如何繪製逼真的臉部 ~ 3 種繪製輪廓的方法 ... 講述教程

Hi there, my name is Dave, and in this video I will share with you three ways that you can draw an outline. So let's take a look and see if one suits you. The model I'll be using for these outline drawings is my beautiful great-niece Renia. First draw the vertical and horizontal lines, then outwards from that, two inch apart. The reason why I use a two-inch grid instead of a one-inch grid is because it helps with you learning to achieve a freehand method. Because that is the ultimate method really. You don't want to get attached to the grid. The grid is just a guideline. You could use a one-inch grid to start with, and then up to two, and then even three-inch grid. And then eventually you'll end up just doing freehand style. Right, to start with, just loosely mark the area. You notice where I'm holding the pencil, about two or three inch from the tip. And this will give a light feel to it, a very loose feel. And then you can use the eraser to actually model the shape of the face. So it's a very, very great tool. I use the click one, which you'll see in the materials at the end of this video, or materials I'm using. So just don't forget to check that out at the end of the video. But yeah, so just in case you're shaping it, very, very loose, not too tight, not too strong. And then basically just feeling your way through. Oh, and the pencil is HP, because it's great for light marks. It's a good one to start with. Notice that I'm using the pencil horizontally and vertical. This is the same style as I would use in freehand method. So again, this bigger grid helps you to actually eventually be a freehand artist. But yeah, just checking the alignment with the image. So yeah, and then eventually you'll see the mirror there. That was actually just checking through a mirror. That would help to actually gauge whether you've drawn it correctly, because to see it in a different flip of the image, it's amazing what you can actually see and pick up what you've done wrong. So I really suggest looking at a mirror. Now you can see I'm getting a little bit shorter on the pencil there, just a little bit. And I'm getting a little bit tighter now with the actual detail. Again, using that eraser.It's a really great tool, that is. You don't matter about putting fine lines, you can just rub them fine. You could actually use a 1-inch grid to start with, and then build up to a 2-inch and then 3-inch grid. So you could go for 1-inch to start with, if you're finding the 2-inch a bit difficult to actually see where things are. Right, now I'm using the eraser to rub out the guidelines. Get rid of that grid. And then it's a case of just relaxing and really feeling the energy of the subject, and changing things. Don't be frightened of moving things about, because that grid can be a crutch, and you don't want it to be a crutch. It feels horrible. So just let go and be free with it. Don't be frightened of changing anything you've already done. Just go with the flow. Feel it and sense it. Your heart will tell you when it's right. Right, the freehand method. This is my favourite method of all. First, get the centre mark within your area of your image. Here I've placed a photograph within the size of my paper I'm using. So this is a 12-inch by 9-inch paper. Again, the centre mark. And then I made a centre mark in the centre of the paper, and then worked from that. But here, just loosely ghosting the image in. You can hardly see it, but you don't want to go too hard on this, because you want to be able to change these marks. It's just really feeling the energy at this point. Sensing it. You notice the ruler there? That was actually just to get the centre correct, and then work from the nose outwards. Like the previous method, using the pencil very lightly, just holding it about 2 inches away from the tip. And just basically just feeling your way through at this point, just sensing where everything is. Then you start to measure then, and comparing with the image. So you're using your vertical against horizontal marks, so you're comparing what the width of the face is to where it comes, say, on the bottom of the chin, to where the eyes is. So you've got to find these marks, but you're comparing all the time. That's all it is, really. It's a really beautiful style, this is. You really feel a connection to the energy of the subject. And all the time, you're switching off the mind, you're keeping out of the way. You're just using the feeling of the body, the heart. Just let it come from there. Don't let the mind say, 'Oh God, I don't know what I'm doing.' Because you start to panic. Just let it go, just flow with it. It doesn't matter if it's in the wrong place, you can always erase it and shift it. That's why these light marks, you're using the HP pencil as well with these marks. So it's a very light pencil. Basically you're actually feeling the portrait, feeling the energy moving. Somehow the actual, it feels it's in the right place. You get a feeling. When it's not in the right place, you can feel it's not in the right place. It's strange. And you're just comparing all the time with the width against the depth. So width against the depth. Comparing with your image, with your drawing. Very, very light marks with HP pencil. Again, you can see I'm just measuring all the time, using the eraser. Not frightened to move things around. Don't get bogged down with thinking, 'Oh, that's in the right place, I don't want to move it.' Just move things. Just let it flow. You get