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Art Lessons: Quick Portrait #1

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[MUSIC]
So
what I look for in a quick portrait is,
fast measurements,
essence of the character, and the spirit
of the pose.
So, what we're going to do here is we're
gonna take a step-by-step analysis,
in a relatively quick way, of capturing
the essence of my sitter.
So I like to maybe do a couple of quick
measurement to say like okay, well.
That's the, that's right around there is,
is the top of, of his head.
And then on the side of the head the first
thing I hit are the glasses, so
it's just like little mental notes.
If I come in from this side of the head,
you know,
I'm gonna hit the back part of his hair.
And once again,
I don't believe that there are any rules
with starting in one particular place.
Some people say, oh, you have to start
with the eyes, or
you have to start with the laying in of
the head.
I think it depends on each individual
artist.
Because I know, historically, that a lot
of artists have different ways to arrive
at the same thing, which is beautiful
drawings and beautiful paintings.
So there's a lot of roads to the top of
that mountain,
it's just a matter of which road you want
to take.
And some roads might be rockier than
others, but you might still get there.
And maybe because it's rockier, you've
learned
a lot of things along the way because
you've had to overcome more obstacles.
Okay, enough philosophy, let's get down to
brass tacks.
So, for me, you know, I wanna start maybe
with, with that ear it's very,
there's just something about it, I like,
like the ear, I like to experience it.
There's something, really.
Goes this way, comes out.
There's the, the lobe.
This piece,
which is the helix.
A conch, tragus here.
Antihelix here, and not getting too much,
caught up with anatomy.
But just seeing, the beard is right here.
And.
[SOUND]
Just that hair's really interesting,
I already just feel like pulling that hair
back to here.
And looking at that measurement, taking
that, that vertical, and leaping up.
To the back part of that hair, which is
right about here.
And coming up here, this hair falls down.
And treating it like a plane, so this is
kind of in a way
like a top plane, and this is, in essence
a bottom plane.
Comes up, and then I guess the top part of
that is the hair right here.
And it goes all the way over to about
here, and
then you could start seeing the cranial
mass under here, all of that.
Now this hard line shouldn't really exist.
So, as long as these little measurements
I'm always thinking about,
like where the neck,
see the neck's kinda rolling back.
And then there's a, a collar, which is
here and
down, like that to right about there.
And then, the shirt comes away, like that.
Now even though we haven't,
we might not see the neck, we wanna draw
it in.
It's kind of important.
How their's that kind of measurement
between the eyebrows here,
and the distance.
If you hold a straight along the eyebrows,
you can see that the top of those brows
are actually, higher.
Well just kinda right on point with the
top of those ears,
as you can see he has very full brows.
Full brows here.
And that glasses line is going to, kinda
seems like it's,
the thick of the glasses are right about
here.
And then as it turns the plane, it should
be right about there.
Now the turning of the plane here,
should be right where the corner of the
skull is, like right there.
So, as the glasses turn plane, so does his
cranial mass, right about there.
Then the bottom of the glasses
comes down, right about, here.
How you doing, Owen?
The eyes are a lot smaller than people
think.
So as you could see, this is going this
direction, and
this is going back this direction.
As it kind of goes into behind the ear,
you see maybe a little glimpse of it here,
it's getting covered here, the white of
his hair is over here,
his beard is over here, the side cheekbone
is here, like that.
And in here, there's the darkness
of that eye, right about there.
Darkness of the eye, right in here.
And of course, the pupil seen over here.
There's very little, very little detail in
there.
Now comes the eye, glasses come that way
of course down.
[SOUND] And he has a furrowed brow,
a little bit here, this one's higher.
A line, to the back, and then down.
So I'm kind of just, drawing everything at
once, all the way across.
This dimension, it's going to be a little
different, over here.
And this is going, this way, and back.
Now the nose, is gonna kinda jut out, like
that.
The nose is going to be plainly broken
down.
Now the bottom of that nose, interestingly
enough, if we do a straight,
is gonna kinda come to the bottom of that
ear.
So it’s kinda gonna be right around there.
Now every na every, every nostril is gonna
be different, see?
So you gotta really look at the shape
because you can draw it iconically,
but really it’s gonna go up.
It's gonna go back down like that.
Then you're gonna see here, [SOUND] where
the wings of the nose are.
And the wings of nose are gonna push
against that skin like that.
And it's gonna push out the fold, and
down, like that.
So, in essence, you're gonna see that push
out, like that.
And here, you're going to get the side
plain of the ball,
it'll flatten out a little like that.
And start, kinda start from,
really up here.
And, yeah you don't really see much of the
other side.
[MUSIC]
[MUSIC]
Those eyebrows.
Yeah, you don't wanna sit there and draw
each individual eyebrow.
That's TMI.
Too much information.
The bottom of that nose is here, and here
starts his beard, like that.
So from here, you're gonna get the
cheekbone from one side to the other, join
both sides, I'm always joining both sides,
I'm always thinking about both sides.
That's interesting.
So you're getting the cheekbone like that.
In essence it might be showing a little
bit too much glasses, but.
You know, you have something called
artistic license too.
Where you're just gonna do, you know, you
just have to commit to something.
Now, if you're going to draw the eyes
error on the side of drawing them too
small, not too big.
Too small is going to feel more realistic,
and to big is gonna feel to cartoony.
And even his.
[SOUND]
Even
his wrinkles in his forehead tell a story.
[SOUND]
Top plane, you don't really see much.
You, you catch a little corner of the
mouth.
You know.
Catch a little of this.
And you squint down and you really just
look for your darks.
Your darks are gonna be right here,
here, and all this is.
[SOUND]
The white of the beard.
So you wanna get some.
[SOUND]
Get some value on here.
Kinda see what we're doing.
Get that shirt.
This comes down.
And this part, of the beard overlaps.
This part goes down, back.
All of this.
Looking for that center point.
[SOUND]
And planes.
And this side of the beard is a little
darker.
It's soft.
I wanna show a little bit of that texture.
[SOUND]
Can see a little bit how that light works
and the top of that cranial mass
getting hit with light and then it's kind
of flattening out.
[SOUND]
And
plane-ally this is getting hit going back
into space.
[SOUND]
Okay.
[SOUND]
Okay, there you go.
[MUSIC]