do these pencil drawings or draw
with primarily pencil is that once the pencils
get dull, or a little too dull to work with.
I use that opportunity to take a moment to stop
and break and evaluate
which is a pretty good point right now actually.
You know that point in the movie when
the main character
is like diffusing a bomb
or something, I dunno, and you're like
oh the red wire, no the blue wire,
you know, I'm at that point. Where I don't
wanna say this is a bomb but it's that critical moment
in the plot where the story can move
either way. Good will win or evil will win.
Oh yeah that off edge looks
great. I'm pretty happy with that.
This pencil is a 2B
It feels softer than the 4B I just had.
Might have to swap this pencil out.
I'd almost like to smudge this hairline
the details - yes. I'm liking it.
It's weird, I've been drawing for so long, a lot of the things
I'm doing are not new but they feel new. I dunno
I get these ideas in the moment and I'm like oh let me
But is it new? I don't know.
To be honest, I know this sounds super
esoteric or philosophical but I get so lost in the moment
I zone out, you know, I guess that's
a sign that I'm doing a good job or I'm absorbed in what I'm doing, right.
You know the athletes get in what they call the zone.
Actors talk about it. I
zone out. And in a lot of ways
I forget what the hell I did.
You know. I just did one of these
drawings like a week ago. I don't even remember what happened.
I mean I remember what happened, I still have the drawing
but I'm sitting here doing another drawing and I'm like
how did the other one work? I don't even remember.
Well anyway that's a little tangent
I'm sure we've all been there right, we've all get in the zone.
For example basketball, let's say you're playing you know just a game of basketball
with your buddies or some friends or some family or whatever
and you get in that zone where the shots just go in.
So much fun.
Recreating that is what professionals do.
Back to the drawing here so where am I at? This
ear is starting to draw too much attention to itself
That's not good.
So I'm just gonna do this. Just smudge it.
Just sink it back in this space that it goes.
These tones are a little -
let's see that ear.
I just took a step back and evaluate the ear again.
Yeah this I think is called the
tragus, this inner part of the inner ear here.
Needs to be brought up, brightened in value.
So I hope you enjoy hearing my little -
I do enjoy talking about this stuff but
my god it slows that drawing down.
Yeah drawing and art is one of those things that I can talk about
endlessly unfortunately so hopefully you don't get locked in a room with me so
someday. I'll talk your head off if you ask me a drawing question.
And you know it
teaches me a lot too, listening to myself talk.
Maybe I'll remember what the hell I'm doing next time.
Listening to myself talk
helps and a lot of times
when I do instructional stuff like this,
record drawings, do instructional demonstrations
a lot of times I'm doing it for me. I'm talking to myself.
Trying to imagine, you know,
what would - what kind of drawing, DVD,
video, what I want to sit down and watch.
What would help me? I watch instructional content all the time.
I take classes all the time. I'm still learning too.
I'm just like you. We're in the same boat.
We in the same boat you know,
trying to get better at this stuff.
Every Sunday I'll do some
post on Instagram,
decent stuff I can post on Instagram or whatever.
forgive me if I pop in your frame. I just like t be on top as much as
It helps me full evaluate.
It helps me fully evaluate what the hell I'm doing.
I know some artists that watch movies while they draw or
while they paint. I dunno. How do you guys feel about that? Where are you at?
You like movies, you like music, you like
quiet? You know I used to love music but now
I draw way better in silence, I know it sounds so strange.
I draw in complete silence now.
Which is why this
drawing is taking so damn long because my own damn voice is
distracting me. But yeah I draw in
complete silence. I know it sounds so strange
but man, it helped me quite a bit.
In silence I can
percent of my attention on the drawing. So it's a really cool feeling.
I'm gonna see if I can use that.
Yeah I might do that.
The Z. I dunno, let's try it.
Let's try the Z.
The Z meaning here, down, and
down. So I'm gonna reinforce the Z.
Again, this may not work, this is just in the moment, on the
that's how I like to do things.
In the moment, you know.
