Drawing Portraits for the Absolute Beginner : a Clear and Easy Guide to Successful Portrait Drawing

HollyCharcoalpencilondrawingpaper12×9(30cm×23cm)

drawingportraitsfortheabsolutebeginner

AClear&EasyGuidetoSuccessfulPortraitDrawing

MarkandMaryWillenbrink

Contents

Introduction

MaterialsWhatYouNeedPencilsPaperErasersAdditionalToolsSetup

Chapter1TechniquesandPrinciplesStructure+Values=DrawingPencilGripsandStrokesDifferentApproachesCombiningApproachesUnderstandingValuesLightEffectsLightingtheSubject

Chapter2ProportionsMeasuringMaleProportions,FrontView

MaleProportions,SideViewMaleProportions,Three-QuarterViewFemaleProportionsElderlyProportionsChildProportionsFacialExpressions

Chapter3FeaturesEyesNosesMouthsEarsHairHandsCostumesandAccessoriesHatsEyeglassesDiversity

Chapter4Let’sDrawPortraits!WomanManWithBeardMaleContourDrawingWomanonTonedPaperBabyCostumedWomanManinProfile

MotherandBabyClose-upPortraitMaleTeenWithHatLittleGirlinPastelSelf-PortraitinProfileToddlerWithToyPhone

FinishingYourPortraitsConclusionGlossaryAbouttheAuthors

IntroductionWehopethisbookwillhavethesameeffectonyouthatithadonus—wefellinlove with people. Drawing portraits offers the artist a unique opportunity toobserve people. Every person is unique with their own special features andpersonality.Portraitartcaptures thepersonalityof thesubject throughtheeyesoftheartist.With simple tools and basic principles, this book will help you to develop

your drawing skills.Wewill use some fun tricks and techniques to help youlearnhowtodrawportraits,evenifyouareanabsolutebeginner.Everyoneisanartist,includingyou,sogetreadytohavefun!

B.P.Graphiteondrawingpaper11×19(28cm×48cm)

WhatYouNeedPaper9×12(23cm×30cm)fine-toothdrawingpaper9×12(23cm×30cm)medium-toothdrawingpaper9×12(23cm×30cm)lightgrayandmediumgraymedium-

toothdrawingpaper9×12(23cm×30cm)sketchpaperPencils2B,4B,6Band8Bgraphitepencils2Bcharcoalpencilblackpastelpencillightgray pastel pencil (StabiloCarbOthello 1400/110 )medium gray pastel pencil(StabiloCarbOthello1400/724)whitepastelpencilOtherSuppliesblendingstumpdrawingboardfacialtissueholepunchkneadederasermirrorpencilsharpenerrulerscissorsslipsheetwhitevinyleraserOptionalSuppliesdividerorsewinggaugelightboxpencilextendersprayfixativetransferpaper

Pencils

There aremanydifferent typesof pencils.Perhaps themost commondrawingpencil has a core of graphite, carbon or charcoal encased in wood. Thoughpencilsarenotmadefromlead,thecoreiscommonlyreferredtoaslead.

Graphite,CarbonandCharcoalGraphite goes down smooth, but never gets truly black. If you want a reallyblackcolor,useacarbonorcharcoalpencil,buttheycansmeareasily.Woodless graphite pencils are made of a cylinder of graphite coated with

lacquer.Thesepencilscanmakewideorthinstrokesbutcanbreakintwoiftheyare not handledwith care.Graphite andcharcoal sticks have no outer casing.Usethesidestomakebroadstrokes,orusetheendsfornarrowerstrokes.

ColoredPencilsStandard colored pencils can be waxy and hard to erase. Erasable and pastelchalkcoloredpencilsoffersimilarresultsbutwithmoreversatilitythanstandardcoloredpencils.

MechanicalPencilsMechanical pencils are an alternative to traditional wood pencils. Thoughconvenient,mostmechanical pencils canonlyproducevery thin strokes.Leadholders aremechanical pencils that grip a single piece of lead at a time. Thegraphiteisabout -inch(2mm)indiameter,widerthanothermechanicalpencilleads.

PencilChoicesSome of the different types of pencils and drawing tools available are standard lead encased in wood,woodless,graphiteandcharcoalsticks,coloredandmechanicalpencils.

LeadHoldersThoughcharacteristicallysimilartoawoodpencil,theleadinaleadholderispronetobreakingifexcessivepressureisappliedtothetip.

ExtendedUseWoodpencilsthataretooshorttoholdcanbemadeusefulwiththehelpofapencilextender.

TheHard(andSoft)RealityTheratingofthehardnessofpencilleadisusuallystampedonthepencil.HleadsarehardcomparedtoBleads,whicharesoft.FandHBleadsareinbetween.Hardleadscan’tmakerichdarkslikethesoftleads;however,theyholdasharppointlongerthansoftleads.

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KeepingYourPencilSharpTokeepasharppointonyourpencil,youneedtosharpenyourpencilfromtimeto time. Pencils can be sharpenedwith apencil sharpener or by hand using acraftknifeandsandpaperpad.Someartistschoosetosharpenpencilsbyhandtobettercontroltheshapeandamountofexposedlead.

LeadItBeAcommonmisnomeristocallthecoreofpencilslead.Pencilcoresaremadeofdifferentmaterialssuchasgraphite,carbonorcharcoal,butnotlead.

TrimtheWood(Note: These instructions are for right-handed people. If you are left-handed,reversethehandorder.)Withthepencilpointdirectedoutward,holdthepencilwith your left hand, the craft knife in your right hand. Push your left thumbagainstyourrightthumbtocreateleveragesothebladecutsintothewood.Rollthepencilinyourhandandrepeatsothewoodistrimmedandtheleadcoreisexposed.

2 SandtheLeadDragtheleadofthepencilbackandforthoverthesandpaperpadtosharpenthepoint.

PencilSharpenersManydifferenttypesofpencilsharpenersofferaquickandeasywaytosharpenpencils;thesmalltypesareespeciallygoodfortravel.

SharpeningLeadinaLeadHolderTheleadinaleadholdercanbesharpenedusingarotaryleadpointer.Simplyputtheleadholderwithleadintotheholeinthetopandspinthetoptosharpenthepoint.

Paper

Paperforsketchinganddrawingvariesinweight,size,surfacetexture,contentandcolor.

WeightSketchpaperusuallyhasapaperweightof50 to70 lbs. (105gsmto150gsm),commonlythinnerthandrawingpaper,whichusuallyweighs90lbs.(190gsm)ormore. The heavierweight paper is intended for finished drawings andwillwithstandheavypencilpressureanderasingbetterthanthinnerpapers.

SizeSmallpadsarehandyandportableforquicksketches.Biggerpadscanalsobeusedforquicksketchesorfinisheddrawings.

SurfaceTextureSurfacetexture,ortooth,mayvaryaccordingtoindividualpaper.Thetoothofapaper identifies the roughness or smoothness of the paper and can be decideduponbythetypeofpencilusedanddesiredresults.Paperwitharoughsurfaceworkswellwithsoftpencilssuchascharcoal,whilesmoothpaperlendsitselftographitepencilsformoredetailedresults.

ContentSketching and drawing papers are made from wood pulp, cotton or acombinationof the two.Cheaperpapermayusewoodpulp,whichhasanacidcontent,causing thepaper toyellowover time.With this inmind, for finisheddrawingsit’sbesttouseacid-freepaper.

ColorYou can use colored drawing paper for different effects. On neutral-coloredpaper, thedrawingalreadyhasamiddlevalue, soyoucanaddbothdarksandlights instead of just darks. Colored drawing paper is available in individualsheets.

SketchingandDrawingPadsPaperpadscanbeusedasis,oryoucanremoveindividualsheetsforuseonadrawingboard.

CopierPaperIfyouhaveafearofwastingagoodpieceofpaper,trysketchingonlessexpensivecopierpaper.Thoughthistypeofpapermaynotholdupovertime,itmayseemlessintimidatingforquick,looseobservationalsketches.

DrawingBoardsAdrawingboard placedbehinda sheetofdrawingpaperprovidesa smooth,hard surface tocontrol theamount of pressure applied with the pencil. Drawing boards come in different sizes and are made ofMasoniteorlightweightwood.

