Drawing Like a Professional: Shape Design and Facial Features

Drawing Like a Professional: Shape Design and Facial Features

After mastering the caricature fundamentals
and learning advanced techniques to get better exaggerations, what is there left to do? The short answer…the hard work. This is the final lesson in the caricature
course. And it’s not actually a caricature lesson. It’s a general drawing lesson. Whenever I’ve taught caricature, most students
have a hard time making their final sketches look clean and professional. Regardless of whether you’re doing a caricature
or a traditional portrait, it takes a lot of work to bring a drawing or painting up
to a high level of finish. So the hard work I’m talking about is applying
a good and strong visual design to all of the caricature lessons I’ve taught you. There are several elements that go into design. The way I see it, they are: lines, colors,
shapes, textures, values, forms and composition. But in this final lesson in the art of caricature,
we’re going to create stronger design by focusing on shape, line, value and form. And then applying those efforts specifically
to the features of the face. Now, of course judging good design from bad
can be tricky. There’s never just one answer that everyone
will agree looks good or bad because everyone has different tastes. Except for skinny jeans on men. I think we can all agree that’s ALWAYS a mistake… Okay, let’s get out of these things… But in drawing, a design is bad is when the
lines and shapes are sloppy, unbalanced and look like they are not the result of intent,
but of carelessness. The values are spotty and they don’t help
describe the forms three dimensionally. However, a caricature can certainly be loose
and sketchy, like Jan Op De Beeck’s work, and still have a beautiful design. Jan’s loose technique is intentional and not
a result of carelessness. The only reason he can make his quick and
rough shapes look good is because he has a lot of skill and experience under his belt. Now let’s look at what I think makes for a successful
design. To me, this eye has a good strong design. And it’s not about anatomy. A drawing doesn’t have to be rendered realistically
and anatomically to look good. Just on an abstract level, the design has
to have a pleasing shape and outline. Also, there’s a variety of line types and
edges, from hard to soft and even lost. And there’s a full range of values and smooth
transitions that create the illusion of three dimensional form. The best way to get to this point is to draw
your caricature in stages, starting simply at first, improving upon it each time you
redraw the design. And slowing down at each successive stage. It’s really just about putting more time and
effort in and following the procedure of starting simply and building complexity on top of it. So let’s take a look at how I created this
eye on my caricature of actor John C. Reilly. This rough caricature was originally done
as a demo for premium students as part of Lesson 13 on digital paint sketching. There was no line drawing here. All the shapes were created freehand using
a large Photoshop brush. I think it’s a funny sketch and it has a good
likeness. But there are some problems with the construction
and alignment of features. So, my first step is to flip it over to better
see where the problems are, and do a Reilly Abstraction on top of it. Be sure to check out my lesson on the Reilly
Abstraction for more information. Fun fact, this legendary drawing method was
not actually invented by actor John C. Reilly but by 20th century illustrator Frank Reilly. Wouldn’t that be cool though if John C. Reilly
did invent the Reilly method? With the Abstraction finished and the features
lined up more correctly in perspective, I now redraw the sketch more carefully with
just lines. On my first pass over the Abstraction, my
lines are light and thin to keep everything as clean as possible. At this “Lay-In” stage I’m only concerned
with my first element of design: Shape. I’m drawing the actual shapes of the head
and features, but not yet concerned with realistic forms, values or the line quality. This step is simply about shape. Pure abstract shape. So that if you were to zoom in on any section,
the abstract breakup of the space would have a quality that most people would find pleasing
to look at. I try to keep my lines made up of simple straight
lines, C curves and maybe some S curves. Edges and borders that look hard in the photo
reference will be drawn as hard lines here. And it’s up to you if you want to indicate
the softer edges and form shadows with crosshatched lines as I’ve done here or just another hard
edge. If you use hard solid lines everywhere, it
will give your sketch a more graphic posterized look, which could be cool. It’s just a personal style choice. Now let’s zoom in to just one of the features
to work on the next step. If you’re working digitally at home, you should
also zoom in close for this stage because it will require some precision and dexterity. With the shapes clearly defined with simple
lines, I redraw the shapes while focusing on the quality of the lines. Hard edges are required where there’s a cast
shadow or a sharp change in the direction of the forms while softer edges are necessary
to show a gradual transition from light into dark. Here, my pencil brush has a bit of line variation,
going from thick to thin. So I’m employing a type of calligraphy. But I’m not just using a pencil brush, I’m
alternating between that and a larger, rougher brush for my soft edges. This variety in line types from thin to thick
and hard to soft will give the design more visual interest. The same quality of line everywhere can look
monotonous and boring. And once your viewer is bored with what they’re
looking at, they’ll move on to something else. Good design in a drawing will keep your audience
more interested and continue to look for things that will surprise them. And they’ll want to see what you’ll do next. With the forms and shadows mapped and outlined,
I now add the shading. Filling in the values is what gives your 2D
drawing the illusion of 3D form. It’s what makes the shapes seem to pop off
the page. I’m working digitally, which is pretty forgiving. Any mistakes can be quickly and easily corrected. If you’re using charcoal or graphite though,
you need a steady hand and even pressure to do the shading smoothly with total coverage. Because fixing mistakes on real paper isn’t
as easy. When shading in a drawing, I find it’s best
to build up to the darkest values gradually rather than trying to achieve them right away. So I’ll do one pass over the shadow areas
with a single medium value and then get progressively darker where needed, while leaving some areas
lighter where there is reflected light. Stan made a great video that shows this entire
process drawing an eye in his course on drawing the portrait. If you want to do good caricatures, you should
check out Stan’s portrait course and learn not only the anatomy of the head, but his
steps for drawing and rendering it. Now, you don’t have to always break down your
drawings into these distinct steps – especially if you’re more experienced. But if you do have trouble creating good solid
design in your caricatures, this attention to process can really help. By the way, I didn’t choose this photo of
John C. Reilly by accident. It has a strong separation of light and dark
forms, which go a long way to help me create a better design in my drawing with clear indications
of the shadows, halftones and highlights. Compare that with this flatly lit photo of
actress Catherine Zeta-Jones where there are no dark shadows. Squinting your eyes at your photos will make
them blurry but will help you better judge if there is good contrast. When you squint down at the Reilly photo,
the values become even more dramatic. While the values on Zeta-Jones’ face get all
mushed together into one light mass, which make it much harder on the artist to create
an interesting design. So try to use photos with strong shadows on
the face whenever possible. Remember that design is not the same thing
as style. There’s room in the world of caricature for
every type of visual expression and style, from abstract, sketchy, cartoony or realistic. All of these caricatures have vastly different
styles but show all the elements of good design. What this lesson tries to address can be reduced
to one basic problem: Carelessness. Caricatures with otherwise decent likenesses
and exaggerations are ruined when you don’t take enough care to make sure that your hand
follows through on your original stylistic intentions, whatever they may be. Assignment To complete the assignment for this lesson,
select a good large photo of a subject you want to draw – or take a caricature rough
sketch you did earlier in the course and follow my steps to create a finished drawing like
I did here. This one should take you a while because you
need to slow down and focus on the craft of drawing, more than you have in any of the
previous lessons. Make me proud and post your finished drawings
to the Proko Caricature group on Facebook for a chance to be included in the final critique
video. Premium Content In this lesson, I showed you just the eye. In the premium version of this lesson, I’ve
included the rest of the John C. Reilly caricature as well as several more videos where I focus
on a careful and disciplined procedure for creating drawings with a strong visual design. Be sure to get the whole course on Proko.com/caricature. What’s Next I’ll actually be back with one more video
to share some final thoughts on the Art of Caricature. If you enjoyed this video, share it and tell
your friends! And, if you want to get updates on new videos,
go to proko.com and subscribe to the newsletter.