Be a risk taker.
What do the rappers say? Shock collar,
big baller, shock collar, you know. As they say in the hip hop
I wonder if I would do this if I was doing this at home. Maybe.
I like that little bit of smudge I just put down there,
oh that looks hot.
I'm getting excited because it worked.
My little idea worked. They don't always work
but that's okay. That's what erasers are for, right?
So forgive me I'm gonna be moving around quite a bit
gonna be stomping around, stepping back,
bumping my big old forehead into your video.
We're really. really close.
We're almost at my favorite part, which is
the little pizzazz.
I'll show you what that means when we get there.
Basically the embellishment. When I add my own flavor
to it and then that will help me sell
this original story I had where we have
a character about to speak. He's about
to say something very important to some important people.
Maybe he's the Marco Polo
about to speak to the great Khan.
Coming down to the wire.
So really in terms of shading, let's
get back to the lesson here. In terms of shading, this is
done. What I'm doing now is what I would call
the finish. And finish to me mot just means making it finished
but make it me, make it my own thing.
My own unique drawing, my own unique moment in time.
And I know that sounds
like I was saying in the beginning
I want this to be
a memorable drawing
so that means -
that means maybe doing
things a little bit out of order, a little out of the ordinary.
Just soften that little highlight.
I want the ear to come forward in some areas.
Not too far forward.
So I feel I've regained the
drawing a bit. Thank goodness.
Still a little flat here.
that looks great, pretty happy with that.
Really, really close now.
Really, really close so.
Okay so I feel pretty good about where I'm at.
What I'm gonna do now
get that last bit of
polish in detail.
That's the plan anyway. And I'm gonna
use a combination of pencil and
Basically fine details. Let's see.
So I've got a little HB
I don't want line at the ear, I just want tone.
This HB is really good for adding
gradations. Unfortunately it leaves a hard line so there's a
fine balance I gotta strike here.
Yeah I might just leave this ear as it is.
Yeah it feels pretty good there.
Yeah I'm kinda liking that.
Bring back some of that
Lose that hair edge.
The whole back.
Lose it, bring it back, lose it, bring it back.
Smooth it out, rough it up, smooth it out, rough it up.
Still in a very delicate stage.
balance here at this edge
Right here this edge has to be very, very good.
I'm gonna take a few moments to just pause and evaluate where I'm at.
So right away this whole
area needs to be softened.
There's a passage of light.
So I'm doing my last bit of value control.
Gotta get this bone to feel right. This is a
bony area here.
What I'd like to do is
with the last finishing touches is
Soften that just a touch so I can bring it back
with my HB.
Bring back this
I can do that with the eraser as well.
Yeah forgive me for being a little quiet.
I'm still at that critical finishing stage. So pretty much what I'm doing with the detail
is number one I'm controlling the value because the value
at this stage is
a critical, you know, one tiny misstep
if it's too bright, too dark,
I'll lose the plane or the illusion of the plane. So that's why
I'm being a little quiet here, I'm trying not to distract myself.
I love to talk.
So - and I am breaking quite a bit
a well, stepping back away
forgive me if I'm a little quiet but right now I'm 100 percent
value control. I'm getting the last
bits of the value to read
before I do my last bit of touches in this area
and possibly back here too I think
a lot of things are working.
starting to really
I don't know if that was a good idea.
I took a chance there
to bring out that pectoral muscle.
So another quick break to step back.
So right now I'm noticing this passage is not fully
I may just erase this whole area out
and then bring back the light half tone. That's what's not reading is the
light half tones, the lights feel okay. The light half tone is not reading.
This ear feels
a little hard, the edges in the ear are hard. That's
okay. The ear is not that important to me.
I just gotta be mindful though of
the value and the contrast. Like right there I just made a lot of contrast so
I have to deal with that.
So if you hear me get quiet or zone out it's not because I don't
like you, I'm just thinking.
But yeah I do enjoy watching these come to life. It's be fun to watch it
almost time lapsed to see, you know,
what that would look like. I think that would be cool. I'll probably review this video myself.
