Como desenhar o rosto do ator Robert De Niro, passo a passo?

Today I'm going to teach you how to draw the actor Robert De Niro. I'll take the reference I arrived at. This one here, man. Well, I'm here. Here is the reasoning. Look here, first I identified that it's a front-facing face, Then I'll draw the eyebrow line, nasal base line and chin line. Same distance to all three here, inclusive of the head. I'll draw the central axis line, half of the upper part to the eye area Take half of the lower part for the mint filter. Very well. Here I define the triangle of zone T, the temple area, haircut the jaw The curvature of the jaw occurring exactly along the line of the mouth opening. The style of the nose. It's the nose pointing downward. Shadows always projected beneath everything, Because the light is coming from here. The central fat pocket has many wrinkles. The upper eyelid is drooping. He has that look, right? Half-collapsed, like this. The eyelid that hangs over the eyelid. A facial expression here, even serious. Divinity. A caterpillar right here in the middle of the back of the nose. A slightly downturned mouth expression. Also divisibility. A sinking here on the side. Classic brands and expressions of the city as well. Both horizontally here in the middle of the forehead It's right here, vertically between the eyebrows. A white beard. And the ear is based on the labial filter and its height on the lower eyelid. Low ear, exposing the neck well. Exactly behind the jaw here, a trapezoid. It will be more or less like this. An initial sketch. Very well. Now I'm going to take this study I just finished. I'm going to print. I will also print the reference. I will try to reproduce it on a blank sheet of paper. Here, I'll grab the paper now. The paper I'm going to use will be Anemone Nostalgie. 190 grams. Now I'm going to take the tape. Type cleaner. The erasable pen too. This scalpel here. Scalpel I'll take some graphite. 03. And that's it. Drunk, if necessary. Come here. And I'm also going to grab the 0.3 mm pencil. E... Well, brush here too, if needed. Shadow Now... Now I'm going to print this picture here and I'll be right back, okay? Very well. I'll keep it here. Very well, now indeed. Let's begin the outline then. Following here the logic of our study. Let's start with the eyebrow. Then we will move to the base of the nose. And the chin's base. Come here close so you can see. The hairline, the forehead's boundary, and the fringe will be here. Three equal parts. Three parts with approximate dimensions. Then I split them in half vertically. In the end, we are making the front face. In this upper part, I'm going to divide it in half. And in the middle again here the upper part. Because this line belongs to the eyelid. Upper eyelid And half of it again here for the eyebrow. Very well. We already have the eye area. I'll do the orbital here. From the left and from the right. I will divide this lower section here horizontally into three equal parts. Now I'll pull this down here toward the wings of the nose. So I'll have the right eye here already with the eyelid. And I'm already trying to grasp the actor's characteristic. Eyelid A mark of expression here between the eyebrows. Lower eyelid Already with the skin's thickness. And the central fat pocket. In this actor's case, it is quite noticeable. OK. I'll draw the iris here. From the left and from the right. Very well. Now let's go down to this quadrant that has formed here. That square that was formed to make the nose. Reach the peak. The left wing and the right wing. A narina here hidden. Feature of this downward-pointing nose. And now we're going to pull it toward the mouth. Apart from the bottom, I'm going to split it in half here. Precisely at this point, the lip filter will be applied. What is returning the chin and the base of the mouth here. The lower lip's base. And let's try to capture the characteristic features of his facial structure right here. With the opening of the mouth. The thinner upper lip. Okay. And here we'll have a mark in the corner pointing downward. The lip filter here. And a shadow cast beneath the nose. A facial expression known as the "Chinese mustache" here. Because of his age. This mark is clearly visible here without smiling. Well, here it is like this. He's going to have this kind of wart. Right away. We have zone T right there. Let's do the pupil here. And the new one, we'll do it here. A mark of expression here on the forehead. Another one here, a bit higher up. The other one. And another one here, very clear. On one side and on the other. Okay. Hey, what's up now. Let's start doing the fringe here. Descend. And now we'll make the face frame here. His jaw isn't that square. It's closing. Come to the chin. She's circling around here. Make the shirt's collar here. Below. And here is the trapezoid. Right away. The top of the ear is aligned with the eyebrow. And the base is aligned with the center here between the nose and the upper side. Then it will stay exactly here. And now we're going to style his hair here. A hair that is not too voluminous but social. You can see that we've already begun to grasp the actor's facial features. What do we need to do now? The planning of the shading. So here on the left side of the face, there's a depression in the skull. I'm going to make a crosshatch here on the side. Now to bring in the volume of the head's contour. There is also a darker hachure below the eyebrow. Here near the eyelid. The root of the nose here. The back. And down here we will have the main part of the nose. Look at this. A slightly darker bone base here. And we will have a shadow projected here. Reinforcing her. Also on the upper side. But he's quite thin. A very short hatch. And down here too. And there will be a shadow projected on the neck. Why is the light coming here to the actor's forehead area? So everything on his face that has volume will cast a shadow underneath. Nose Chin. This sinking down here in the mouth. The eyebrow too. This higher part. Then go ahead and design the shadow underneath. I'll take a break here. Now look at this. The neckline of the blouse here below. But the paper is already finished. Very well. What can I do here now? I'm going to make a crosshatch here. And let's move on to shading already. Pull my wrist support here. Let's start with the left eye. The speed of the pencil sharpener will decrease. The ebb and flow of the footsteps in this graffiti on paper. It's going to get shorter. A distance of half a centimeter. Why do I say that? Because I need complete control over the distribution of the graphite on the paper. So if I were drawing here in a very random way. And lose control. Something will come out here. Less than what I actually want. What is drawing this actor here. At this moment here, full presence. It must be 100% activated. You need to be present. To precisely distribute the graffiti exactly where needed. With the necessary strength. To reach the tone. Exactly as requested by the reference. I am using the Grafite Guia 1000 pencil. Da Pentel. 