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Drawing a Stylized Portrait (NO SHADING)

Drawing a Stylized Portrait (NO SHADING)

Stan: Hey guys, welcome to Proko. My name is Stan Prokopenko. We need a cover image for our podcast that
we’re going to be releasing soon. I decided to film it. I’m going to do these in graphite on, I believe,
this is, like, Strathmore…it’s just Bristol paper. It’s got a little bit of texture on it, but
not too much. But yeah, I like these black winged pencils. This is the softer version, I’m probably also
going to use this one. This one’s a little harder. This one’s softer. The black wings don’t have the range like
most graphite pencils where they go from, like, 9H to 9B. These just have two. I’m going to be starting with Marshall. This is the photo I like, but I think I’m
probably going to change his neck so that instead of leaning like this, he’s going to
be kind of leaning forward like that. I’m just going to start by just trying to
get the proportions correct. I’m going for, like, a slightly caricatured
version of these, not too much, just a tiny bit Kind of Rockwell-esque. You know, how Rockwell would exaggerate people’s
features just a tiny bit, I could kind of do something like this, very sharp corner
and brow ridge. So I’m going to start by maybe exaggerating
how, you know, the thin longness of it. And then I could add more to the back of the
head if I feel like I’ve gone too far. Of course the beard. I could see definitely, this is longer. And then some of these shapes, I’m exaggerating. Okay, placement of the ear, I’m going to follow
the brow and that will be the base of the ear and that actually comes up a little bit
from there. Didn’t notice Marshall has small ears. It looks normal here. Maybe it looks small just because his nose
is large. Anyway, definitely shouldn’t make his ears
large because that would not be his type, but I am going to lengthen the nose. I definitely know Marshall has a larger nose,
and because he’s leaning back, it’s shortening it a little bit. And I want to kind of get that, make sure
it’s obvious that, hey, this guy’s got a long nose And it’s not just long, it’s large. Sorry, Marshall, I like your nose. So this podcast that I’m doing this drawing
for, it’s not out yet. Marshall, who is the guy I’m drawing right
now, he’s my co-host. The podcast is going to be called Draftsmen. It’s going to be available on this YouTube
channel and also as audio on all the podcast platforms We’re going to be covering a wide range of
topics related to artists, just stuff that you can listen to while you’re drawing, while
you’re driving. The episodes are very casual. We didn’t really plan them out too much. You did submit your questions and stuff and
we use them as inspiration for the topics we’re going to talk about. And we talked about stuff like, you know,
finding your style, and, you know, finding motivation and stuff like that. But we also dive into educational stuff like,
you know, how to be a good student, and even things like technology like AI and VR. And I think in a future episode, Marshall
is going to try VR for the first time. So we’re just going to do fun stuff. It’ll be a little bit of a mix of, you know,
entertainment plus education plus inspiration. It should be really fun. So you guys, check it out when it’s ready. You can subscribe to the Proko newsletter
to get informed about that, or just stay subscribed to this channel, and you’ll see the episodes
published. Marshall: You present the artwork, “We’d like
to change this.” “Okay, I’ll change that.” And presented again, they say, “I’d like to
change it even more.” “Okay, I’ll change that.” And then they told you to change it a certain
way and you did it that way, and they say, “Yeah, that’s the way I want it.” And you say, “Yeah, I’ll do it that way.” And you give it to them saying, “No, no. I’ve changed my mind,” and they can kill you
because they want apples and then you give them apples and they say, “No, I think I feel
more like oranges.” And you give them oranges and they say, “You
know, let’s try papaya.” And it goes all over the place, and those
are known as illustrator killers, or to graphic designers, and it’s a completely irresponsible
way to work. But if you do that when you’re a beginner
and you get used to the kind of difficulty that is going to be working for money, it’s
not altogether bad. It does strengthen you. I’ve heard bands talk about how when they
play for drunk audiences who don’t care about their music, they come out stronger, because
