How To Draw Stylized Faces

Author:

ericanthonyj

Keywords:

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Subtitles:
how's it going yo in today's video I'm gonna show you how to cook spaghetti from reference so this is gonna be a very fun video very easy to follow and pretty straightforward so I have clips to your paint open this is my favorite tool to cook in then also I have a reference open on the left side this is just a random picture that I found on Pinterest and I'm going to be using a brush that has pressure sensitivity turned on for the size and other than that it doesn't have any effects or so and I'm probably gonna be sketching in kind of an orange color some people like to use red or blue or maybe a lighter gray so I usually I sketch in a light grey but just recently I switched it over to orange so maybe give it a try see if that makes cooking any easier for you so anyway so I have a new layer on the right side you can see my layer panel over here so these are all of my layers I have the paper layer which is just a background and a layer on top called layer 1 which we can rename to sketch and this is where we're gonna sketch on so in my previous video I showed you how to kind of draw the guidelines for your portraits in this video I'm just gonna show you the process that I like to use whenever I'm sketching probably 90% of all of my pieces that you see on on Instagram have been drawn this way or similar to to this method so that's exactly what I'm going to show you it's a little bit more advanced because I'm not putting down as many guidelines as in my previous video because I kind of know my way around I know where to place the facial features without setting up a framework beforehand so we're just gonna start with one of the eyes so we're gonna look at our reference we're gonna choose one of the two eyes unless your reference has more eyes or less eyes but in this case luckily she only has two eyes so we're gonna pick one of them and we're gonna start drawing that eye and then later on adding the other features to it in in relation to it so we're gonna measure the distance from one eye to the other and things like that it's a little bit more advanced as I said but it should be pretty easy to follow as well so let's just zoom in a little because at this point we don't really care about all of the stuff that is going on over here and stuff we only care about our face and I'm just very loosely sketching in her eye but I'm trying to be pretty accurate so it doesn't have to be an exact copy but try to get it as close to it as possible as you possibly can and also take your time also please keep in mind that I'm drawing this life so I'm talking while I'm drawing this is not an this is not kind of like a voiceover that I recorded after the drawing has been recorded so this is me drawing life basically so sometimes it could happen that I'm silent just because I'm focusing on my drawing here so I'm just trying to get it as close to the reference as possible it doesn't have to be perfect because most of the time when I'm drawing something I don't try to get the likeness like a hundred percent correct that's actually not what I care about unless I'm working for a client kind of like this and so once we got the I John and I usually sketch in the eyebrows that's on top and then I started sketching in the second eye so let's just roughly block and her eyebrow and you can see I'm not actually paying too much attention to detail all I care about right now is the the proportions so I don't care about where she has freckles or shading or whatever so I don't care about all of these these smaller details I only care about the proportion and I'm just kind of like figuring out where to place things so this is our first eye now we can move on to the second eye and so in my previous video I talked about some landmarks that I look for in my reference and one of them being this part right here that little curve of the bridge of the nose something that helps me in kind of locating the second eye so I like to use that landmark just as yeah just as a basic guide it kind of assists me in figuring out where to place my features so we're gonna sketch in that curve roughly where we think it should be and also don't be afraid to mess up you can always use your eraser or just go back a few steps that's kind of like the beauty of digital painting you're never kind of forced to stick to anything you can always go back fix things and or enhance certain features so never feel like you are kind of stuck in one place or you have to stick to something nothing is permanent and now we can start sketching in the second eye so what I'm doing is I'm looking for the angle right here so basically I'm looking at this tear duct or whatever you call it and the tear thing on her second eye and then I'm trying to figure out what's the angle from one of them to the other basically I still have these guidelines that I had in my previous video but they're all happening inside of my head I don't put them on to the canvas I'm kind of just envisioning them and that allows me to work much quicker because I don't have to draw them onto my paper onto my canvas it's all happening inside of my head so I'm roughly blocking in her second eye so it's all about angles and distance and length and and height kind of do all these measurements inside of your head try to like see them before you put down the pencil and I'm using the eraser because I saw something that I didn't like as I said before don't be afraid to use your eraser the erasers your friend I used to think that well at least when I started to draw I used to think that whenever I needed to use the eraser I kind of failed and I always thought that professionals they they don't really use the eraser because they know how to do it and I must know how to do it without an eraser which is total BS if you feel like you need to use your eraser or that it could kind of aid you in your process then do so like if you watch like any comic book artists like what's your favorite comic book artist they all use their eraser they use it almost as much as they use their pencils and I believe like one of the the most popular products even is a kneaded eraser so yeah if you feel like you need to erase something just go ahead there's no shame in the game alright so this looks pretty good and from time to time I also like to flip my image I talked about this earlier and one of my videos I'm flipping the image basically allows you to see your drawing as a complete new image so what happens is when you're drawing