I Taught My Video Editor How To Draw Hyperrealism - He’d Never Touched A Pencil Before

I haven't done anything new here this is James and I do pencil drawings and so does James now apparently up until last week Friday you were convinced you didn't know how to draw no I didn't know how to draw it I can't point I actually did not know how to draw it so genre has taught many people how to draw specifically at the moment through patreon so we decided to give jono his ultimate test to start someone from the lowest point of drawing ability and seeing where he could take someone that person being me I've hoped a lot of people learn how to draw but that's through the internet and through YouTube so there's been a huge distance between myself and people that I've been trying to help having someone who doesn't feel confident with drawing being able to look over their shoulder and explain to them as they're working it's really an exciting space for me to occupy just for the record before this my drawing ability was next to nothing so we realized that it would be a rather unfair Advantage if jono and also Gemma could actually physically show me how to do things so our rule was they were not allowed to touch any of the tools I was using stop trying to get me in touch though or the drawing itself so I may not know a lot about drawing but some people who do know a lot about something uh or this video sponsor Squarespace so the first thing we had to do was decide what I was actually going to draw yeah for that we dipped into some of the reference photos we created for the patreon community and specifically chose a picture of mayo Maya is our studio puppy if you're about to embark on a on a drawing and especially a drawing in the style that I wanted to teach you you're gonna get two points where you're struggling against something and one of the ways to try and combat that is to work on a subject that you feel some other kind of connection to I have a big love for Maya so it was quite a simple decision we've put all of the resources in the description below if you guys would like to draw along with this video then Jim helped me cut my paper to the right size and then we started working on the grid so the grid is just to provide a layer of support so that you can get your proportions correct and it's also it helps with that reward feedback as well you give yourself a higher chance of having a artwork that you're proud of specifically a two centimeter grid why did we do that one centimeter grid makes it a little bit easier to not make mistakes two centimeter grid is faster you had a time constraint so I just threw you end with the two centimeter grid I think two centimeters is actually more than enough so the actual process of it was measuring out what the canvas size was going to be marking two centimeters all the way up each side linking them together so you got that grid can you explain just the process of applying the grid to the to the image on Photoshop yeah so it's pretty simple you're going to figure out the size of the paper that you're working on then you make sure that the canvas in Photoshop matches those exact dimensions so in James's case he was working on a 56 by 38 centimeter piece of paper and then we apply a two centimeter grid on top of that it's also important thing that we use Photoshop in this respect almost any digital photo editor you can set the size of your canvas and then just take this grid that we have in the description and just line it up and it just makes everything so much easier in order for this grid to be a two centimeter grid if you use our assets then you'll have to set your canvas resolution to 240 PPI pixels per inch and then it was time for me to jump in and draw so John's suggestion was to start with the hard points though Gemma did come up with an interesting idea which is just fill out the outline as much as you can to help give that perspective and that's what I decided to do going through Square by square I found that this is really where the grid comes in handy in a big way with no marks on the page it's hard to figure out where you are in ratio to things and then I jumped into the face I started with the nose just because it was the most out of focus so I feel like it was the most forgiving to draw mainly gunning for the shadow areas so I know where I'm going and then I'll move on to the midtones the reminder that I kept telling myself was I can darken it later so I don't need to make it as dark now I will say that like initially I was like what people put themselves through this but I think I'm going to get lots of quick rewards now as I figure things out yeah and then I just kept going from there moving from the nose up to the face still only working in the shadows and then moving down to the sort of Darker area underneath her chin and once you start working the Shadows you really get a perspective of where all the shapes are going to take up and also they're so easily identifiable it sort of feels like when you're a kid again and you're just doing coloring in books I wasn't concerned about getting any textures done just the broad so I knew where everything was going to line up okay so this is it's looking good at the end of the day yeah yeah so end of day one you were pretty confident you were going to finish before the end of the day yeah yeah what happened I think if we're talking percentage I've done pretty well this is all done here like all everything around the head is done yeah you've done a lot of work there yeah on the interior there's still some work to do but I feel like I've got the main elements done you do and now it's just filling in I'm going to be able to get the shapes done and then I think that will go reasonably quickly I can imagine where things really take time is where you get like that bass level down and then it's you could you could spend your whole life on one drawing just with like a mechanical eraser I'm going darker in certain areas and pulling out in certain areas I'm going to show you some techniques okay that are gonna speed things up again pretty nicely something we also need to just keep an eye on is you're starting to dirty in the area that's meant to be white so I'm not allowed to touch that razor as much as I want to but um when you give it a little you can give it a little we need to really no we need to get some tissue paper under your hands so you can stop smudging day two I'm just so the goal of finishing up all the hard points in the face like the eye but then I came to a horrendous realization okay I think I've come into a major issue so I think I skipped a row somewhere so all the maths everything shifted up like one row I might need to call Jordan what happened so I've been doing some maths and I think I've messed up everything is one yeah row up and everything here is one road down I started this process by not enjoying drawing