ErasersTo lift pencil lines you may use an eraser.Kneaded erasers andwhite vinylerasers work well with drawing; however, erasers are best used sparinglybecausetheymaydistortthesurfaceofthepaperorsmearthedrawing.Softandputty-like,akneadederaserisverygentletothepaper’ssurface.To

use,firstpresstheerasertothepaper’ssurfaceandtryliftingthemarks.Ifthisisn’tenough, tryrubbing thekneadederaseragainst thepapersurfacegoing injustonedirection.Ifthisstillisn’tenough,switchtothewhitevinyleraser.Use awhite vinyl eraser to removehard-to-erase pencil lines.Vinyl erasers

areeasytouseandwillnotstainthepaper.

ErasingShieldAnerasingshieldallowsformorecontrollederasingbyisolatingtheareabeingerased.Holdtheshieldovertheareayouwanttokeepuntouchedwhileerasingtheundesiredareasthroughtheholesoralongtheedgesoftheshield.

Eraser“Tips”Avoid using the eraser at the end of your pencil because itmay smear pencillinesandstainthepaper.

KneadedandWhiteVinylErasersTheseerasersarecommonlyusedwhendrawing.

ErasingShieldAnerasingshieldisathinsheetofmetalusedformorecontrollederasing.

AdditionalTools

In addition to the basic supplies, other tools will help make your drawingexperienceeasierandmoreenjoyable.

ProportionalDevicesDividersandsewinggaugescanbeusedtomeasureproportions.Adividercanbe used with photos, and a sewing gauge can be used with both photos ordrawingsfromlife.Seechapter2formoreinstruction.

MirrorA small handheld mirror is useful for observing your own facial features fordetailsandexpression.

LightboxArtistsusea lightbox to traceastructuralsketchontodrawingpaper.With thelightfrombehind,tapethedrawingpaperoverthestructuralsketchandtracetheimageontothedrawingpaper.Oruseawindowinsteadofalightbox.

FacialTissueandBlendingStumpsTheremaybetimeswhenusingsoftleadpencilsthatyouwanttoblendthelinework for a soft effect. Facial tissueworks for large regions.Blending stumps,madeoftightlyrolledupsoftpaper,workfordetailedblending.Theseitemscanblendorsoftenthelinesofadrawing.

TransferPaperTransferpaper is anotheroption for applyinga structural sketchontodrawingpaper.Tomake transferpaper, alsocalledgraphitepaper, coverone sideofasheet of heavyweight tracing paper with soft graphite from a pencil or stick.Wipeacottonballslightlydampenedwithrubbingalcoholacrossthesurfaceofthetracingpapertobindthegraphitetothepaper.Whendry,placethissheetofpaper graphite side down on top of a sheet of drawing paper and under thestructuralsketch.Usingahardleadpencil,gooverthepencillinestotransferthestructuralsketchontothedrawingpaper.

FixativeUse fixative to prevent artwork from smearing. This is especially useful forcarbonorcharcoaldrawings,whichtendtobemorepowderythangraphite.Useproperventilationwhenapplyingfixative.

ProportioningDevicesDividersandsewinggaugesworkwellasproportioningdevices.

UsingaMirrorUseasmallmirrortoobserveyourownfacialfeatures.

UsingaLightboxUsealightboxfortracingstructuralsketchesontodrawingpaper.

TransferringanImageTransferstructuralsketchesontodrawingpaperwithtransferpaper.

ApplyingFixativeSprayfixativeappliedtodrawingspreventssmearing.

FacialTissueandBlendingStumpsTheseitemscanblendthelinesofadrawing.

Setup

Herearesometipsforsettingupyourworkstation,whetheryouchoosetodrawfromphotosorfromlife.

DrawingFromPhotographsDrawingfromphotographsallowsyoutostudythesubjectinatwo-dimensionalform.Insomeways,itmaybeeasiertodrawfromphotosbecausethesubjectisflatandunchanging.However, the lifeandpersonalityof thesubjectaremorelikelytobecapturedbydrawingfromalivemodel.

DrawingFromLifeDrawing from a live model offers you the experience of capturing thepersonality of themodel.However, not everyonewill sit still for a prolongedperiodof time tohave theirportraitsdrawn.For this reason,youmaywant tokeepacameraonhandtophotographthepersonandthencompletethedrawingfromphotos.

BeIntentionalAboutLightingSubjectsAn adjustable desk lamp or photography lamp can control the lighting of thesubjecttohelpyoucreateinterestingresults.Someartistsprefertodrawportraitswhilestanding,usinganeaseltopropthe

drawingboardandpaper.Bystanding,theartistcanexperiencemorefreedomofmovement.

DrawingFromPhotographsAmongtheobvioussuppliesofpencils,pencilsharpener,erasers,drawingpaperanddrawingboard,alsoincludedarethereferencephoto,dividerandslipsheettorestyourhandwithoutsmearingpencillines.

SetupforDrawingFromaLiveModelChoosesomeonewhoiswillingtositaslongasneeded,orphotographthepersoninprocesstocompetethedrawingfromphotographs.

1 TechniquesandPrinciples

Asyousketch,youwillbestudyingdifferentaspectsofyoursubject,capturingyour observations through your sketches.A drawing is the culmination of theexperienceyougainasyoustudyyoursubjectbysketching.Sketchinganddrawingcanbethoughtofastwodifferentactivities.Asketch

is a study or a work in progress. The process of sketching helps you tounderstandthestructureandlightsanddarksofasubject.Drawingistheactivityofproducingafinishedpieceofart.Asabeginner,ifyouaretryingtodomoredrawingsthansketches,thenyoumaybeputtingtoomuchpressureonyourself.Loosenupandenjoylearninghowtoexpressyourselfthroughportraits.

T.R.Graphitepencilondrawingpaper8"×5"(20cm×13cm)

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Structure+Values=DrawingMostofthedrawingsanddemosincludedinthisbookarecompletedthroughatwo-stage process. The first stage is the structural sketch.The second stage isadding the values, or lights and darks of the subject. This chapter will betterdescribethesetermsaswellasothertechniquesandprinciples.

BrightIdeaWorkoutthestructuralsketchonsketchpaper,thentracebyusingalightboxortransfer with graphite paper onto the drawing paper. By doing this, you willavoidmuchoftheerasingonthedrawingpaper.

StartWithStructureThestructuralsketchisthefoundationofthesubjectwithbasiclines.

2 AddtheValuesAftercompletingthestructuralsketch,addthevalues.

TheFinishedPortraitThroughthisprocessyou’llcreate thefinishedportraitbycombiningboththestructureandvaluesof thesubject.

PencilGripsandStrokesTheway the pencil is held, the amount of pressure applied and thematerialsusedallaffectthelineworkofyourart.Differentgripsachievedifferent results, fromlong, looseorsketchy lines to

short,tightlines.Thegripcanalsoinfluencetheangleofthepenciltothepaper,whichaffectsthelinewidth.Whenthepencilisheldupright,onlythepointoftheleadisincontactwiththepaper,producingnarrowlines.Whenthepencilistilted flat against the paper, the lead has more contact with the paper andproduceswidelines.Asyousketchanddraw,youwillprobably intuitivelydowhat feelsnatural

andholdyourpencilinthemannerneededtoproducethepencillinesyouwant.

ForWide,LooseLinesGripthepencilwithyourthumbandfingerssothepencilrestsunderyourpalm.Positionthepencilleadflatagainst the paper surface.Make loose, fluid line strokes bymovingyour entire arm insteadof just yourhandandwrist.

ForWide,ShortLinesHold the pencil closer to the tip, allowing for more pressure on the lead. Movement comes from theforearm,whilethehandandwristarekeptrigidagainstthepapersurface.

ForNarrow,ShortLinesThis is like a handwriting grip, with the pencil angled in relation to the paper to make narrow lines.Movement comes from your hand rather than your arm and wrist, making for more controlled pencilstrokes.

ForLongLinesThisalsousesahandwritinggripbutwiththepencilheldfartherfromthetip.Movementcomesfromyourhandwhileitrestsonthepaper.Theangleofthepenciltothepaperandthesharpnessoftheleadinfluencethewidthofthepencilstrokes.