for let's say an hour your brain tends to get used to what it is seeing in front of it and so once you flick the image your brain doesn't recognize it anymore and it's almost as if it's a brand new image to your to your brain and that allows it to pick up any of your mistakes way more easily so many times when I'm working on a drawing for many hours and I don't flip it I do mistakes but my brain doesn't see them because it's so used to to this false image but as soon as I flip the image my brain goes like aha there's something wrong with this and and there's something off you need to fix it you know so it's kind of hard to explain but give it a try or maybe use a mirror and and just look at it like look at your drawing kind of mirrored and also as I said in the beginning I'm not going for lightness here so that's something I would recommend as well if you're starting out don't focus too much on on getting the lightness correct you don't like especially in the beginning that's not the most important thing you should focus on so what I would do in the beginning is I would just focus on on the basics on Anatomy proportions things like that on the composition the colors and then later on as you advance and progress that's when you start to study things like likenesses and stuff like that ok so now that we got there I at the eyes I think it's looking pretty good we can just start moving around so basically you can go in whichever direction you want to go to now so you can keep on drawing and then add the nose and the cheekbones or you can start drawing the hair now and that's what I love so much about this technique it allows me to do almost anything I want to it's kind of like a playground because I'm not locked to any guidelines I'm free to do whatever I feel like and so if if I felt like continuing with the hair now I could totally finish this piece and and just by drawing the hair now and then adding the other things after that or I could continue drawing her cheekbones her nose her mouth and then do her do her hair in the end I'm hoping you see like the the main advantage of this technique over the ones I showed in my in my other video because in my other video I'm not saying that it's a bad technique to draw your guide lines onto the canvas but for one it takes way more time because you have to kind of set up your guidelines and secondly you're kind of locked down to them but if you were to sketch like this you would have way more freedom to explore and yeah that's exactly why I do this so let's just add my little logo and then we just continue with I would say her cheekbones and our nose so again I'm just trying to figure out the angle the length so I'm measuring inside of my brain it's always measuring I'm looking at the reference and I'm measuring one feature to the other how far are they apart from each other and how large is it in comparison to another feature so I'm always thinking about these measurements and that really helps me alright so now I'm adding her cheek bone and you can see how loosely I'm like I'm approaching this because I know that I don't have to commit to anything if I decide later on that I don't like any of these lines I can just erase them and completely start over so now I've been into blocked in her nose [Music] like this so now that we've drawn her nose I have to kind of figure out where to place the mouth and one thing that helps me a lot it's this little thing right here this little dip so I try to locate it on either side so there's like depending on the shadow where the lighting is coming from I look for this little shadow and that kind of helps me in measuring the distance from the nose to the mouth and if we just go back to our sketch real quick I feel like the nose it's a little bit too large as well so let's just fix that real quick and that is looking way better and now I'm trying to locate that little dip and so basically I'm just drawing it in here just roughly and that's all I need and now I can go in there and sketch in the mouth and sometimes it doesn't look correct my first try so if that happens I just erase the mouth and and give it a new try and see if if it looks better the second time around sometimes I feel like I can improve it a little bit and then I just go back in there and refine my sketch just to make sure that it's looking the way I want it to look because basically you have the control your under control and you can make it look however you want to make it look so that's why I also said we're not gonna stick to our reference too closely because we still want to kind of add our own twist to it and so now I just want to move her mouth a little bit I feel like it's a little bit off and so I'm using the the digital tools to my advantage it gives me the power or the option to to move things around to to manipulate my shapes things that wouldn't be possible on paper let's flip the image okay so I believe it's looking a little bit off but before I fix her mouth I want to draw in the rest of her cheeks sometimes that helps in and kind of figuring out what is off and also take your time so if you're watching like a lot of videos on YouTube you tend to see all of these speed painting videos and it's easy to kind of think that you need to be as fast as what is being shown in that video when in reality I mean those videos are sped up afterwards and also it's not about speed everybody works or should work in their own pace so if somebody is like a really fast artist don't think you need to be as quick as they are it's totally fine to kind of work more slowly like on some days I'm really fast on other days I'm waist lower so even I switch it up from time to time I'm not always really fast so I perform differently and on some days I'm not even able to draw a stick figure and so now at this point I also feel like her eyebrow is kind of a little bit too large so let me just erase parts of it to make it a little bit smaller and also I want to move her left eye just slightly I feel like it's misplaced a little bit flip it real quick that's looking pretty good and now I'm just gonna continue sketching in her hair and sometimes I like to just kind of indicate or kind of draw in a hint of what is going on without even being like I don't worry about making it look pretty at this point so I'm just looking back and forth at my reference then back onto my onto my sketch just to make sure that it's looking somewhat like my reference and that I'm still on the right track okay so now we can basically assume out of our reference so we get a better picture of the image as a