a sense of the actual, even at this stage the portrait comes alive. You can sense the energy of the person in it. That's why I like the freehand. From the very start, you're connecting to the soul of the subject. And don't worry that you might feel, 'Oh, this doesn't feel quite right.' Because when we start putting in the blocking stage, everything can be moved again. You see, that's what's great about this method. Things move around. The blocking stage, which is going to be my next video, so be sure to actually subscribe so you don't miss that. And you'll see the difference then, how things can be moved and changed around. I won't get too wrapped up in putting every little curly hair in there as well, with the freehand, because all that changes when we start putting the tones in there. So just leave it as rough marks really, for the hair at the moment. Again, comparing all the time. Find where these marks are. You can't do too much comparing. The comparison is the most important thing with the freehand method. Even though you're doing the actual body, you're still going back into doing different areas and correcting it. You're looking at the whole thing as a whole, rather than just, 'No, I'm just drawing an eye and that's it.' You're always looking at the whole picture. Even though I just started doing the body there, I went back into doing other things. And then I'll go back to the body again later on. It's just a matter of actually keep moving around and getting everything feeling right. This is the cross reference, something I actually come across myself. Just something I've played about with and I thought, 'Well, that's a good idea. I'll try and do that.' Basically, putting the rules on the image in Photoshop, or this is Elements. And then you've got the cursor. You can see it at the corner of the eye now. You place the corner there and then you've got marks on the side rules where you should measure. And then what you actually do then is go onto your paper and measure that area and put a mark. So you see me doing that now. It can be a bit tedious, this method. But again, it's a good way of learning to do freehand because you're doing a little mark, freehand, little mark, freehand. But you're getting used to seeing the image as that, because it's a very accurate way of drawing actually, but you see the image as that shape because when you're actually drawing from freehand, from when you start, because you've seen light and shade, you think the outline is a different shape to what it actually is. So this is a good way of getting used to seeing the outline of an image. So yeah, it's a good one to adopt, to learn to do freehand. All these methods, eventually is to learn you to do freehand because that's the ultimate, really. See, it's very technical, but it's very accurate as well. It's not so loose. You notice when I'm using the pencil, it's not so... the length of it is a bit shorter. But again, I just little mark and draw a bit, little mark and freehand a bit. Yeah, to start with, you can get a bit panicky with this method as well. You try and measure too many marks because you're frightened of doing the freehand part of it. But just do one mark as a key and then just freehand. It's more or less the same as what I would do if I was doing it from life. You know, you'd mark an area and then you freehand it. Then you'd mark it like thumb on your pencil and then do freehand again. So it's a similar sort of thing, but it's just a more technical way of doing it. If you're familiar with my work on Instagram, please take a look, by the way, if you don't know I'm there. It's Dave Porter's art. Just put that in the search and you'll find me. All the images I did on the Stranger Things in pastels, they was all done in this method. So it's just basically keeping patience with this because it can be a bit tedious, like I've mentioned. But just keep in patience, little mark and then freehand. And eventually do more freehand than marks, but just keep blotting on and don't get too frustrated with it. Because when we start doing the next stage, we're blocking on the final details, you're not using any of that. You're just all using freestyle, freehand. So this is just your basic bones, if you like. Notice I do a little mark, a lot of freehand. That's the way to go. Again, using the pencil very lightly, just about two or three inches away from the tip. HB pencil again, by the way. All these three outlines have been done with the HB pencil. Which is ideal for this smooth paper. If I've not mentioned anything in the video, hopefully I will see that and I'll be writing everything in the description below. And I'll have all my links on there as well. So if you fancy having a look at my other platforms, I've got Instagram, Facebook. Please follow me on there, because it would be great to hear from you. You can place a comment. Please do that if you would. I'd appreciate the support. Here are the materials I use for graphite drawings. Oh, there's one more thing I do use, and that's a snap-off bladed knife, about 9mm wide, which is really good for sharpening your pencils. If you've enjoyed the video and want to see more, please hit the subscribe button below and tap on the bell. This will remind you that I've uploaded a new video. Therefore you won't miss what's next. Because this outline is going to be followed by a video with the blocking stage and then the final detail stage in the last video. So be sure not to miss that one. So hit the subscribe button below and we're there.