The Colored Pencil Course: Portrait Drawing - Part 3
Lesson Description
In this lesson, we continue our exploration of portrait drawing with colored pencils, focusing on one of the most expressive and dynamic facial features: the mouth. This is the third module in our portrait series, and it delves into techniques for capturing shape, value, and subtle color transitions that bring a mouth to life.
Understanding the Anatomy of the Mouth
Before drawing, it’s important to understand the structure of the mouth. The mouth is more than just lips—it includes the surrounding skin, the corners, the philtrum, and the subtle curvature of the teeth beneath. In this section, we break down these components to make the drawing process more manageable. Learning the underlying forms allows you to simplify complex shapes while maintaining realism.
Capturing Value and Light
Value is key to making the mouth appear three-dimensional. In this lesson, you will learn how to observe the interplay of light and shadow across the lips and surrounding areas. We cover techniques for layering and blending colored pencils to achieve smooth gradations and soft transitions. By paying attention to value changes, you can create the illusion of volume, making the lips appear full and lifelike.
Rendering Texture and Subtle Details
The lips have delicate textures that require careful observation. In this section, we discuss how to use directional lines and gentle shading to suggest the natural ridges and softness of lips. You’ll also learn how to handle the highlights that give the lips a moist, realistic appearance without overdoing it. These techniques help your mouth look expressive and natural rather than flat or stiff.
Choosing Colors for Realism
Color choice is crucial in portrait drawing. In this lesson, Matt explains how to select and layer colors to replicate natural lip tones. From warm reds and pinks to subtle cool shadows, you’ll learn how to blend colors to capture the unique variations of each individual’s mouth. Tips are also provided on matching surrounding skin tones and transitions to ensure harmony across the face.
Step-by-Step Demonstration
Matt provides a detailed, step-by-step demonstration of drawing a mouth with colored pencils. Following along, you will see how to sketch the basic shape, block in values, refine details, and add highlights. Each stage is explained clearly, emphasizing careful observation, patience, and layering techniques. Watching the process helps you apply the same principles to your own portrait work, whether drawing realistic or stylized lips.
Practical Exercises and Tips
At the end of the lesson, practical exercises help reinforce the skills learned. These include practicing different mouth shapes, experimenting with values and shading, and working with highlights to enhance realism. Additionally, Matt shares tips for avoiding common mistakes such as over-defining edges or neglecting subtle value shifts, ensuring that your portraits retain natural expression and balance.
Lesson 15 provides a thorough guide to drawing the mouth in colored pencil portraits. By focusing on anatomy, value, texture, and color, you will gain confidence in rendering one of the most expressive parts of the face. Mastering these techniques not only improves the realism of individual features but also strengthens your overall portrait drawing skills, making each of your portraits more lifelike and compelling.
Lesson Materials
Bristol paper, Prismacolor colored pencils, colorless blender.
Lesson Resources
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Reference Image
Course Curriculum
Founder of The Virtual Instructor, artist and teacher. Matt makes learning art easy to understand and enjoyable.
What would you recommend when following these lessons, if using Faber Castells?
Hi Christina,
You can generally follow the same approach with the exception of using the colorless blender (Turpenoid will behave better with the oil-based pencils). The oil-based pencils will still layer, but it may be best to establish the values from the start, rather than build them up while mixing the skin tones. In other words, it may be best to create an “underpainting” with a dark, but warm color like Walnut Brown. Then, layer tones that will mix as skin tones over the top. A mixture of red, yellow, browns, and white should do the trick.
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Thank you. Will you be doing any further lessons using these pencils? It would help to see the difference in the behaviour to build up the colour.
Hi Christina,
I hadn’t planned to in this series, but I’ll create an individual video for them.
do you use vellum bristol board for portrait work or smooth bristol board?
Hi Nancy,
The work is done on the Vellum surface.
I am enjoying the method of presentaion in the video segments. I learn by frequent reviewing of the visual presentation. Right now, I am relearning my ways of working.
I love your work and u teach me allot
Thanks Lumumba!
How do I find out the equivalent colours in Fabre Castells?
Portraits are so hard for me! After getting into the 3rd portrait video (the mouth), I’ve decided to lay this aside and complete the portrait drawing course. Even when using a grid, something always looks wonky! In this case, it was the nose and mouth. I didn’t throw it away, but I have laid it aside for now. I’ll come back to this course later. Up until the portrait lessons, I was really sailing along! You’re an awesome instructor!