and not really getting it then I started to enjoy it and now I'm back to not enjoying so frustrating you're going to have to erase the parts that aren't correct okay I was concerned that that would be the answer that I would do I'm going to finish it by the end of the day so I'm not going to be in that space for that long at least um you plan on finishes and destroying yeah yeah so just by that very cocky confidence I was extremely dispirited then started figuring out what was in the wrong place basically from the eyes down and then from sort of do dogs have collarbones sort of from the collar bones up and I'm being very careful to only take out what is necessary and then rejoin the grid just to make sure I did not make this mistake again and then it was just a matter of getting back into doing the same stuff that I'd done before I decided to move straight down from the eyes just so I could go block by block I found that a potential issue was I would get distracted by the marks that had were still left after the erasing so it required a lot of counting of the blocks just to make sure I was not again putting something in the wrong place because once you set one mark down that will become your reference point moving forward for any area around that try to cover as much ground as possible and I I found myself jumping around a fair amount not really finishing the areas and it mainly came out of a place of fear I found just concerned that I was going to make the same mistake it's a headspace that you can get locked into that's that's something definitely to be aware of cool yeah I think you've done a good job of moving it the only thing I was concerned about was the the nose highlight there yeah and I think it's fine you pulled out enough what I'm just struggling with now is tone like this is really dark and that feels like that should be what it is but then if that is set as the Black Point so to get your darkest darks yeah you're going to use a piece of cotton wool you're going to use um graphite powder okay and you're gonna make tiny little circles with a graphic powder but it's a blunt tool you just showed me just quickly now I'm not going to touch anything and then it was time to learn about embossing so you're gonna scratch into your page paper in the shape of those hairs but you're working blindly because you're not going to be able to understand where it's going to be yeah so do do a lot in like hair shapes and then hair shapes well like strands of hair am I gunning for the highlights or the mid-tones with this you're drawing the individual strands of hair with this yeah it's going to be highlights basically this is going to be white is that because when I apply the graphite the graphite won't get into it into the embossing yeah do a little strand or two and those will create like the illusion that there's more when we make it blurry so I would do all of these types of hair with this and then you can actually go over it with graphite because I was initially gonna draw around that but I think that's kind of insane to do it's not insane it's how it's how it's done but you um yeah thank you so it's quite hard to see what I'm doing here but I'm just trying to Target all of the wiry Stark highlights in the hair particularly in that chest area Maya's hair is very wiry so it lends itself to going extreme with your embossing it's day three I've relocated the whole middle section you've moved the snoot and I've done all the hard the hard dark areas like up here I've done all of this embossing over here another thing you've done well is that they are curving they can curve more though and we can have some that like break the break the trim yeah completely we went over dark areas there right that's not going to come out yeah because you've pushed graphite now into the paper the the better way to do that would have been to a raise with a mechanical eraser um you can still do that but you'll have to do it just off of the line of the hair because where you push it in with the embossing tool you've sunk it in quite hard so that won't be as easily to erase that's kind of the technique that I would go for yeah is pencil pencil cotton wool pencil cotton wool and you you alternate between them and you layer them and eventually you get this really beautiful Middle Ground which actually starts to look more like that which I think is great Okay cool so that texture is really like what you want out of pencil at the moment you're busy doing mapping here mapping here mapping here mapping and you're following around a little bit I think focus on an area commit to it and finish it you'll get you'll get a sense of how long it takes you to get that hyper realism that you're looking for you can problem solve textures within that area and you can start applying it Jonas or straight through the fact that I've been jumping around and this was where I really decided to go ham trying as many techniques as I could to figure out what that mid-tone was going to be like what I found was most helpful was figuring out which way the foe was supposed to go and then making 8B pencil marks in the direction of that hair many many many many times to give a texture even if you're going to smooth it out afterwards that direction is super super helpful in creating the illusion that all these tiny marks will accumulate into this sense of hair it sort of starts in the middle of the bridge of her nose and comes outwards so the hairs between her eyes are going straight up but the hairs on her cheeks are sort of going diagonally down to the left and the right it's really important to follow that direction and be sensitive to which way it's going because I found that really helpful in selling the image then I moved on to the eyes and I found spending a lot of time on the eyes and really focusing on all the tiny tiny tiny little individual shapes when that within the eyes was super super important I assume that all of the space in between her eyes and on her forward was really quite light but what I eventually figured out was that there were a lot of Shadows within that lightness and you sort of have to just take the 8B pencil and fill in very lightly just shade over those shadows and make some really specific dark points to try and sell the illusion that there is a shadow for every highlight that is on a forehead this was also where I figured out that the tombow mono zero eraser is the most amazing tool that we have in our toolbox it is so sharp and so specific all of this was done with the tombow mono zero razor and again you have to follow and respect that direction of the hair the same way that you did with the pencil so everything is pulling in the same direction whilst at the same time acknowledging that hair is not uniform and you have to sometimes break the trend of the hair as jono said to make it look realistic where the challenge comes with the