UsingDifferentStrokesNoticethedifferentresults?Pressureandgripwillaffectthelineresultsofyourdrawing.Youmayfindthatyoulikecertaingripsandpencillinesbetterthanothers.Generally,themorepressureyouapply,thedarkeryourlineswillbe.

ScribblingJustasitsounds,scribblingissimplypencillinesgoinginrandomdirections.Thiscanmakeasketchylook.

Crosshatching

Forthistechnique,makesetsofpencillinesoverlappingindifferentdirections.

GradationMakeasetofpencillinesvaryingindarknessbyadjustingtheamountofpressure.

DifferentApproachesSome approaches to drawing a subject include structural sketch, value sketch,black-and-whitesketch,contoursketchandblindcontoursketch.

StructuralSketchInastructuralsketch,basiclinesdefinetheformofthesubject.Theselinesshowtheplacementoffeaturesandproportions.Astructuralsketchbyitselfhasnovalues.

ValueSketchAvaluesketchshowstheformofthesubjectthrougharangeoflightsanddarks.

Black-and-WhiteSketchIn ablack-and-white sketch, also calledchiaroscuro, the subject is shown through solidwhite andblackregionswithoutmiddlevalues.

AThreadofLeadTry to do a contour drawing without lifting your pencil.When finished, youcouldpullitapartwithonegoodyank!

ContourSketchIncontoursketch, alsocalledacontinuous linesketch, acontinuous linedefines the formof thesubject.Contoursketchingisafunwaytodevelopyourobservationalskills.Justputyourpenciltothepaperandletitwanderwithoutliftingitupuntilyouaredone.Capturethehighlightsandshadowsasyoualsodrawthebasicstructureofyoursubject.

BlindContourSketchAblindcontoursketchisacontoursketchdonewithoutlookingatthesketchasitisinprogress.Todothis,useapieceofcardboardtoblockyourviewofyourpaperwhileyouaresketching.Mystudentsalwaysgetalaughoutofthisexercise.

CombiningApproachesAs stated earlier in the chapter, throughout this book we’ll use structuralsketchesasthebeginningstageofmorefinisheddrawingsthathavehadvaluesadded to them for the final result. Having a structural foundation underneathyour drawing can make it easier to study other aspects of your portrait andcombinedifferentapproachestosketchinganddrawing.

TraceorTransfertheStructuralSketchThe structural sketch can be directly on the drawing paper for the finisheddrawingoronaseparatesheetofpaperandthentracedor transferredontothedrawingpaper.Tracingthestructuralsketchontothedrawingpaperreducestheneed to eraseunwanted lines on thedrawingpaper.Erasingondrawingpapercandamagethedelicatesurfaceofthepaper.Tracing uses a lightbox or window; transferring uses transfer paper. Both

proceduresaredetailedintheintroductionofthisbook.

MakingaStructuralSketchThe structural sketch is the foundation for the finished drawing. Start by sketching the basic overallproportionsandplacementoffeatures.Nextaddthefeatures,thenaddmoredetailtothefeatures.Youcanincludelinesindicatingtheregionsofshadows.

MakingaDrawingWithValuesAddvaluesover thestructural sketch fora finisheddrawing.Buildup the lightervalueswitha seriesoflines.Adddarksthroughouttheprocessorattheend.

MakingaBlack-and-WhiteDrawing(Chiaroscuro)Draw solid black areas using a carbon or charcoal pencil over the structural sketch. This study of yourportrait isdefiningthepurewhiteof thelightsandhighlightsandtheblackofshadows.Therearenoin-betweenvaluesinthisstudy.

MakingaContourDrawingTofocusonthecontoursoftheface,startwithastructuraldrawingasthefoundationbeneathyourdrawingpaperonalightbox.Studyingthesubject,drawthesubtlelines,curves,highlightsandshadowsoftheface.Thisisn’tdonewithsketchypencillinesbutwithflowingpencillines,soyoumayliftyourpencilfromthepaperonlyafewtimesduringthewholeprocess,ifatall.

UnderstandingValuesValuesarelightsanddarksthatgiveformanddepthtoasubject.Observingthewide range of values that make up your subject will give you a betterunderstandingofhowtocompleteyourportrait.

UsingContrast:MoreorLess?Thewayyouusecontrastaffectstheappearanceofthesubject.Morecontrastmakesforabroaderrangeofvalues:thefeaturesaresharperandmoredistinct,andtheportraitismoredramatic.Withlesscontrast,therangeofvaluesisnarrower.Theoverallfeelingissofterandwithlessdepth.

ValuesAppearRelativeValuescanappeardifferentdependingontheirsurroundings.Asilhouetteofapersoninagrayvaluemayseemdarkwhenplacedonawhitebackground.Thatsamesilhouetteseemslighterwhenplacedagainstadarkerbackground.

UsingaValueScaleAvaluescaleisusedbyholdingitagainstthesubjectandcomparingthevalueswiththoseofthedrawing.

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MakingaValueScaleMINI-DEMONSTRATION

Avalue scale is a stripof paperor cardboard that has a rangeof values fromwhite to black.The purpose of the value scale is to identify the values of thesubject and compare those with the drawing. Cardboard value scales areavailableatartstoresoryoucanmakeonewithpencilsanddrawingpaper.

Materials4"×8"(10cm×20cm)medium-toothdrawingpaper2Bgraphitepencil8Bgraphitepencilholepunchrulerscissors

DrawaRectangleUseapenciltodrawa2"×6"(5cm×15cm)rectangleonthedrawingpaper.

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ShadetheLowerHalfWitha2Bpencil,darkenthepaperwithgraphite,gradatingthegraphitelighttodark,keepingthetopportionwhite.

FinishShadingandPunchHolesContinuetodarkenthedrawingpaperwithan8Bpencilso thebottomisfullydark.Trimthe2"×6"(5cm×15cm)rectanglewithscissorsandpunchoutalineofholeswithaholepunch.

LightEffectsTheplayoflightandshadowcandrasticallyaffecttheappearanceofasubject.Understanding the light in relation to the subjectwill influence the depth andmoodofyourdrawing.

TypicalLightingofaSubjectThe light source is the primary origin of the light.Most light sources (whether natural or artificial) areaboveasubject.Areasdirectlyexposedtothelightsourcearethelightestregions.Ahighlightisabrightspot on the subject, such as on the forehead.Those areasmost recessed and turned away from the lightsourcearedarkest.Someareasmaybeexposedtoreflectedlight,orasecondarylightsource.Typically,reflectedlightisnotasbrightastheprimarylightsource.Itmaythrowsubtlelightontoanareathatwouldhaveotherwisebeendark.Formshadowsdisplaytheformofthesubject,suchasthesubtlevaluechangesonthedarksideoftheforehead. Cast shadows are causedby one formcasting a shadowon another form, such as the chin casting ashadowontheneck.

ObservingLightEffectsWith aPlasterCast orMannequinFacial light effectscanbeobservedwithaplastercastfaceoraStyrofoammannequinheadthatyoucanfindatartorhobbystores.

LightingtheSubjectChangingthelightsourceofthesubjectaffectstheshadowsanddefinitionoftheforms. Adapt the lighting and the background to the subject to create amorenaturalfeelfortheportrait.

LightFromFrontFeatureslookflat;thefacelacksdimension.

LightFromAboveDramaticbutsymmetrical;faceinshadow.

LightFromLeftSideInterestingbutharsh.

LightFromTopLeftNaturalandpleasing;showstheformswell.

LightFromBelowUnusualandunnaturalappearance.

LightFromLeftBackandTopDramaticandunusual.

2 ProportionsFacialproportionsaregenerallythesamefrompersontoperson.However,

therearesubtledifferencesinthesizeandplacementoffeaturesthatmakeeachofusunique.Proportioning involvesexaminingandcomparing the sizeandplacementof

features. As you work on your proportioning, remember to start with a lighttouchsoyoucanmakeadjustmentswithouthavingtoeraseanymorethanyouhaveto.Apencilorsewinggaugeworkswellforproportioning.Adividercanalsobe

usedwhenworkingfromaphotograph.

T.C.Graphitepencilondrawingpaper8"×6"(20cm×15cm

GreatExpectations!Don’tbesurprisedif,atthebeginning,yoursketchlooksnothinglikethepersonyouaretryingtodraw.Persevere!It is inthefinalstagesthatyouwilladdthedetailstomakeyourpersonunique.