72 thoughts on “Drawing Like a Professional: Shape Design and Facial Features

  1. Obtain the notification as I registered with Proko. Find another person doing the tutorial. Going to unsubscribe from Proko.

  2. Really interesting video. Two things I noticed about "texture". One, texture seems to really amount to a pattern of small detailed shapes. And also, what was shown as a bad or messy style was actually because of the texture of the drawing. I think texture is a huge part of what makes the look or style of a picture.

  3. i'm actually fit, wore skinny jeans for a short while and hated them! You make good instructional videos as well. What is your name?!

  4. Stan, I watch your interview in Art Side of Life and you said that you'll be doing a Drawing Fundamentals course, will Court help you with that?

  5. Men who wear skinny jeans look disgusting. They look like women's leggings. The only thing worse than skinny jeans is the black urban youth sagging phenomena….. It's like we're turning into animals in heat. No class. No respect.

  6. Hi Mr. Jones! I really loved how you did the abstract shapes for the values on the face! Very Leyendecker-esque! I also particularly enjoyed the study you did using his art style a few videos back. Would you be doing more studies of his works in the future? He's currently my favourite artist (and many out there, i'm sure!) and I'd love to learn more about the way he paints, particularly the way he comes up with concepts and his use of colour in shadow. Thanks, and keep up the good work!

  7. What? You looked good in those pants, man. Much better than those baggy mom jeans that seems to be so common with americans.

  8. You leave my skinny jeans alone! They make my butt and package look premium as fug! If I wanted to shelter homeless people from the elements, I snatch up some jncos.

  9. Кто-нибудь помогите — что значит "values" в данном контексте?

  10. Hello, does anyone know the name of the artist he mentions around 2:30? I’ve been trying to find these images on google so I can follow this artist, but I don’t know how to spell the name.

  11. Skinny jeans on men are hot. Just young thin tall fit men with good muscle tone. For all other men it doesn't matter what jeans you wear, no one is looking at you anyway lol

  12. can i ask for somthing, i need help with my digital coloring , cz i dont know why, my colored drawing always look blury, maybe cz the brushes i use ? but its look blury, aaah god pls help

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