they’ve got the chops of a difficult audience. Stan: As I put these features, I want to make
sure I’m keeping the angle. You can indicate angles in the beard, and
one of those angles is this angle right in here of the bottom plane. It’s nice to show that a nice strong angle
parallel to the front of the face. So I’m wondering if I should increase the
size of the ball of the nose or the bridge of the nose I feel like I exaggerated the size of the
ball of the nose too much, and that didn’t leave enough room for the bridge of the nose. So definitely helps to understand all the
different pieces in here, because the photo, it’s not the best quality, it’s a little blurry,
the nose seems a little flat lit, so it doesn’t reveal the forms. But if you understand what the anatomy is
there, you can take the super subtle indications of the forms and understand what is actually
happening even if it’s really, really subtle. Because this is going to be a cover image
for a podcast, most people will just see it on their phones because that’s where people
listen to podcasts. And so it’s gonna be a tiny little square
with both of our portraits on it. So if I shade it, it’s just going look like
a…possibly just look like a photo because it’s so small, if I do a good job. So I want to make it really obvious that this
is not a photo of us, this is a drawing, and the best way to do that is to keep it linear. And so I have to make sure my lines are interesting
enough because I can’t just rely on 3D form and rendering to make it good. I have to design my shapes to be nice and
my strokes needs to be dynamic. Definitely want it to look like Marshall,
but I also want it to look cool as well. I want it to look nice, not just realistic
or not just accurate. His mustache is mostly just like a dark shape,
but I’m gonna try to put, like, lines indicating hair And I’m not just going to go like doo, doo,
doo, doo, doo, a bunch of lines. I want to design patches, different angles
and zigzags in a way that it kind of looks interesting First things first, make sure it’s in the
right spot. Before I put all the patches of hair, let’s
find the center line of this muzzle. His mouth is open, and I want to be able to
indicate that without shading. I might still have to just make this whole
thing black, the inside of the mouth. So I could fill in areas of black while still
keeping it linear, you know, think of comic books or inking. You can indicate form but it’s through line. Yeah, so definitely looks more like the mouth
is open when you fill that shape in. I’m going to lightly put in a few notes of
that mustache, just so I have the placement and then I can go back in and redesign those
patches a little bit better later if I want to, but just having little placeholders there
will help me design stuff around it. And also just help me make sure that things
are in the right place before I finalize. I think it looks like Marshall, I don’t know. Sometimes, I know when I draw portraits, I
feel like it looks like the person and then, like, I come back the next day and it looks
nothing like them. I don’t know if you guys ever experience that. But I’ve also had the opposite where I think
it looks really bad and then I leave for the day and then I come back and I’m like, “Hey,
this actually is not that bad.” So sometimes, you just need to get away from
your drawing to really get a new perspective on it But right now, I feel like it looks like Marshall
a little bit. Maybe it’s just because Marshall has such
a unique face that it’s easy to capture his likeness We’ll see how I do it in my self-portrait. I’m definitely not as unique looking as Marshall. Everyone’s always telling me that I look like
someone else. But yeah, one thing I want to do is make his
neck go forward a little bit. So I’m going to look at a different photograph
pretty high up, it’s actually going to start curving back So the good thing about making it just a little
bit cartoony or a little exaggerated is that you can get away with, like, doing some cartoony
things to the neck or any part of it. Before I go any further, I do want to make
sure that I’m happy with the general proportions before I start like, you know, going in there
with the eye and finalizing some of these shapes. So a good thing to do is just to step back
a little bit and think like, “Do I want to exaggerate things a little more?” Yeah, from looking at another photograph here,
I noticed his head is a little rounder, and that actually intensifies that brow ridge
shape that I was trying to exaggerate earlier. Yeah, that looks a little more like his head