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MeasuringSketching is awork in progress.You’llmake adjustments to the sketchwhencomparing andmeasuringproportions.Some features canbeused as a unit ofmeasurement tocomparesizeand toplaceother features.Asewinggauge isagoodtoolformeasuring.

FindaComparisonMeasurementIn thisexample, thedistance from theeyes to thebaseof thenosewillbe theunitofmeasurement.

UsetheMeasurementThisunitofmeasurementhappenstobeequal to thedistancefromthebaseof

thenosetothebottomofthelowerlip.

LiningupFeaturesLook to see which features line up or are angled when compared to one another. The horizontal linesrepresentingthemouthandeyesareparallel,whiletheeyebrowsareangledincomparison.

ProportionsMadeEasyHoldupapieceofdrawingpaperalongside the subject tovisually lineup thefeatureshorizontally, showing theplacementof the features.This is especiallyusefulwhendrawingprofiles.

MaleProportions,FrontViewAccurately sketchedplacement of features andproportions are necessary for alikenessofthesubject.Acommonmisproportionistoplacetheeyesuptoohighinsteadoftowardthecenterofthehead.Hairthatcoverstheforeheadmaygivethefalsesensethatthemiddleoftheheadismuchhigherthanitactuallyis.

BasicShapeTheshapeoftheheadissimilartotheshapeofanegg.Theeyesareapproximatelyhalfwayfromthetopoftheheadtothebottomofthechin.

BasicMeasurementsUsingthewidthoftheeyeasaunitofmeasurement,theaverageheadisproportionallyfivewidebysevenhigh,withoneeyewidthbetweentheeyes.

LiningUpSomefeatures lineuphorizontallywithother features.Notice that thebaseof thenose linesupwith thebottomoftheears,andthebrowslineupwiththetopoftheears.Asforverticallines,thewidthofthebaseofthenoseissimilartothedistancefromeyetoeye,andthewidthofthemouthisthesameasthedistancebetweenthepupilsoftheeyes.

ProportionsRunAmokCaricatures are created by distorting proportions and exaggerating prominentfeaturesofthesubject.

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Male,FrontViewStructuralSketchMINI-DEMONSTRATION

Todraw facescorrectly, it’s important tounderstand theirbasic structuresandproportions.Notice in thismini-demo thatmany of the facial features line upwitheachother.

Materials8×10(20cm×25cm)sketchpaper2Bpencilkneadederaser

DrawtheBasicHeadShapeDevelopthebasicshapeandaddhorizontalandverticalcenterlines.

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AddFeatureLinesAddthenoseandmouthlinesandwidthlinesfortheeyes.

DrawBrowLinesandEyesAddhorizontallinesforthebrowsandlowerlip.Sketchtheeyes.

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DetermineNoseandMouthWidthsAddverticallinesdownfromtheinsidecornersoftheeyesforthewidthofthenoseandlinesdownfromthecenteroftheeyesforthewidthofthemouth.

SketchtheFacialFeaturesSketchtheshapesofthebrows,ears,noseandmouth.

FinishtheFeaturesSketchthehairandneck,faciallines,irisesandpupils.Eraseunwantedlines.

MaleProportions,SideViewFromtoptobottom,theplacementoffacialfeaturesisproportionallythesameon both the front and side views. Profile shape is important as well as theplacementoftheeyeandear.

LiningUpAddinghorizontallinesshowsthattheplacementofthefeatureslinesupfromfronttoside.

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Male,SideViewStructuralSketchMINI-DEMONSTRATION

Placingtheelementsforasideviewissimilartoplacingthemonafrontview.Lookforproportionsandplaceswherethefacialfeatureslineup.


SketchtheBasicHeadShapeSketchacircle,thenaddaverticallineontheleftofthecircleasthebeginningprofile, a horizontal line below the circle and a horizontal line for the eyes,centeredtoptobottombetweenthechinlineandthetopofthecircle.

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AddFeaturePlacementLinesAdd horizontal lines indicating placement of the nose and mouth, and smallverticallinesfortheplacementoftheeye.

AddBrow,Lip,EarandNoseLinesAddhorizontallinesforthebrowandlowerlip.Addaverticallineatthecenterofthecircleforplacementoftheearandanotherverticallinefortheendofthenose.

DrawtheProfile,Eye,Nose,ChinandNeckFormtheprofile,andaddtheeyeandnose.Thenaddthechinandneck.

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FormtheOtherFeaturesAddthebrow,nostrilandlips.Addtheeartotherightoftheverticalcenterline.

DrawtheHairandCompletetheFeaturesAddhairandfaciallines,anderaseunwantedlines.

MaleProportions,Three-QuarterViewFront, three-quarterandsideviewsareall thesameregardingtheplacementoffacial features fromtop tobottom.Theverticalcenter lineof the frontview ismovedleft(orright)andisusefulfortheplacementoftheotherfeatures.

FacialCharacteristicsThough the facial featuresof a subject change shapeandwidth, theirplacement is the same from top tobottomforfront,three-quarterorsideviews.

EggheadObservationTheadultheadisshapedsimilartoanegg.Drawlinesonaneggtorepresenttheplacementoffacialfeatures,andobservehowtheselineschangeaccordingtoitspositioning.

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Male,Three-QuarterViewStructuralSketchMINI-DEMONSTRATION

Athree-quarterviewofthefaceshowsmostofthefaceandpartofthesideofthe head. Keep in mind that the proportions and the placement of the facialfeaturesaresimilartothefrontview.


SketchtheBasicHeadShapeSketchthebasiceggshapewithahorizontallinecenteredtoptobottom.Addaslightlycurvedverticallineontheleftsideasacenterlinefortheface.

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AddFeaturePlacementLinesAddhorizontallinesforthenoseandmouthlines.Sketchthewidthoftheeyeswithsmallverticallines.

PlacetheBrowsandLipsandSketchtheEyesAddhorizontallinesforthebrowsandlowerlip.Sketchtheeyes.

PlacetheNoseandMouthSketchvertical linesdownfromthe insidecornersof theeyesfor thewidthofthenose,andsketchthesideofthenose.Addlinesdownfromthecenteroftheeyesforthewidthofthemouth.

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DrawtheFeaturesSketchtheshapeofthebrowsandear.Formthelowernoseandmouth.

FinishDrawingtheFeaturesAddthehairandneck,faciallines,irisesandpupils.Eraseunwantedlines.

FemaleProportionsWhile proportions are basically the same, the differences between male andfemale faces are noticeable with the individual features, especially when puttogether as a whole. These characteristics are generalizations andmay not fiteveryperson.

ComparingMaleandFemaleFeaturesWhile the placement of the features may be the same overall, there are subtle differences that expressgender.Most of themale features are bigger andbulkier,whereas female features are smaller andmoredelicate,withthelipsastheexception.Afemale’seyesmayappearlargerthantheeyesofamale,buttheylookthiswayonlybecause thesurroundingfeaturesaresmaller. Inreality, theeyesareusually thesamesize.

ComparingSizeWhencomparingsize,menhavebiggerheadsthanwomen.(Nopunintended!)

FeatureLineupinFront,Three-QuarterandProfileViews

Let’sMakeUpCosmetics,suchasdarkmascaraandlipstick,alongwithearringscanaddtothefeminineappearanceofafemaleface.

ElderlyProportionsSkinbecomes lesshydratedand thinnerasweage, causingwrinkles, sagsandthinnerlips.Continuedbonegrowthisnoticeableinthenose,jawandforehead.Ears can become a bitmore outstanding.Hair grays and thins, except for theeyebrows, which may actually become bushy for males, and we won’t evendiscusstheirearhairgrowth!

ElderlyMaleTome,oldmencanbethemostfuntodraw.Theeffectsofageaddcharactertothesubject.


ElderlyFemaleHairstylecansuggestaperson’sageorera.Ifyouaredrawinganolderwomanthatyouknow,youmight“enhance”yourdrawingbymakingtheportraitlooksomewhatyoungerthansheactuallyis.


TheBeautyofAgeAgecanhaveitsownappealandshowcharacter.