0.3 millimeters. With 2B graphite. From the beginning. I also sketched it with her. And I haven't changed at all. So far. And I'll use it for nearly 80% of the process. Only in the finish there. In the final details, I will change the material. What is the big issue here in my process? First, I made the sketch. With a simple stroke. Clear lines. And now I'll make another drawing on top of this one. What I did. And the purpose of this second drawing. To capture the actor's facial expression. What I am trying to portray. In this second phase, I refine the outlines. I'm adding more details. And I try to bring more harmony. A better cleaning of this sketch. Why the initial traits. They are attempts to find the members. The position of the members. So there are many risks. Many studies. Measures. And this second drawing comes on top. It's already a better cleaning of the lines. A reorganization of the traits. It's a stage I really like. Moreover, I like every stage of the process. I like it very much. But if I could choose a preferred stage. It's this one right here. Second. Second layer of filling. Because this stage of the design is decisive. Because this is the moment when I speak. It is the watershed of the entire process. It's at this stage that I am captivated by the drawing. From the beginning of the sketch up to here. It was a very short time. Now the longer period of dedication will come later. The finishing phase. Realism. The details. It takes me a lot of time. Then, if I'm not happy with the result achieved so far. I'm going. Sometimes I even give up on the process from here on. Because it takes too much time. So, like that. I have to strive very hard to get this far. To be happy with what I see. So that I can spend the time necessary. To achieve flawless refinement in realism. In the phase of realism. And I'm liking the result. I think the finish is going to turn out good. And have you already identified the actor? You've already noticed that it's starting to resemble him. He/She is enjoying the process so far. Then take the opportunity to leave your opinion. Or leave it until the end of the video. But if you still haven't followed my profile. Or you are not subscribed to the channel. Go ahead and do it now. Because we're going to have other videos like this. Many others. And I'll take this opportunity to extend an invitation to you. If you want to learn to draw realistic portraits. A free hand. Even if you know nothing. Absolutely nothing in terms of drawing. You can enroll in my course. I will guide you step by step. From beginner to advanced levels of portrait drawing. The enrollment link you will enter. It's here in the description. Just click. Enroll in your registration. And start today itself. The classes are recorded. There are ten modules. Super comprehensive course. I'll also give you all the support. Make yourself at home. And you will be very welcome as my student. It will be a pleasure to be your teacher. Now I'm going to move on to the other eye here. Right now, we need to control a lot of anxiety. So as not to move too quickly. Do not increase the stride distance of the graffiti. We have to control things very closely here now. He has very strong mental control. That is why realistic drawing helps us develop greater patience. But focus. Concentration. Because it is necessary. Train this skill. So that you can achieve good results. I'm going down here to the nose. Always in the same drawing style. Short stroke. Achuras. What are parallel traits. And the crusaders. Simulating the shading at the end. Why? No final, we will have a kind of stain. But the risk in my drawing style will become evident. But it's going to be even tighter. Here in this first layer. Your second layer of drawing. It is more spaced out. A bit more rustic. And hey, our goal is to make this dashed line here. Or that size. Be tightly secured. Well homogeneous. With a very nice appearance. Some larger areas have little tonal variation. The pencil's course may increase. The back-and-forth distance may increase. Just be careful not to push too hard. Because it is a lighter area. Here, for example. A darker area. Then push a bit harder. Shorten the passage. Right here on this wart too. Let's push it a bit here. At the bottom. The light is coming from above. So to give the volume, I'll push from below. Now it's time to enjoy the actual ups and downs of this mechanical pencil. With patience. And fill this out here very calmly. No rush. From here on, the level of realism will basically depend on my patience. And how long am I willing to stay here? No back and forth. The graphite on the paper. Look at this. We're going to have a lot of white hairs here in the beard. But then again. We'll do this during the finishing stage. This is a finishing detail. I need to start with the lower part of the skin. Why does the white thread go over this layer of gray? This gray filling down here. And I'm going to do that one in white with the eraser. And how can I be sure the eraser will actually remove this graffiti? Forcing just a little bit more. Because if it were a solid shadow here. Very strong. That I needed an absolute black. Then I would use the boleador's resource. But since the skin is very light. Then I can pass with little force. That graffiti. Make a smooth filling. That the erasable pen will manage to remove. I'm still going through the graffiti. Throughout the entire beard area. Grow a mustache. This part here is the clearest. Then I'll just let the weight of the pencil lead run. Now look here. I'll bring more detail here to the mouth. There are already some obvious droplets here on the lower lip. I'm going to stop here to have a coffee. Look at this. In that little cut there. I have already completed the drawing. I recorded a few takes. To show you now in the following cuts. I stayed for about three or four hours. Drawing here. And now you will be able to see. The abbreviated process. I didn't narrate anything. But I let you enjoy those final risks. It was only with the 0.3 mm pencil. I didn't use many resources. At most, a little smudging in some areas. She's drunk too. You will see a cut with the eraser pen. That I used. And I hope you like it. Thank you for your patience. For having stayed this far. In this video. Share it with whoever you think likes to draw. Subscribe to the channel. Once again asking. And shorten this video too. So that he can reach more people. This encourages the channel. And it is very important to me. Once again, thank you. And I'll be waiting for you in the next video.