So now I'm gonna try what I just suggested. To knock
this out, knock the light half tones out
and then bring them back in with pencil. It may or may not work.
Most likely it will.
Keep my fingers crossed.
Because this paper
is at the end of its patience with make actually too.
I'm losing the ability to erase out so I have to be very careful
and mindful on the details now, the marks that I make,
because they will not be lifted out anytime soon.
There's a fine line between that edge
getting that edge in the ear.
So now I'm gonna play a game called lost and found.
I'm gonna lose some areas, I'm gonna find some areas, I'm gonna
emphasize some areas, deemphasize some areas.
So it's a fun game to play
at the end. All the hard work is done pretty much.
Now I just got to
put my own personal touch and this is where it starts
for me is
making the decision of which areas like
I said to lose to find
to soften, to harden.
wasn't soft enough. It's a 4B just not
These eye details, I'd like to get that
eye to round, that means bring out the subtle highlight
at the bottom o the eye. That super delicate
I need to get right on top of this
So I'm gonna
punch this in with my -
I'm gonna punch in
the dark right here.
Just to get that eye to sink and
now I'm gonna soften him just - I found it now
I'm gonna lose some of it. There you go that feels
So this eye feels a little more
a little more 3D now.
And here I'm at edge control now so that
value is okay. I'm gonna live with it for now.
I think the more
I fuss, the more overworked it's gonna look.
That's the last thing I want, that's our bomb going off.
Remember the analogy of our hero
decoding the bomb.
If it becomes overworked
that means the bomb went off. I pulled the wrong wire
I don't want that.
But this stage you can take as long or as short
or as much time as you need.
I would even encourage you
to - if you're following along at home to
break yourself, break as often as possible.
Go get a cup of coffee
or something. get a glass of water, you know.
Clean up some of the dirt with my little
softy brush. Step
back and evaluate. Okay. Totally forgot this area.
yeah I think I'm done. What I'm gonna do now is
put the final touches on it. I'm gonna get my
HB and see how it goes.
So this is where I can
start to embellish.
I think I am done here.
Making this thing
as interesting and unique as possible.
As meaningful as possible.
It's nice and dark, nice and contrasty, I like that.
I'm kinda having this idea of adding
lots of straightness.
Does it help my
story? Does it help my idea?
We'll see. We'll see, we'll see.
Oh I like that. So
what I'm gonna do now is kinda bring this back.
So let me take
a few steps back here because I need to think.
Okay so right now it's kind of
it's pretty much done. The main, or the last thing,
I don't want to say problem but the last thing that needs to be addressed is the
is the eye flow and the focal point.
Right so originally I wanted this area to be the focal point
the brow area. I could still do that.
Not the brow, the cheek.
Maybe that's all that's missing is a few details.
Because right now it's kind of like interesting everywhere.
Yeah we don't want that. We want some areas to sink back, remember lost
and found. So some of these areas have to go
back in the space. The lose
not that interesting, and then the rest can come
forward so that's kinda interesting
here at the hair. I don't know if I like that
I like it but it's a little too interesting.
Let's knock some of that back.
Bring some of this
forward. What I'm gonna do is this, you ready?
Oh did that work I dunno. Sometimes
that doesn't work, this time it worked okay.
I'll use a bit of that tone
to kinda smudge, make you look
that way or at least force you to come back up. So now as this
kind of thing which is good and then what I'll do is
I'll do this. I'll be prepared.
Oh son does that work? I don't know. It's okay
Watch this. Oh son.
Watch this. Are you ready for this?
Oh yes. Oh I dunno wha
I'm getting excited over.
So my original plan to make this
area stand out is starting to come back into
As I reintroduce some of this hatching.
Ideally I like to knock some of it back
and my last touch will be to
use the eraser to bring
it all to a nice conclusion.
I'd like to
pick out another area of hair but I'll leave
it at that. I swear this is very
close - we're like 99.9 percent. You know it's like a sale
99.9 percent off. We're there.
