彩鉛肖像畫教程 ~ 用粉彩鉛筆畫頭髮

Hi there, thank you so much for clicking the thumbnail and being interested in my work. In this video I share with you my techniques and tips on how I achieved the drawing of the hair. So be sure to watch it right through to the end because here and there I'll be slowing things down in real time so you can take a closer look. So let's dive in and take a look. Before I started I had a look in the mirror and a reflection and just to see how it looked. And I noticed that the ear was not drawn correctly and the side of the face was slightly too wide. So I had to move everything in a little bit. Sometimes you have to do these sort of things before you start the hair. So it's always a good idea just to double check everything's okay before we go ahead. This video is about hair so I don't want to spend too much time explaining how I change things. But it's easy enough done because I'm using primary colours. All you need to do is use the contemporary colour. In this case I'm using the green against the red. And then everything can be moved easily because you just make something into a neutral grey. And then it's a matter of just changing the colour over the top. It's quite straightforward really. Right, these are the colours I'll be using for the underdrawing. Couple of blues, yellow ochre, burnt sienna and umber and white. Other than mixing brown I'm just using a brown here just to lay in for the shadow areas. But what I'm using is a combination of like three primary colours. Red, blue and yellow. I'm using the red as the burnt sienna. Blue as the ultramarine. And yellow ochre for the yellow. And using the combination of all those three colours you can get the shades you're looking for. But I'm slowing things down now to real time so it gives you an idea of how I achieve the underdrawing. I'm using the pencil on a vertical plane to check the alignment to see where the marks lie in relation to whatever else I've drawn. So you just place your pencil there and say if it's at the side of the eye that marking the hair is you've just got to make sure you do that on the portrait. It's always a good idea really is to get the actual details of the hair very similar to what the reference image is. You don't have to be exact. But if you get a similar sort of movement, similar pattern or similar sort of shapes it makes it easy because you don't get lost in it then. Because if you just put marks randomly there can be a tendency to get a little bit frustrated and lost in it all. So what I'm doing is using the white to map out where the highlights of the hair are. I'll glaze over that later. I'm then using the brown just for the shadow areas. Now the hair can be quite overwhelming especially with curly hair because there's so much going off. So break it down into big blocks first and then smaller blocks and then smaller and smaller until you get to the detail stage. So what I do is work it out what the areas are. So squinty eyes you can see the values more. So just block in the dark areas. Just big blocks and then just try and link them together with the details of the strands. Now the key thing to drawing things accurately freehand is having the reference image small enough that you can actually see the whole thing. Because you're comparing one area to another. Now if you've blown it up too big you just get lost you get tunnel vision in one area then you end up drawing it too big and then the other bits don't fit. So if you look at it as a whole and then work on different areas don't just focus on one area then you'll find that everything just falls into place nicely. This stage is just getting that shape and mapping it out. So it's just white and brown and a few colours. So don't get too wrapped up about how the details are and all the different sortative colours. They'll come later in the next stages. Going down to real time again now so we can see how I glaze with the pastels. Now I wasn't concerned at all when I was just drawing it out. Just using the white, brown and a few other colours. But now with this glazing I'm just trying to get closer to the feel of the colour. It's not exact but all this pigment you're putting on will mix with the rich colours on the next stage. So it's just a nice foundation to work on when you start putting the more vibrant colours on. If you're enjoying this video why not subscribe? It's absolutely free and then you're sure not to miss any of my future videos. Now for the rich colours These are Caran d'Ache ones I'm using. Carbothala ones and Conti Paris ones. So just starting off where the hair meets the skin tone. Doing a little bit of work on that first. It's a case of playing about trying different areas until you get a feel for what needs to be done. And just randomly go where you actually feel instinctively to go. So I've started to put the dark shadows in here now so I'm trying to get established with those. So I'm using brown, purple and a little bit of red and also black as well. But I'm not just putting black on its own I'm mixing something with the black either brown, blue or red. It's just a case of trying these things and seeing what that darkness feels like because it's not just a flat shadow there's some life in it so you have to try and create that by mixing different colours with the black. I tend to work on the darkest areas first and also the light highlights I put some of that in as well. Then that gives me an idea of the values in between. So if you get your extremes done it makes it easier to judge the others. Now to judge the values like I've mentioned this in a lot of my videos is to squint your eyes so I do a lot of that while I'm doing this just to try and find those subtleties because you've got to be careful not to make everything too dark there's quite a lot of subtle changes within that shadow so it's a case of working out what feels right some areas you might feel needs to be darker some might need to be a little bit lighter just to create that realism. If I was drawing this from life you would see a lot more interesting subtleties in the shadows so I always remember what it's like to draw from life and then use that experience when you're working from a photograph because photographs can look a bit flat in the shadow areas so you have to tend to sort of liven them up a little bit. Right I just want to take the opportunity now just to thank my Patreons for the pledges each month really appreciate it really