用石墨鉛筆畫肖像〜從小參考圖像開始工作。解說教程

Hi there, my name is Dave and in this video I'm going to share with you my techniques and tips on how I achieved this drawing of my mum and auntie Jean. Just a note that the image I used as the reference was very small and not very detailed, but just shows you what you can achieve if you just connect to the energy of the subjects and just relax and just let it happen. Right, so the initial pencils I'm using is HB in the face and then just working through trying to get a bit of shadow in there, just so I can recognise the values more easily. So again, the deep shadows in first, it gives you more of a guide to what sort of tones is necessary. When you're putting the darks in, always start with HB and build up very slowly. HB, then B, then 2B and so on. That will make it so it's not so grainy. So starting off with a lighter pencil is always a good way to go. In the face I always start off with something like a 4H, 2H. That sort of creates more of a glass effect. So then when you go on with the darker colours, they don't seem so grainy then on top of that. So it's a great way to start building is to think of it as lighter upwards, and then it just keeps everything smooth and more alive. Because when you're working on a very small image like this, when you're using your HB, Bs, it just seems a little bit grainy for it. So using those lighter pencils first really does make a difference. And just basically just working from each area, just looking at it as a whole really. You notice I'm not working just on one area, I'm working on everything at once. It's just basically just trying to feel your way through. And for the teeth there, I'm just using like a 6H. So if anything needs to be erased, it's easily done. One tip is to actually use the eraser to sort of erase out, and then glaze on top of that, and it gives it like a glassy effect. Right, with the hands. Hands are quite interesting to draw. When you're drawing the outline of them, it always seems wrong. But when you start putting the shadows in there, it just gives it the form. The more you work with it, the more you get the values right, the more it sort of comes to look 3D. Again, as you can see with Mum's, I'm putting the light pencil on there first. Just getting rid of that white paper, so you can start to see values better. Because that white really kills everything. You've just got to get rid of that white to start with. And then you can always erase for the highlights. Keeping your pencil sharp is always a good thing when you're doing this. Very small drawings. What I tend to do is just relax and sense the details. Just let the details happen. It's more the feeling. It's just getting the balance and the feeling right. So you're just letting yourself go really, and connecting to the energy of the subject. It's surprising when you start putting some dark areas in, it brings it to life. So getting the values correct is really important. And using the pencil there just to keep everything aligned. So always checking the face with the reference image. Making sure the horizontal and the vertical alignments are there. And don't be frightened to keep moving things around. Because as you start to get everything together, it just needs that sort of moving around a little bit. Just to make things right. It's surprising with portraiture. You've only got to be a fraction of a millimetre out, and it just throws it all. So that's why I love portraits. It's just got to be so accurate with the placement. I always like a challenge. And while I'm doing this, I'm always feeling the connection between the two. So I'm not just drawing Mum. I'm actually feeling the energy of Antigene and the connection they've got together. And trying to draw that. It sounds strange, but you just have to let go and feel the picture. And just let the details just happen. It's difficult to explain what I'm meaning here. But the more you do it, the more you'll feel it. With the hands, they always look wrong when you first start them. Again, it's just getting those tones right. The outline always looks a bit strange. It's when you start putting tones in, and it gives the hand form, you realise that the outline was OK. But when you first draw it, it just doesn't seem right. So you've just got to persevere and be relaxed. And just let things take shape on their own really. Just keep out of the way. Keep the mind out of the way. And just keep hoping in your heart. And feeling the portrait. And that's what I tend to do. And details in the dress there. Always using a lighter pencil, like I mentioned before. So I can easily erase it if there's anything wrong. And then build up on the dark ones there. You see it creates less grain as well. So it's a good idea to do that. If you're getting value from this video, why not subscribe? It's absolutely free. And then you're sure not to miss any of my future videos. Surprising those little fine details at the end of the portrait. It just makes all the difference. Just getting that sort of feel of where the values are. And also edges. I've not mentioned edges before. But the thing is, that's really important. Because you need things soft in certain areas. And sharp in other areas. To give it that 3D feel to it. I'll bring a video out regarding edges. For the dress I'm not putting too much detail. It's just suggestion really. All the detail needs to be in the faces. And the hands. Didn't want to put too much detail in the dress. Because it just takes away the focus. On where it should be.