ChildProportionsFacialproportionsand featuresofboysandgirlsareverysimilar. It isn’tuntilyoungadulthood that the facedisplays featuresmorespecific tobeingmaleorfemale.Babies’heads are short andwide.As theheaddevelops, it becomes longer,

lengtheningthefeaturessuchasthenoseandears.

GrowingChangesAs theheaddevelops frombaby toadult, theoverall shapebecomes longerandproportionallynarrower.Theeyesofthebabyarewellbelowthecenterline,whereastheeyesofanadultareatorabovethecenterline.Thenoseandearsalsogrowandlengthen.

FeatureLineupinFront,Three-QuarterandProfileViewsJustasadultfeatureslineupinfront,three-quarterandprofileviews,sodothefeaturesofbabies,childrenandteens.

GirlandBoyHairstylesHairstylecansuggestwhetherachildisaboyoragirl.Thefacesshownhereareexactlythesame;onlythehairisdrawndifferently.

Age-AppropriateProportions

Bothoftheseportraitsketchesareofyoungchildren,buttheproportionsdefineoneasababyandtheotherasayounggirl.

FacialExpressionsExpressions are fun to draw. Facial expressions involve more than just themouth and eyebrows. They involve the muscles that change the contour andshape of the face. A smile pulls the cheeks up along with the corners of themouth and affects the shape of the eyes and brows. A frown pulls down thecheeks,turningdownthecornersofthemouthandaffectingtheotherfeatures.

MakingFacesTry examining your own facial expressionswith amirrorwhen drawing.Youwill probably find yourself making the same facial expression that you aredrawing.

3 FeaturesEach portrait includes unique features that combine to express the

individualityof aperson.Aportrait is easier todrawwhenyoubreak itdownintoseparatefacialfeatures.Insteadoflookingatthefaceasawhole,firstmapout the placement of the facial features and then concentrate on themindividually.

Me,MyselfandEyeGraphitepencilondrawingpaper6×9(15cm×23cm)

EyesIt has been said that the eyes are the window to the soul. The eyes expresspersonalityandemotionandareperhapsthemostimportantfeatureofaportrait.Thecorneaistheclearpartoftheeyethatcoverstheirisandpupilandbulges

outfromtheballoftheeye.Dependingonhowtheeyeisviewed,thebulgeofthecorneaanditseffectsmaybenoticeablewhenitpressesouttheuppereyelid.Theplacementofthepupilsandirisesinaportraitdrawingsuggestswherethe

subjectislooking.Pupilsandirisesspacedapartcangivetheimpressionthatthepersonispensiveorlookingintothedistance.

EyeIndividualityThe individuality of eyes involves not only the pupil and iris, but also the eyelids, brow, crease and

wrinkles.Howdeeplytheeyeissetaffectstheshadowsandmaydarkenthewhiteoftheeye.

ChangingFormsThecornea’sconvexshapecausestheformoftheeyelidstochangeaccordingtothedirectionoftheeye.With the iris/pupil to the outside, the top andbottomeyelids are spread farthest apart on the outer side,exposingthefleshyinsidecorneroftheeye.Withtheiris/pupiltotheinside,theeyelidsarespreadfarthestapartontheinside,withonlyasmallamountoftheinsidecorneroftheeyeexposed.

YouthfulEyesChildren’seyesareclearandbrightwithbigirisesandsoftshading.

ExpressionofAgeAnelderlyperson’seyesmaybesetdeepintheirsockets.Othercharacteristicsmayincludeadarkeningofthewhiteareasandacloudinesstotheirisesandpupils.Theeyesmayalsohaveawateryappearance.

DifferentViewsWhen viewed from the side, the eye shape is triangular, formed by the top and bottom eyelids and thecornea. Placement of the eye from the nose bridge is important for the correct appearance. The corneaappearsasanarrowellipticalshape.Atthree-quarterview,theirisesandcorneasareelliptical,andthenosebridgepartiallycoversthefareye.

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TheEyeMINI-DEMONSTRATION

Trydrawingbigandobservethemanyfeaturesincludedwiththeeye.Thisisayoungman’seye,withfulleyebrowandfewwrinkles.

Materials8×10"(20cm×25cm)sketchpaper2Bpencilkneadederaser

SketchtheBasicShape,Iris,PupilandHighlightBeginningwithahorizontalguideline,sketchthetopandbottomeyelidlinestomake the shape of an opened eye. Pay attention to the width and height foraccurate proportions.Notice how the lids curve according to the shape of theeyeball.Sketchafullcirclefortheshapeoftheiris.Thepartofthecircleabovethetoplidcanbeerasedlater.Sketchthepupilandhighlight.

SketchtheLowerBrow,EyelidCrease,Lines,BrowandDetailLinesSketchtheshapeofthelower(underneath)partoftheeyebrow.Thisisformedasarecessionbytheeyesocket.Addthetopeyelidcreaseandlinesbelowtheeye. Sketch theshapeof thebrowandadddetail linesaroundthe lowereyelid.

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Eraseunwantedlines.

StartAddingValuesStart adding the values beginning with the pupil and iris, considering thedirectionoflightanditseffects.Keepthehighlightwhitetoshowreflectedlightonthecornea.Theclearcorneamaycausethesideoftheirisoppositethelightsourcetoappearlighter.

AddValuesonandAroundtheEyeAddvaluestothewhiteareasoftheeyeaswellastotheareasaroundtheeye,suchastheupperandlowerlids.

AddMoreValuesAddmorevaluesonandaroundtheeye,givingmoreformtotheballshapeoftheeye.

6 AddFinalDarksandDetailsDarken as needed, including the crease on the upper lid, and add detailsincludingthebrowhairsandeyelashes.

NosesNosesarenarrowatthetopandwideat thebottom,withtheirproportionsandformsuniquetotheindividual.

FrontViewsDrawingnosesfromthefrontcanbechallengingbecausemostoftheformisshownbysubtlevariationsoflightsanddarksratherthanoutlines.Aprofilemayseemeasierbecausetheshapecanbedrawnwithaline.

TheCharacteroftheNoseNosescomeinmanyshapesandsizes.

GetNoseyItmay be visibly noticeablewhere the bony part of the nose bridge ends andwhere the cartilage begins. Try observing your own nose with a mirror andfeelingitsstructuretorecognizethistransition.

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TheNoseMINI-DEMONSTRATION

Thisisanolderman’snoseandischaracteristicallylongandlarge.Aswithallfeatures,beconsciousofwherethelightsourceiscomingfrom.Inthisdrawing,thelightiscomingfromtheupperright,causinghighlightsontherightsideofthenoseanddarkregionsontheleftandbottom.

Materials8"×10(20cm×25cm)sketchpaper2Bpencilkneadederaser

SketchaCenterLine,EyeLineandBottomLineSketchaverticallinerepresentingthecenterofthenose.Sketchahorizontallinewheretheeyeswouldlineupatthenosebridge.Sketchalineforthebottomofthenose.

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SketchSides,BrowsandNostrilLinesSketchthesidesaswellaspartofthebrowsthatintersectattheeyeline.Sketchtwolinesatthebottomfortheplacementofthenostrils.

DeveloptheStructuralLinesandShadowLinesDevelop the structural lines and rounding lines, and add detail to the nostrils.Addacircletowardthebottomtodeveloptheshapeofthelowerpartofthenoseand the nostrils. Add lines for wrinkles and placement of shadows. Eraseunwantedlinesintheprocess.

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StartShadingStartshadingwithalightoverallvalue.Highlightedareascanbeshadedaroundorerasedlater.

AddDarkerValuesAdddarkervalues,mostlyontheleftsidesincethelightisfromtheright.Inthisexample,thelowerpartofthenoseisball-shapedandcanbeshadedlikeaball.

6 FinishWithDarksandHighlightsAdd darks in the shadowed areas, including the nostrils. Create highlights bypressingthekneadederaserontothoseareastoremovegraphite.

MouthsWhatwouldourfacesbewithoutmouths?Wewouldtalkalotless.Itwouldbedifficult to eat. We wouldn’t have to brush our teeth, saving us about fiveminutesperday.Spreadovertheaveragelifetime,thisaddsuptooverfourteenweeks!Mouthsbythemselvesmaynotseemveryimportant,buttheycanspeakwith

a lot of personality. They can express a person’s age, gender, origin and, ofcourse,emotion.