helps with me producing this free content for everyone can't thank you enough it does mean a lot to me if you are considering joining Patreon please find a link in the description below where you'll gain access to exclusive videos longer, slower and more in depth look at what my technique is As you can see here I've worked on a small hair area just to get a feel for it just to try and get some sort of balance an idea of what needs to be done It's not the detail stage that will come later on in the video but you're just getting enough feel for it so it gives you something then to actually compare as you move along the hair so now I'm working on a different area but trying to spread the same feel across and just remembering what I've done on that first area I worked on Now the paper I'm leaning on is special glassine paper which is very hard to smudge your work when you're leaning on it so it's a great addition to your kit if you have some of that Now I've left the link of materials in the description below if you want to know more and how to source some but it just makes it easier than when you're putting the details on you've got something to lean on Now here's some real time again just to slow things down so you can take a closer look at what I'm doing Now for the highlights I'm using richer colours they're really high in pigment and this is a Caran d'Ache pencil and then when I glaze over the top of that with like yellow ochre or burnt sienna the freshness and brightness of this pencil will shine through the yellow ochre or burnt sienna and create a glow so it's a bit of an illusion but what you're doing is creating that shimmering look to the hair Now it's always best just to relax open the heart let go of the mind and don't try and think about the details too much or else it'll just drive you nuts It's a case of using instinct and getting a feel for it it's just a comparing and getting a balance and just enjoy it by being free and spontaneous and that is done by opening the heart the more you do that the more it will just happen for you the mind will cause all sorts of issues put doubt in you put fear in you and cause stress tension if you find this is happening to you best thing to do is to put your pencils down go out of the room just have five minutes just somewhere else, just sit quiet and then just relax the mind and then come back with awareness the more you can be aware rather than thinking the more it'll just flow and you'll enjoy it a lot better if I say to you now think about anything just think about something just notice what's happened to your breath it's stopped that's why you panic because you can't breathe because if you overthink your body will just shut down because you can't breathe you'll just get panicky and then you'll just give up and then you'll just lose heart so that's why to be aware is totally different and to be aware is to open the heart so the more you open the heart the more awareness you'll get now just slowing things down again to real time now just showing you how the final coat goes on and what I do with that it's a case of really sharpening some areas and blurring other areas making sure the values are correct and just tidying things up a little bit and reshaping what you've already done but just placing a little bit more awareness on subtle details now I'm not sure whether I'm going to pour background on this or not or just leave the board colour so I'm just putting this in rough at the moment but I'll decide what to do later I'm playing about on Photoshop with different backgrounds and seeing what will work but in the meantime I'm just going to leave it with the board colour so I'm just sharpening these wisps of hair a little bit now what I'm doing as well is using the pencil which is the same colour as the board just to sharpen up the lines for now but if I do decide to do a background on that it'll be easy enough just to go over that again and with it being grey it won't cause a problem with the background colour it'll just melt into it it's just all about getting the values right so you're trying different combinations there's no easy way to try to explain this to you it's really you've just got to dive in and have a go and all these colours and subtleties can be mixed quite easily using the combination I've explained the burnt sienna, yellow ochre and ultramarine blue if you're enjoying this video why not give it a like and share it with your friends it'll mean so much to me because this will help the channel to grow it's always a good idea to keep standing back from the portrait looking in a mirror just to see the reflection of it to see if there's anything that stands out because you can get a little bit sort of fixed with it if you're not careful and you don't quite see the subtleties after a while so sometimes it's always a good idea to keep checking just by looking at it a different way sometimes I'll take my picture into another room with a different light source and just stand back and have a look at it and then put it back on the easel and carry on so it's a good idea to have plenty of little breaks when you're doing something like this because it's quite complicated just to keep refreshing and just keeping aware right, here's some real time again just to show you how I did the short hair on the side of the head just putting the highlights in first with a canned ash pencil and then you can see me here just glazing over them with the burnt sienna and then yellow ochre to make it richer in some areas and then you start to get the texture again by using the white so it's very short movements to create the hair and then what I'll do then is glaze over again so what you're intending to do is keep putting the white down glaze over, white down, glaze over or rich colour glaze over now these little fine touches make all the difference just a very very small amount of highlight very rich points just like a little stroke here and there it just gives that hair a shimmering look to it and then what you do is glaze over slightly with yellow ochre or burnt sienna so you're putting this rich down, just a little dab here and there just to create that sort of shimmering look hope you've enjoyed this video please keep a lookout for next week's video which will be the clothes here's the portrait at the correct angle if you would like to explore more of my videos here's some links that you might find of interest take care, bye for now