shape. His cheekbone or his cheek pads, right here,
there’s a little bit of a cushion at the bottom. So I definitely want to make sure that I am
showing this piece right here, kind of makes him a little more jolly. Also, this photo I’m using is…Marshall is
a little younger than he is now. I have to decide, like, do I want to age him,
make him look a little more like how he does now? Probably. A lot of that is going to be through the eyes
because his eyes look way younger in this one, but it’s easier to age someone. You could draw a youthful person and then
just kind of add things to it and then it’ll look older. So I’m going to start with just getting that
structure of the eye sockets in and then I can come back and age him a little bit from
the other photos if I want to. Oh, actually, I wanted to change the gaze. He’s looking out up into the left and I kind
of want him to look straight ahead. I have to move the iris just more towards
the camera. Coming in here on the nose and breaking it
up into front plane, side plane, bottom plane. Actually this shape that I was talking about
down here is actually a little more exaggerated on him I didn’t bring it out enough. And when you have a linear drawing, you can
choose where you put the thick and dark line weight In the shapes that you want to exaggerate,
you put the dark lines. You don’t have to put it around the whole
contour. In fact, being picky is better. Also because this shape is in shadow, I could
make it darker just because it’ll indicate, you know, maybe a little bit of a shadow in
that area. I think I’m going to switch to this softer
pencil now. I’m starting to put in those really heavy
accents. I don’t want to have to press too hard. I’m not shading, but I feel like every once
in awhile, if I just kind of smear my finger across and it adds, like, a smudge and it
makes that whole area a little darker. I want to keep it graphic, that’s really the
purpose here, it’s not that I don’t want to, like, cheat and shade. There’s nothing wrong with that. If I feel like just making a whole area darker
is going to make it…you know, improve it, it’s fine. You know, I’m kind of determining the style
here so I could play around. Definitely want the nose to pop forward and
so I’m going to make this outline very obvious. In the photo, it’s kind of blending in a little
bit. Like if I was to do a painting of this and
be very tonal, I would use very similar value with the nose and the cheek back there, you
know, a little bit darker back there, but I wouldn’t put a sharp edge. It would be kind of lost, especially in here
by the ball of the nose. I want to keep this really loose as well. So kind of some areas keeping the lines a
little scratchy, doing this sort of thing, keeping it expressive in my line work. You know, the eyes aren’t the best there if
we had to do that but, you know, maybe in the hair and kind of the cheekbones. You know, areas where it’s like if I put a
little scratch, it’s like, “Who cares? It’s a forehead.” But in the eyes, you want to try to be precise. I definitely want to have areas of dark, filled
in linearly, still having a very scratchy quality to it This top part of the hair, or the back part
of the hair is a big area of dark. Also the mustache and then it kind of fades
into more light at the beard. The beard is lighter than the skin but I’m
not going to show that difference because then I’d have to shade the skin and I’m not
going to do that. I really have to just work with a graphic
quality kind of light and dark and that’s it and then the hair is a big area of dark,
and so I’m going to go in there now and fill in patches of dark and I’m going to do it
all linearly, trying to design interesting lines. And I don’t know if you guys could tell, if
you guys can see it in the video but there’s a lot of noise coming in through because of
the paper. I kind of like that. I’m using the side of the pencil to kind of
to do my lines, and that’s creating noise. I like that look, it’s kind of…it reminds
me a little bit of the effect that Fechin gets with his drawings. It’s very linear, but then there’s qualities
of three-dimensionality in it. I’m not going to try to get that sort of rendering
in there, like the subtleties that he gets, but his strokes have a lot of texture to them. I’m going to clean up some of these shapes
that I put in here. In the beard, I’m going to still indicate
it with line but I’m not going to be so heavy with it, I’m not going to fill it in. I’m just going to spread the lines out a little