AgeoftheMouthLargefulllipsarerecognizedasyouthful.Thinlipslookaged.

TheCharacteroftheMouthLipscanbedifferentshapes.Sincethelightsourceisusuallyfromabove,thetoplipwillbeshadowedandthelowerlipwillreceivemorelight.

Teeth

Adultteethmayappearasagroupofteethdefinedbytheirbottomortopedgesratherthantheirindividualoutlines.Astheteethrecedeintothemouth,theyappearmoreshadowed.Children’steetharesmallerandlessdevelopedthanadultteethandareseenasindividualteeth.

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TheMouthMINI-DEMONSTRATION

Thiswoman’smouthindicatesyouthandbeautywithfull lipsandwhite teeth.Thesoftsmileindicatescontentment.


SketchtheBasicShapeSketch the basic shape of an opened mouth with a horizontal top line and acurvedbottomlinethatconnectatthesides.

SketchtheLipShapesSketchcurvedlinesfortheupperandlowerlips.

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DeveloptheLipsandTeethDevelop the shape of the lips.Add lines for teeth and gums. Erase unwantedmarks.

StartShadingStart shadingwith lighter values. The back teeth appear darker than the frontteethandshouldbeshadedaccordingly.

AddShadingtotheLipsShade in the lips. The light source is from above, causing the top lip to beshadowedandslightlydarkerthanthebottomlip.

6 AddDarksandHighlightsAdddarkstothecornersofthemouthandunderthetoplip,andsubtledarkstobothlipstoshowform.Erasepartofthelowerliptocreateahighlight.

EarsEarsareuniquetoeachpersonandareacharacteristicfeatureforidentification.Thesizeandshapeofanadult’searsstayconsistentuntilabouttheageofsixty,whentheylengthenduetoalossofelasticity.

DirectViewsoftheEarsEarshavedistinctedgesandalsosubtlecontours.Thedeepest,mostrecessedpartsareshadowedanddark.Whenobservedcloseup,theyalllookratherweird!

DifferentViewsViewedfromdifferentangles,earslookevenodder!

JustaPinchForsmallspotsneedingtobeerased,pinchtheendofakneadederasertoformapoint,thenpressdownandpulluptoliftunwantedgraphite.

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TheEarMINI-DEMONSTRATION

Thismini-demoisofamiddle-agedmale’sear,specificallymyownear.Ifyoumeetmeinpublic,youwillbeabletorecognizemebymyear!


DeterminetheHeightandWidthSketchhorizontallinesfortheheightandverticallinesforthewidthoftheear,creatingarectangle.

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SketchtheOuterShapeoftheEarSketch theoutershapeof theear,making the topportionwideand thebottomportionnarrow.

SketchtheOuterFoldsSketchthefoldsandedgesthatareclosesttotheouterformoftheear.

SketchInnerFoldsandEraseUnwantedLinesSketchthefoldsthatmakeuptheinnerregionoftheear.Eraseunwantedlines.

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StartShadingStartshadingwithlightervalues.

AddDarksandLighterAreasAdddarksanderasegraphitetocreatelighterareasandgivedepthtothefolds.

HairStraight,wavy,curly,kinky,thick,thin,shortandlong,therearemanytypesofhair.

HairstylesHistorically regardedasa signofaperson’s social status,hairstylescanbe specific toerasandcultures.Considerthebeehiveandthemullet.AndwhowouldMr.ThavebeenwithouthischaracteristicMohawk? Draw hair using different types of pencil strokes. For short, curly hair drawwith a series of small,scribblystrokes.Forstraight,silkyhairdrawwithlongpencilstrokes.

FacialHairFacialhair commonly follows the contoursof the face.For instance, abeardmay follow the jaw line; amustachemayfollowthecreasesofthecheeks.Whiskershaveacoarseappearanceandcanbedrawnwithirregularpencilstrokestoshowtheirtexture.

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HairMINI-DEMONSTRATION

Thismini-demoisofamaleteenwithstraighthair.Becausehishairislyingflat,ithasasheenorglossyappearance.


SketchtheShapeoftheHeadandFormtheHairSketch theshapeof theheadasa three-quarterview.Formthehairlinearoundthecontourofthehead.

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EraseUnwantedLinesandAddLighterValuesErasethelineshapingthehead,whichwouldnowbecoveredbythehair.Sketchthe lighter values overall, following the direction of the hairwith long pencilstrokes.

AddMiddleValuesAdd the middle values, smoothly transitioning into the lighter values in thecentralarea.

FinishWithDarkValuesAdd dark values and lighten some areas by gently dabbing with the kneadederasertogiveasheentothehair.

HandsHandscanaddexpressiontoaportrait,givingitemotionandpersonality.Handscantellusaboutaperson,evenmorethanafacecanbyitself.Men’shandsmayseembulkycomparedtowomen’shands,whicharemoreslender.

OneShapeataTimeWhendrawinghands,Ifirstdrawthebasicshapes,thenIaddlinesforthethumbandfingers,andfinallyIrefinetheform.

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TheHandMINI-DEMONSTRATION

With theway his hand is placed over hismouth, the subject looks as if he istalkingunderhisbreath.


SketchtheHeadandtheBasicShapeoftheHandSketchtheheadfromthefront.Addalineforthetopoftheindexfinger,payingattentiontoitsplacementinrelationtotheface.Sketchthebasicoverallshapesofthefingersandhand.

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AddtheFingersandWristSketchtheindividualfingersandthebasicshapeofthewrist.

DeveloptheForm,EraseLinesandAddValuesDeveloptheformofthefingers,handandwrist.Eraseunwantedlinesandaddthevalues.

CostumesandAccessories

Jewelry,propsandcostumesincludedinaportraitcanaddanotherchaptertothestoryaboutthesubject.Ifthepersonhasaninterestorhobby,considerhavingapropinthedrawingthatsuggeststheinterest.

Hats

Addingaheadpiecetoaportraitcanspeakvolumesaboutaperson’scharacter.Andthey’refun!

StartWiththeHeadHatsfitaroundthewearer’shead,soitworkswelltosketchthehead,thentheformofthehataroundthehead.

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BaseballCapMINI-DEMONSTRATION

Abaseball cap follows closely the top of the headwith the visor coming outfromthefront.


SketchtheShapeoftheHeadandtheBasicHatShapeSketchtheshapeoftheheadinthree-quarterview.Formthecappartofthehataroundtheshapeofthehead.

DeveloptheCapandVisorAddhorizontal linestothefrontof thecapfor thevisor.Addtheseamstothecap.

3 CompletetheVisorandAddValuesCompletetheformofthevisor.Eraseunwantedlinesandaddvalues.

EyeglassesGlassesalsogiveaportraitpersonality.Peoplewhowearglassesmaywant totake them off for a portrait; however, if they usually wear their glasses, theglassesmightbepartoftheiridentity.

FrontViewThe lenses can change the image of the eyes behind them by casting light and shadow and sometimesdistortingtheelements.

SideViewFromtheside,glassesmaydisplaytheirconvexshape.

MirroredLensesSomelensesofsunglassesactasmirrorsandreflecttheirsurroundings.

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GlassesMINI-DEMONSTRATION

Whendrawingglasses,drawatoplineandabottomlineconnectingbothlenses.Thisensuresthatthelenseswilllineupandbeproportionedsimilarly.


SketchtheShapeoftheFaceandtheProportionsoftheLensesSketch the frontviewof the facearound theeyes.Sketch twohorizontal linesandfourverticallinesastheproportionsofthelenses.

FormtheShapeoftheLensesandFramesFormthelensesandframes,roundingthesidesandconnectingtheframestothetopsoftheearsandacrossthenosebridge.

EraseUnwantedLines,AddDetailsandValuesEraseunwanted lines,adddetails to the framesandaddvalues to the faceandglasses.

Diversity

Every portrait has a similar foundation, yet each person is very different.Portraits can capture a story expressed through the individual features in yourart.

