00:00Now I'm going to draw Christian Bale.
00:02Please follow the analysis of the benchmark here.
00:05Always start with the circle that encloses the mouth.
00:08I define the head tilt with this line.
00:11The line from the slant of the eyebrow, the base of the nose, the base of the chin, and half of that area to the base of the mouth.
00:16Half of that area is used to define the eye area.
00:19Eye socket: I define the eye line, the width of the nose, and the corner of the mouth.
00:25The T-zone triangle line, which will define the UV of the lip, jaw, jawline cut aligned with the
00:32mouth opening
00:32and the ear aligned with the lip filter and at eye level.
00:37Haircut.
00:39Very well, now that I have the addresses of the limbs correctly positioned in this cranial structure,
00:43I'm going to do this study on paper.
00:45I'm going to make it on Hannibal Nostalgie paper, 190 grams.
00:51There are two more leaves.
00:57And I'll also be using a 0.3mm mechanical pencil.
01:06Alright, let's go.
01:09I'll just do the sketch, okay?
01:11I'm going to move the iPad up a little higher.
01:17Alright, let's go.
01:20I'll start here with the circle, right?
01:24In the middle, I'm going to draw the eyebrow line, the central axis completely vertical, with a slight curve underneath.
01:32base of the nose, base of the chin, and half of that area towards the base of the mouth,
01:39Half of the upper part to define the eye area, the top part here.
01:45We have the eye socket, and we're going to divide it into an inner part, and then divide it by the same measurement on both sides.
01:53to define the eye line that lies halfway down the upper part.
01:57We pull the inner part vertically to define the nose, which will stay in this position.
02:04being the apex, the wing, and the right wing.
02:06The nostril is between the two, and the back is here.
02:10Let's position the eyebrow, following the characteristic requested by the reference.
02:15The eyebrows droop very close to the eyes.
02:18Let's draw his eye here with the crease of the eyelid very close to the eyelid.
02:25The crease of the eyelid very close to the eyebrow as well.
02:28The iris, centered here, looking towards the photographer's lens, the pupil, preserves its brightness, the pupil, preserves its brightness.
02:35I treat the upper eyelid, lower eyelid, round eyelid, and the central fat pad.
02:40Very good.
02:40I'm going to draw a line here on the inner surface of the iris, vertically, all the way to the corner of the mouth.
02:46I have this line here, running along the edge of the nose, all the way to the philtrum of the lip.
02:52Nose bridge and philtrum.
02:54We have the height of the mouth, the base, and the corners.
02:58Then all you have to do is create the mouth within that address, with the characteristic that the reference requires.
03:03Between the open, detached part here, between the two lips in the middle, he has thin lips.
03:08Now let's draw the mustache here, outlining the upper lip.
03:13with a slight distancing here towards the vermilion border, which is this upper part of the lip.
03:20Lip filtration with an accumulation of hairs here, a detachment.
03:25And here we have the beard, chin.
03:28We already have a general idea of his area here.
03:32Let's make the jaw.
03:33It's a thin chin, a thin jaw.
03:36Obviously, due to the position of the head, the curvature of the jaw occurs when the mouth is opened.
03:42So we have the shirt collar here.
03:46I'm going to pull the shoulder of the background here.
03:50Very good.
03:51There's a shadow here on the collar.
03:54Now, the base of both ears is aligned with the base of the nose.
03:58And the height is aligned with the iris.
04:02So let's draw the ear in the foreground here.
04:04It's a little bigger because it's in first place, right?
04:08And the other one, a little smaller.
04:12We're going to cut your hair here.
04:15It wasn't much trouble for me because it's short hair.
04:20So, do you think it's starting to show up?
04:23From now on, it's just a matter of enjoying the ebb and flow of the graffiti mine, in contact with the narrative.
04:28from the paper.
04:29Running a maximum distance of one centimeter.
04:32And that's where we learn to be present.
04:35No rush and no worrying about time.
04:37If you rush here, you'll compromise the most important layer of shading, which is the first layer.
04:44This time I'm not going to delve into refined realism, no.
04:47I'm going to leave the design looking more rustic.
04:54Well, I hope you enjoyed the video.
04:57If you want to become my student, just enroll in the course.
05:00The link is in the bio.
05:02Share the video with that person in your contacts who likes to draw.
05:06A hug.
05:07Goodbye.
05:07Goodbye.
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