chest is that there are a whole bunch of little white Tufts on there as well that are starting to come through now with the embossing but then you have to back those up with the tombow mono zero to full out the body of those Tufts what I found about the particular challenge was there are these dark channels in between all the white Tufts and you sort of have to draw those in with the pencil but not make them look like they are straight lines I grabbed the Eraser and the blending stamp just to smooth those out and do a little bit of overlap into the white Tufts to make sure they didn't look too Stark and uniform there are so many isolated dark areas on this reference photo and I had to spend a long time really focusing on making sure all those dark points were consistent and in line with each other because that's something else that really solves the image and then also it was just a constant experience of touch-ups constantly going back over the same areas over and over again taking things that I'd learned from before and reapplying them to other areas it's changed quite a bit since you last saw it well done thank you yeah yeah I'm awesome I'm feeling very gassed about it I thought about like the eyes and the nose and this cheek here and then just the more I did it I jumped around a lot like I would do a little bit here and then I jumped there and I jumped there but then the more that I did it the easier it got I think we can take it to the next level yeah I think where you're at now is like hobbyist artist yeah already yeah yeah like you can start like selling portraits of dogs I was about to ask ask like how many thousands of pounds am I selling this for thousands but I think I want to take you a little bit further it means like honing in on very small key areas for me what I was struggling with is this sort of snout area here this is an upper lip that isn't that is a problem area that transition the transition between what's blurred and what's what's in Focus sure and the way you're going to do that is through the tombow so you're going to keep your Tumblr sharp that's gonna yeah keep your tumble sharp stop trying to get me to touch though keep it Humber sharp and um using the Sandpaper is going to be good so you need to grind down some graphite powder and get some get a small bit of cotton wool dab it in there I really hope you keep that's the video it's going to get cut don't worry I don't want to go directly on directly on so that area is going pitch black right press hard and that's just naturally Blended like there's no possibility for it being sharp would you recommend then that I take this graphite powder and use it down here because as you said there's like these black points with your tombow mono zero razor I'd get one or two little hairs it'll start suggesting that sense of the texture everywhere that it's dark like that get that to be your new black point so I'm leveling this up basically I'm going from like a matrix metric art prac to like something someone could put on their wall okay exciting challenge but still a tough thing to do but we do have this new tool I found that the graphite was super effective in getting that really consistent Black Point around all the areas that had to be dark but just a reminder that the graphite is super super soft so you have to go back in with your razors to make sure all the points that are supposed to be white in the image are still white in those areas there is a very very sharp highlight around the eye that makes them pop in a really beautiful way and I hadn't done that before so I went back in with the tombow mono zero pulling out those whites and making sure there was little midtones in the center of the eye that were fatal to the reference image how do you feel about what you've done I'm really happy but I'm just concerned that I'm making it to worse now like nitpicking and getting so focused on certain things that I'm actually just destroying the illusions that I've built up already you know what I mean yeah I do man I'm so proud like I'm really really bad I'm really stoked yeah yeah so so I think you are because I think you're you've hit a wall that I don't think you're going to get through very easily yeah when I'm starting to feel now is that I don't know where to go next exactly I can't look at this and look at this and be like okay this is clearly wrong I need a phrases right without having either you or Gemma be like no do Hands-On yeah and now with the image finally completed we can go back to the studio if anyone has uh given that image a shot and done a drawing please send it through uh send it on Instagram or on Facebook or comments really cool to to critique those yeah actually yeah I guess with with that all said and done there's only one more place to go James made me do this by myself um but before I end this video I just want to give a quick shout out to this video sponsor Squarespace I've been working with them for a couple years now and they played a huge role in my career not only in helping me maintain this channel by sponsoring these videos but early on in my career I was looking for a way to Showcase my work and I felt that Squarespace did that effortlessly I never had to Patrick upgrade anything I could register a domain with them or set up an online store more importantly I could design a portfolio and show my work the way that I wanted to one of the more unique aspects that Squarespace has been offering is being able to monetize certain aspects of your website with their membership platform so if you're looking at building a website give Squarespace a try and if you decide that you love them use the soft code and get 10 of your first purchase cool I was really excited about this drawer this video idea I thought it was cool to teach someone Hands-On and what's especially hello oh Maya I don't know if you guys can see it I think I take a lot of what's going on in my head when I'm problem solving for granted and so teaching someone and looking at the techniques that I'm employing through fresh eyes was really really helpful like I I don't know what it's like to struggle with certain things because I've said their problems that was solved a long time ago and I've forgotten about them so it's really really nice to to have a new appreciation for for the practice it really like it injected a kind of a new a sense of pride in what's going on I hope you enjoyed this dive into teaching someone from scratch how to draw it was really fun from outside and uh hopefully there's some good information for you guys we'll see in the next one thanks for the support bye

Channel: Jono Dry

Views: 940,538

Keywords: hyperrealism, drawing tutorial, graphite, charcoal, pencil, pencil drawing, pencil art, sketch, animal drawing, dog drawing, painting, realistic drawing

Id: 7q-DM11FMTU

Length: 17min 49sec (1069 seconds)

Published: Wed Jun 07 2023