4 Let’sDrawPortraits

Ifyouhavegonethroughthefirstchaptersofthisbook,youarereadytotackleademonstration.Remembertolookbacktopreviouschaptersinthisbookifyougetstuckonaspecificsubject.Youcandoeachofthedemosinthisbookinoneoftwoways:youcanwork

out the structural sketch directly onto the drawingpaper, or you can draw thestructural sketch on a separate piece of paper, then trace itwith a lightbox ortransferitwithgraphitepaperontothedrawingpaper.Thelattermethodreducestheamountoferasingyou’lldoon thedrawingpaper. Ifyouworkdirectlyonthe drawingpaper, remember to sketch your foundation lightly so any erasingwon’troughupthesurfaceofthedrawingpaper.

RefrigeratorArtIt’sgood to learnfromotherartistsor to learn inagroupsetting.However,avoidcomparingyourself toothers.Youareuniqueandsoisyourart.Whenourchildrenareyoung,wedisplaytheirpaintingsanddrawingsonourrefrigerator.Weareproud

oftheirart,notforitsrealism,butforitsinnocenceandvitality,and,mostofall,becauseitisanexpressionof themselves.As youwork through these demos, try to recapture that childlike enjoyment of creating,learningandaccomplishingsomethingnew.

UpsideDownTryviewingyourdrawingupsidedownwiththereferencephotoupsidedownnexttoit.Thiswillgiveyouafreshobservationofthesubjectandpushyoutodrawwhatyouseeratherthanwhatyouthinkitshouldlooklike.Thisisespeciallyhelpfulinthelatterstagesofthedrawingprocesswhenyouaddthevalues.

DoaBackgroundCheckThe background of a portrait should enhance the subject and can be changedfromthereferencetoachievethis.Rememberthatthepersonintheportrait,notthebackground,isthemainattraction.

WomanUsegraphite pencils onwhite drawingpaper for this demonstration.The lightsource of the subject is from top right. The contrast of values in the hair,especiallytherichdarkscreatedwiththe8Bpencil,givesitasilkyappearance.

ReferencePhoto

1 ProportionandSketchtheShapeoftheFaceWitha2Bpencil,proportionthetopandbottomtothesidesoftheface.Sketchaneggshapeastheoverallformoftheface.

Materials

Paper12×9"(30cm×23cm)medium-toothdrawingpaperPencils2Bgraphitepencil8Bgraphitepencil

OtherSupplieskneadederaser

OptionalSupplies12×9"(30cm×23cm)sketchpaperlightboxortransferpaper

RELATEDTOPICS•Hair•Eyeglasses

2 SketchtheShapeoftheHair,NeckandShouldersContinueusingthe2Bpenciltosketchtheoutershapeofthehair.Addtheneckandshoulders.Thetopoftheshoulderscanbesketchedasasingleline.

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SketchtheEyes,NoseandMouthLinesandCenterLineSketchthehorizontallinesfortheplacementoftheeyes,bottomofthenoseandthemouth.Addaverticallinetoindicatethecenteroftheface.

SketchLines for theBrowsandLips, and Indicate theWidthof theEyes,NoseandMouthSketchhorizontal lines for thebrowsand lips.Short vertical lines indicate thewidthoftheeyes,baseofthenoseandcornersofthemouth.

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DefinetheFeaturesDefine the features including thebrows,eyes,noseand lips.Develop thehair,faceandclothes.Addtheeyeglasses.

EraseUnwantedLinesandSketchLinesfortheHairWithakneadederaser,eraseanyunwantedlines.Sketchsomelinesforthehair,indicating highlighted regions. With the 2B pencil, transfer the image ontodrawingpaperifyouarenotalreadyworkingonthedrawingpaper.

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GettothePointTocreatethin,detailedlines,sharpentheleadonyourpenciltoapointandholdyourpencilupright.

StartShadingtheFaceandNeckContinueusingthe2Bpenciltostartshadingregionsofthefaceandneck.Thelightsourceisfromthetopright,sotherightsideofthefacewillbelighterthantheleftside.

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AddMoreShadingtotheFace,NeckandHairContinueshadingwiththe2Bpenciltodeveloptheformsoftheface,neckandhair.

AddShadingtotheClothesandBackgroundWiththesamepencil,addtheinitialshadingtotheclothessotheyaredarkerontheleftthanontheright.Shadetheleftportionofthebackgroundatthisstagesothattheleftisdarkerthantheright,whichfadestothewhiteofthepaper.

10 StartDarkeningtheHairWith an 8B pencil, add dark pencil strokes to the hair closest to the

highlightedregions.Leaveathinlightstripearoundtheperimeterofthehairtogivetheimpressionofreflectedlightonthehair.

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FinishDarkeningtheHairWithpencilstrokesfollowingthedirectionofthehair,completethedark

regionsofthehairusingthe8Bpencil.

MakeAdjustmentsandAddDetailsAfteryouhaveaddedthedarkofthehair,youmayfindthatotherregions

of the drawing need some darkening.With the 2B and 8B pencils, darken asneeded.Finishtheclothes, thoughthesedon’trequiremuchdetail.Indicatetheeyeglassframesbyerasingalongthetopoftheframelines.Signanddateyourportrait.

SoledaGraphitepencilondrawingpaper12×9(30cm×23cm)

ManWithBeardInteresting faces are fun to draw. The goal is to capture the depth of theirpersonalities.The beard in this demonstration is especially interesting to drawbecause the drawing paper is gray and can be used as a base value for thedrawing.You’lldrawlightareassuchasthebeardwithwhitepastelpencilanddarkareaswithblackpastelpencil.Itmaybedifficulttoseethroughthegraydrawingpaperifyouusealightbox

to trace the image. Other options are to use transfer paper or to draw frombeginningtoenddirectlyontothegraydrawingpaper.

Materials

Paper12×9(30cm×23cm)lightgraymedium-toothdrawingpaperPencilsblackpastelpencilwhitepastelpencil

OtherSupplieskneadederaserwhitevinyleraser


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ReferencePhoto

SketchtheHeadShapeandLinesforBasicFeaturesUsingablackpastelpencil,proportiontheheadwithoutthebeardandsketchtheform.Youwill have to guesswhere the bottom of the chin is underneath thewhiskers.

RELATEDTOPICS•LightEffects•HairandFacialHair•Noses

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SketchaLinefortheCenteroftheFaceandLinesfortheBrows,LipsandShouldersTohelpplacethefeatures,sketchaverticallineindicatingthecenteroftheface.Addhorizontallinesforthebrowsandlips.Addlinesfortheshoulders,payingattentiontowheretheshoulderlinesareinrelationtotheface.

AddMoreStructuralLinestoDistinguishtheFeatures

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Starttoformtheeyes,nose,ear,lipsandshirtcollarwithmorelinework.

DefinetheFeaturesAddmore detail lines to the eyes, nose, ear and lips aswell as adding faciallines.

SketchthePlacementoftheHairandBeardAddthebrows,hair,mustacheandbeard.Avoiddrawingintoomanywhiskers

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withtheblackpastelpencil(you’lldrawmostofthewhiskerswithawhitepastelpencillater).

EraseLinesandPlanShadingRegionsIfyoustartedonsketchpaper,transfertheimageontodrawingpaper.Addlinesindicatingregionsforshading.

7 StartShadingLightly start shading regions of the face and neck including the lips and ear.Keepinmindthelight iscomingfromtheupperleftandnotehowthisaffectsthe formandcontoursof the subject.Tocreate smoothshading,place the linestrokesevenlyandclosetoeachother.

8 AddShadingtotheShirtNow add shading to the shirt. For this portrait, the shirt is simple and can bedrawnwithlittledetail.

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AddtheHair,MustacheandBeardWith a white pastel pencil, add the hair andwhiskers. Add some dark pencilstrokes with a black pastel pencil. Apply the white strokes before the blackstrokesbecausethewhitewon’tcoverovertheblackeffectively.

AddDarksandDetailsMakeadjustments,addingmoredetailsanddarkeningorlighteninginsomeplaces.Signanddateyourportrait.

DonaldPastelpencilongraydrawingpaper12×9(30cm×23cm)

MaleContourDrawingThis demonstration is produced as a contour drawing over a preliminarystructuralsketch.Thelineworkistobeascontinuousaspossible.However,thepencilmaybestopped,liftedandstartedatdifferentplacesduringthedrawingprocess.Thegoalofthisdemoisnottoachieveaphoto-realisticrepresentationofthesubject,buttoallowforamorecreativeinterpretation.You’llneedalightboxtoseethestructuralsketchthroughthedrawingpaper

forthecontourdrawingprocess.Usesketchpaperforthestructuralsketch.