whole just so we kind of see what is going on here it's kind of hard to see what is going on if you're fully zoomed in so from time to time make sure to soom out just to see what is actually happening and now the way I measure her ear is if we go back to our reference the way I measure her ear is I look at the top of the ear and I look at her eye so I kind of see that the top of her ear is higher than the top of her eye and then I look at the bottom of the ear and then I look at the bottom of the nose and I see there at about the same height so a cool trick that I like to do whenever I start a new illustration what I tell myself is that I'm gonna draw just a random sketch here this is never going to be an illustration that I'm going that I'm going to use for my portfolio this is just a sketch for fun that's what I tell myself and when I do that I instantly relax because I'm not putting that unnecessary pressure onto me of this needs to be awesome because the moment you tell yourself that this needs to be awesome you start to get stiff and it just kills all motivation and and you're not as relaxed anymore you're not as creative anymore because now you're actually performing but once you tell yourself that this is just for fun this is just a hobby that's when you actually relax you you also get way more creative and more brave to experiment so I don't know but have you ever seen like when people talk about art and they they say that their best pieces are the random sketches and that is because those random sketches in the beginning didn't mean a lot to them they didn't put that unnecessary pressure onto themselves so that's exactly why that is because once you're working for a client or on a task like on a professional serious task it's just a whole nother ballgame yeah you're suddenly performing and you need to deliver because the thing is if something is for fun and you mess up nobody's gonna be upset you know like nobody's gonna be disappointed and basically the world just goes on everything is gonna be fine but if you're working for a client and this is professional if you mess up there's gonna be consequences you know so I think that is like psychologically that's the reason why we tend to perform better if something is just for fun if something is just a hobby so some people can't even work on the pressure and others they perform really well under pressure and they basically only perform when they're under pressure you know so it also differs from person to person not everybody is the same so you need to figure out what type of person are you do you perform better under pressure or do you like to have a more loose approach to things and kind of like have a good time and and so over the years I have learned to to kind of deal with pressure because if you're working for like clients you definitely need to perform even if you're having like a bad day so that's something you really need to learn if you ever want to become a professional illustrator working for clients or a company and that's definitely something you need to get used to but if you're just working on a personal piece and I would say relax as much as you can kind of find ways to trick your brain into getting into that into that mindset of just sketching just having a good time and and once you're able to do that and once you're able to control your thoughts and and and and the mindset you're in that's when you you basically will start to outperform yourself you know all right so this is looking pretty decent and now I'm able to fix her her mouth so I'm gonna give it another try so this is what I was talking about in the beginning don't be afraid of erasing something everybody messes up and it's not about how often you have messed up or how quickly you were able to to get something right it's more about noticing your mistakes and being able to fix them you know like being honest with yourself and and telling yourself like hey there's something off right here that needs to be fixed and then just getting back to work and and fixing that thing [Music] in a reference her face isn't as wide as in my sketch so one thing we can do is for one we can move over her eye a little bit and bring it closer to the other one also move her eyebrow just a tad bit and then what I'm seeing is that her nose is a little bit off it's not really where it should be at least that's what I'm thinking but I could be wrong so be careful here not to mess it up take this part bring this closer in and bring in this half of her face just a little bit just to kind of bring it closer to each other and that kind of Slim's it down let's fix the back part here I believe that's a little bit different than what I had drawn right here and so also keep in mind that you can fix a lot while you are painting so not everything has to be perfect while you're sketching that is of course if you are painting your your drawings if if you keep it as a sketch then obviously your drawing should be a little bit more precise a little bit more accurate but if if you're actually painting it's gonna be way more forgiving because you can fix so many things while you're painting [Music] so basically getting to this stage right here is the most crucial and the most difficult part of the entire process and now you don't have to be afraid of the rest any more because what you can do now is you can lower the opacity of this layer and then make a clean version of it on top so once you've came here you basically made it and you can kind of like pat yourself on the back and and be proud of yourself because you just cooked some awesome delicious spaghetti like let me tell you buddy but um yeah jokes aside if you're able to do this you've made it pretty far and the rest is just peanuts this was a very quick video pretty spontaneous but I just wanted to kind of give you a behind-the-scenes look at how my process looks and you can see how how rough my sketch is it allows me to now start painting and refining my smilest raishin because i have all of the information in place basically the framework has been built it's a very loose approach to to sketching and now it's just fun from here on so let me know in the comments if you want to see more like these behind the scenes videos also if you like that if you enjoyed it make sure to give it a thumbs up if you're not a subscriber then what are you waiting for smash that got them subscribe button and also as always guys I love you with all my fault and so and I hope to catch you in my next video peace [Music] [Music]

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