bit so that it stays looking like it’s white. Just subtle indications. Since I’m designing all these little hairs
in here, I want to try to connect them together and create a flow. So you can see in here, there’s this dark
spot and then that connects kind of to this little patch and that connects everything
to here. And then that goes this way. And I’m going to do a similar thing in here
from the corner of the mouth, it’s kind of bringing this shape, creating little flow,
and trying to add variety everywhere. As I do some of these lighter halftones, I’m
going to go back to the harder pencil. And I’m only adding a few areas of these little
cross hatching lines just to indicate, like, where the form turns a little bit but I’m
not going to render it. They serve as a design element. At this point, I’m just going to be jumping
around and just adding things based on how I feel It’s like needs a little bit of dark here,
light here, just, like, fixing little shapes, but I’m not going to take it to more of like
a detailed finish than this, this is kind of the look I’m going for. I like the scruffiness of the beard. It’s a little bit cleaner, more clean cut
on there but I like adding a little bit…that’s part of kind of like I said I was going to
age them a little bit. That does that a little bit. I think at this point, it’s best for me to
step away and come back tomorrow, make sure I’m still happy with it and see which areas
jump out at me then. You can see my face. You can see Marshall’s face. Marshall, why do you hate your face so much? Marshall: Oh, I don’t hate my face. Stan: You do. Every time I mention your face and I’m like,
“How do you want to be…you know, what kind of wall do you want behind you?” And you’re just like, “Oh, anything that will
distract from my face.” What the hell? You got such an interesting face. Marshall: I don’t dislike my face, I like
my face. Stan: Why do you want to hide it with clutter
behind you? And then I said, “Well, this white horse behind
you is almost the same color as your skin, so your face gets lost in it.” But you’re like, “Oh, that’s good. That’s good.” Marshall: I don’t mind. I don’t mind that my face gets lost. It’s not my strong suit. I don’t dislike it but it’s not like what
I really feel like I have to offer. Stan: All right, I’m back, refreshed. The first thing I noticed when I stepped back
in today was that I felt like the eyes were a little bit off axis. And this is something I saw just from the
first moment I glanced at this. It was more of a gut instinct. It wasn’t like I was measuring from the photo. It was just I looked at it and boom. If it feels off, there’s usually something
that is actually off. I feel like this needs to go up. I might need to even raise the eyebrow a little
bit. I mean, I know I established that angle in
the beginning, but it’s become more horizontal from tear duct to tear duct. I have to just wipe the whole thing out. Here goes. Can’t get it back to white but I’m going to
have to make it work. Okay, so following the angle, the tear duct
is now going to be up here. Used to be down here. Yeah, that feels better. Cool. Well, I’m glad I did that, because it would
have bugged me forever. I also wasn’t completely happy with just the
strokes in there, they felt a little uptight. Now I could maybe be a little bit more whimsical,
more interesting with my strokes. Oh my gosh, look at that. I’ve only been here for, like, two minutes. I’m just going to knock this back and redo
the halftones in the cheekbone right there. Also just erase the graphite from my fingers
so I don’t keep smudging this. I want to connect the halftone in the cheekbones
to some of these strokes and the beard. So it’s kind of a continuation of some of
these dark shapes. Right now, I’m going through and making some
of the contours just a little bit stronger and I think that’ll just contain the whole
thing a little bit better. Another thing I noticed when I didn’t realize
how much I exaggerated the ear, I really squished it and made it really thin and tall, which
I don’t mind too much. I mean, that is kind of a product of me just
stretching his whole head vertically. But I didn’t realize the extent, like, how
much I actually did that. Okay, I think this is good. I might potentially make some edits digitally
after I put the two drawings together, but this is good. I’m happy with it. So thank you guys for watching. Make sure to look out for that podcast. And there’s going to be another video of me
drawing my self-portrait for this cover. So stay tuned for that. All right. Bye.