Almost there, I swear.
So what I'm doing is I'm getting the last
bit of light half tone. I'm pretty happy
with the eye flow, the edge control, the value control we're working
working, working. As best as I can get it anyway
last touch will be to erase
in a vertical fashion.
There's a lot of horizontals happening, so the moment I add
a vertical at or near the focal
point, which in this case is the cheek
it'll really solidify that area
as a focal point.
And a few more touches with that pencil.
And what I'm doing here is controlling the last bit of light
value. So lights.
The highlight feels good, it's almost the white of the paper.
So these are lights controlling here.
One more touch.
One last touch here.
This is a little too contrasty.
Knock down the value a little bit.
There it is
one more touch, I swear this is it, I promise.
One more, you ready.
This one may or may not be helpful.
I'll just try it, you might not even notice it.
Just try it.
I'm gonna add some verticals to that
super horizontal, knock it down, and
little bit of tone.
And just for the finger, fingers out there. Boom
here's my finger. And now it has a nice
eye flow, has a nice sort of this idea.
But sort of this
verticality. Eye flow, darks,
feel, nebulous, little bit horizontal with the half tone.
Lights coming in vertically.
Pretty exciting I think.
I like to do this as well just to make the lights feel
like they're coming from
that Rembrandt, heavenly light
feeling. That light's coming from above
from God, from the spiritual realm.
I like that a lot.
Yeah I think that's it. I
probably done and been done an hour ago, I just need someone to tear
me away from this drawing. I'm having fun now, kind of.
No I'm just having fun. That was a good touch. Ba boom.
Wait. One more. Can I touch one more.
Can I dare I? This little nugget.
Was that a good touch, was that a good touch? I dunno.
I don't know. I'm scared.
We just diffused the bomb but then
a missile came in, a bazooka missile, I don't know.
No I'm kidding, we're done, we're done. I just need someone to tear me away really that's all
that's all. Someone to
drag me out of here, get me off this easel. Watch this, you ready?
Watch this, you ready?
Oh, was that good? Did it help actually?
I almost -
I almost need to look at this in a mirror otherwise
I wouldn't know how to counterbalance it.
But yeah, we're done here I swear.
I swear this time.
Just gonna lighten that edge. Define the nose
lose the nose.
One more touch at the forehead, I don't wanna
go too bright there. That's one of my
embellishment I cut into this
to negate the edge. Yeah.
I would like to do this. We're pretty much done here, just doing
little thinga mebobs.
Actually this step, this is what takes
me a few days actually. What I'll do is I'll make the nuggets there
little few touches, few flares, I'll take a step
back, put it away, and then come back to it.
I'll spend a few days - I mean not
literally the whole time but touching on the drawing, making it
an embellishment, a finishing touch. Evaluating
yeah that parts fun as you can probably tell
I'm enjoying this part.
So yeah, I think that's a wrap
for this drawing. I hope you enjoyed the video.
that's the end of the lesson. I hope you enjoyed the demo. So thank you for watching,
I hope you enjoyed this video, and until next time make sure you keep drawing
and I'll see you in the next video, take care.
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16m 26s2. Introduction to Rendering (Model: Angelique)
13m 44s3. Line vs. Tone and Materials
37m 35s4. Line-Focused Demonstration (Model: Taryn)
31m 49s5. Tonal Demonstration in Charcoal (Model: Len)
21m 30s6. Sketchy Demonstration with Pastel Pencil
27m 0s7. Toned Paper Sketchbook Demonstration (Model: Maude)
41m 31s8. Timed Assignment
25m 58s9. Chris's Approach to the Assignment (Part 1)
22m 38s10. Chris's Approach to the Assignment (Part 2)
31m 44s11. Beginning of Long Demonstration: General Lay-in
32m 4s12. Determining Zones of Interest
32m 20s13. Adding Highlights Using an Eraser
24m 52s14. Adding Highlights, continued
29m 45s15. Adding Accents
34m 44s16. Finishing Touches