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100 thoughts on “Drawing a Stylized Portrait (NO SHADING)

  1. Aw. I thought Marshall would do your drawing. Sure each drawing would have a different style (so the thumbnail thing may not have that unified look), but on the other hand Marshall would be able to contribute, and he's the other half of that podcast, so…
    I mean, c'mon. And please. Pretty please?

    Oh, also, what I do in such cases when I don't know if everything is okay is to grab my drawing and put it in front of a mirror.
    Some artists use a hand mirror to check it, but I don't have one, so I have to get up and walk a few steps. ๐Ÿ˜›

  2. That looks good but the long strokes for his hair at the top are made in such a way that it looks like he has a combover. It looks like a part high above his ear too that ads to the combover look.

  3. Turned out amazing, man! If it helps any I use one of those two-finger gloves for tablets when I'm drawing with graphite to combat smudging with my hands. Doesn't stop it completely, but it's saved me a ton on cleanup later

  4. here we go again. if you and court jones couldn't laugh at people that you think have a big nose i dont know what you'd do with your lives

  5. i dont think it came out looking like him at all. i think the exaggeration was unflattering. he's a handsome man but i think you lost that entirely.

  6. He has great masculine strong features! Think ancient ages gladiator (the guy who survived long enough to get his freedom).

  7. ooh the lines ended up really pretty. I'm focused on the anatomical knowledge you provide in these videos, but the artistic value is incredible sometimes:O

  8. At first it look like u was drawing a white malcom x ๐Ÿ˜‚๐Ÿ˜‚๐Ÿ˜‚๐Ÿ˜‚๐Ÿ˜‚๐Ÿ˜‚๐Ÿ˜€til u fill in with a little shading
    Fire job bro ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ช๐Ÿ’ช๐Ÿ’ช๐Ÿ’ช๐Ÿ’ช๐Ÿ’ช

  9. The foto might not be the best ever, but solong you got at least a Idea (because you actually know you suject, or such) youre not totally lost. The hardest way to do a portrait is having just one low quality foto. ( Or a series of fotos from a foreigner just from one angle…. This is so mean….)

  10. I wanted to do live drawings and i was wondering which technique i can use to be quick and good, i think i got what i wanted XD.

  11. I agree that Marshall have more defined features that make him slightly easier to draw and recognize as a caricature, but he's not entirely unique. He literally looks exactly like my dad, just slightly older๐Ÿ˜‚ oh and I was also the lucky winner of the big nose gene, so… thanks๐Ÿ˜

  12. Interestingly enough, after watching so many vids of yours, I feel like this one is (educationally) one of my favorite. Thank you Proko. Keep it up!

  13. I thought everybody started their drawings with a circle , I think i'm gonna stop doing this , I can't even draw a perfect circle

  14. Sometimes the way he held the pencil looks weird. Should I try holding like that too or it's only his personal style?

  15. There is shading. It's called cross hatching. Cross hatched shading is indeed a form of shading. Just for clarification for those up and coming young artists so that theyre given the correct information. ๐Ÿ‘๐Ÿฝ๐Ÿ‘๐Ÿฝ

  16. I love this Kind of style.Any more tips for learning to draw with this style ? Will you also draw the selfportrait with the same style?
    (Would your face features video series help to learn this style?)

  17. Really cool stuff. I'm struggling right now with trying to push features gently. I don't want to go for caricature, or hyper realism. So a video like this helps me figure out what I'm kinda aiming for.

  18. Okay so in my art class we are doing something like this so THANK YOU FOR TEACHING ME WHERE MY CLASS DOES NOT <3

  19. Before it gets big do yourself a favor, and upload the videos to YouTube, youโ€™d be surprised how many podcast listeners prefer the visual element, as an artist and art channel and ART podcast, particularly VISUAL arts, forsure upload them to YouTube, if youโ€™re not already! Andddd I just to the part where you said youโ€™re uploading to YouTube, nice. ๐Ÿ˜

  20. ๐–Ž๐–ˆ๐–๐–Ž ๐–‹๐–†๐–—๐––๐–š๐–†๐–†๐–‰ says:

    When is the podcast?

  21. I'm really not a great fan of photorealistic sketches, i really like it if a sketch actually looks like a sketch, with some incompleteness and a little loss of detail

  22. I donโ€™t know why, but I actually covered my mouth in dread when you went back to erase the eye. Good call though ๐Ÿ˜…๐Ÿ‘Œ

  23. One important difference you made in your drawing as compared to the photo is the eyes. You put the gaze in a different direction. There is nothing wrong with that, but it kind of bothered me that you did not even mention it.

    Excellent work, by the way.

  24. Mera drawing bataiye kisa hi aap ka very very nice ๐Ÿ‘‰โœŒ๐Ÿ‘Œ๐Ÿ‘ŒโœŒ๐Ÿ‘๐Ÿ‘

  25. I was literally just thinking about how much you look like Moriarty and you suddenly popped a photo of him lol

  26. 16:24 "Marshall why do you hate your face so much!!"…. cuz thats the kind of question you say on open podcast XDXD

  27. ะ ัƒััะบะธะน ััƒะฑั‚ะธั‚ั€ั‹ ัะดะตะปะฐะนั‚ะต ะฟะพะถะฐะปัƒะนัั‚ะฐ๐Ÿ™๐Ÿ™๐Ÿ™๐Ÿ™

  28. Isnt this shaded a little? What do you call what you did on eyes and nose? Arent those supposed to be darker areas?
    Looks more like a simplified shading. Feel free to correct me.


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  30. Thank you so much Stan for this and all your videos. Here is my learning applied from your instructional videos –

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