ReferencePhoto

Materials

Paper12×9"(30cm×23cm)sketchpaper12×9(30cm×23cm)medium-toothdrawingpaperPencils2Bgraphitepencil4Bgraphitepencil


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lightbox

RELATEDTOPICS•ContourSketch•Eyes•Noses

SketchtheBasicProportionsWitha2Bpencil,sketchhorizontal linesfor the topof thehead(withouthair)andforthechin.Sketchahorizontallinefortheeyesslightlyabovethehalfwaypoint between the head and chin lines.Add vertical lines for thewidth of thehead.

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SketchtheHeadShapeandLinesforBasicFeaturesSketch the egg shape of the head andhorizontal lines for the nose andmouthwiththe2Bpencil.

SketchtheCenterLineandOtherLinesfortheFeaturesSketchaverticallineforthecenteroftheface.Addotherlinesfortheplacementofthebrows,lowermouthandwidthoftheeyes.Drawalongcurvedlinefortheshoulders.

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AddFormtotheFeaturesFormtheeyes,ears,brows,nose,mouthandneck.

AddandDeveloptheFeaturesAdd features such as hair and the shirt.Develop the eyes, ears andmouth byaddingdetails.

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EraseUnwantedLines,RefinetheFeaturesandAddShadowLinesEraselines thatarenolongeruseful.Refineandadddetail to thefeatures,andaddlinestodistinguishshadows.

StarttheContourDrawingTapethestructuralsketchtothebackofasheetofdrawingpaper.Illuminatethestructuralsketchthroughthedrawingpaperwithalightboxandstartthecontourdrawingusingthe4Bpencil.Drawthelefteyeandbeginworkingontherighteye.

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DrawtheCentralFeaturesandtheFormoftheRightSideoftheFaceFromtherighteye,drawtheformof thenose,mouth, jawandear,continuingwiththe4Bpencil.

DrawtheFormoftheHairandtheLeftSideoftheFaceFromtherightsideoftheface,drawthehairline,leftearandjawline,thenbackupandaroundthetop,drawinginsomeofthehairduringtheprocess.

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AddFormandShadingtotheRightSideoftheFaceContinue the line, following the shapes of the face, adding form to the

rightside.Addverticallineworkforshading.Drawaroundthetopoftheheadandleftsideofthefaceandear.

AddFormtotheNeckandShirt

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Continuethelinework,drawingtheformoftheneckandshirt.

AddShadingandDarkenSomeLineWorkAddshadingtotheneck,shirt,hairandrightear.Darkensomelinework

tomakeitmoreshadowed,usingthe4Bpencil.Signanddateyourportrait.

J.V.Graphitepencilondrawingpaper12×9(30cm×23cm)

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WomanonTonedPaperThepaperforthisportraitisgray,givingyoutheabilitytodarkenwithablackpastelpencilandlightenwithawhitepastelpencil.Thelightismostlyfromtheright,lighteningtherightsideofthefaceandprovidingawiderangeofvalues.Thereferencephotofor thisportraithasaclutteredbackgroundthatdetracts

from the subject. To remedy this, the background of the drawingwill be leftblank.

ReferencePhoto

ProportionandSketchtheBasicHeadShapeWithablackpastelpencil,proportiontheheightandwidthoftheheadwithoutthehair.Sketchthebasicformofthehead.Addalinefortheneck.

Materials

Paper12×9"(30cm×23cm)lightgraymedium-toothdrawingpaperPencilsblackpastelpencilwhitepastelpencil



RELATEDTOPICS•LightEffects•Hair•Noses•Lips

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SketchLinesfortheCenteroftheFaceandtheBasicFeaturesSketchaverticallineforthecenteroftheface.Addhorizontallinesfortheeyes,baseofthenoseandmouth.

AddLinesfortheShoulders,Brows,LipsandEarAddacurvedlinefortheshouldersandlinesfortheplacementoftheeyebrows,lipsandear.

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FormtheHairandShirtCollar,andSizetheFacialFeaturesSketchtheformofthehairandtheshirtcollar.Withshortlines,plotthesizeoftheeyes,mouthandnose,andsketchthenosebridge.

SketchtheFeaturesSketchtheeyes,nose,mouthandear.Addtheformofthehairovertheforeheadanddevelopthechinandcollar.

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CleanupandAddDetailsErase unwanted structural lines, and add detail lines to the features. If youdecided to begin the drawingon a different sheet of paper, transfer the imageonto the drawing paper at this stage. Add light lines indicating some of thecontoursoftheface,neckandshirt.

StartShadingStart shading in the lightest values on the gray paper.With the primary lightsource coming from the upper right, the top right side of the face and manyfeatureswillremainlight.

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AddMiddleValuesAddthemiddlevalues.Inmanyplaces,transitionfromlightertomiddlevalues.Startaddingthehairwithrandompencilstrokestoimplythesmall,tightcurls.

AddDarkRegionsAdddarkvaluestothehair,neckandshirt.

10 AddDetailsandAdjustmentsAdddetails totheeyes,nose, lips,earandearring.Liftsomedarkpastel

from the hairwith the kneaded eraser to suggest the curls.Use awhite pastelpencilforthehighlightsonthefaceandearring.Signanddateyourportrait.

C.W.Pastelpencilongraydrawingpaper12×9(30cm×23cm)

BabyNot only is the placement of the facial features different for babies than foradults,buttheoverallformandproportionsoftheheadarealsodifferent.Noticethatthewidestpartoftheheadisonlyaboutonethirdofthewaydownfromthetopofthehead.Thelightingiscomingjustleftofcenter,creatingsubtlevaluetransitions.

Materials

Paper12×9(30cm×23cm)medium-toothdrawingpaperPencils2Bgraphitepencil4Bgraphitepencil



RELATEDTOPICS•ChildProportions•Ears

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ReferencePhoto

ProportionandSketchtheShapeoftheHeadWiththe2Bpencil,proportionthetop,bottomandsidesofthehead.Formthebasicshapeofthehead,followingtheproportionlines.

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Sketch the Placement Lines for the Features and the Center of theFaceContinuingtousethe2Bpencil,sketchhorizontallines,slightlyangled,fortheplacementof the eyes,noseandmouth.Sketchavertical line, slightly angled,forthecenteroftheface.

SketchLinesfortheBrows,LipsandEarsSketchplacement lines following thesameanglesas theprevious lines for thebrows,lipsandears.Noticethatthetopsoftheearslineupbelowthebrowsandthebottomsoftheearslineupwiththemouth.

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Sketch Lines for the Width of the Features and a Line for theShouldersSketchshortlinestoindicatethewidthoftheeyes,nose,mouthandears.Sketchalineforthepositionoftheshoulder.

DefinetheFeaturesDefinethebrows,eyes,nose,mouth,chinandears.Addtheshirtandcollar.

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AddDetailsandEraseUnwantedLinesorTransferImageAdddetails includinghair, eyelidcreases, foldsof theearsand twocute, littlebottomteeth.Eraseunwantedlinesifworkingdirectlyonthedrawingpaper,ortraceortransfertheimageontodrawingpaperusingthe2Bpencil.

StartShadingWiththeLighterValuesContinuingwiththe2Bpencil,startshadingthelighterregions.Noticethatthelightsourceisfromabove,leftofcenter,makingthetopsoftheforehead,cheeksandnosesomeofthelightestplacesontheface.

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AddMiddleandBackgroundValuesAddthemiddlevaluestothesubject,usingthesamepencil.Addvaluestothebackground, shading the area so there aremiddle values on the left, graduallylighteningtothewhiteofthepaperontheright.

AddtheDarksWiththe4Bpencil,addthemostnoticeabledarks,includinghair,irises,pupilsandtheinsideofthemouth.

10 MakeAdjustmentsandAddDetailsMakeadjustments, includingdarkeningsomeareaswithboth2Band4B

pencils.Lightensomeareasifneededwiththekneadederaser,andadddetails.Signanddateyourportrait.

EliGraphitepencilondrawingpaper12×9(30cm×23cm)

CostumedWomanPracticemakesperfect!Themoreyoupracticedrawingportraits,thebetteryouwillbecome.Afterpracticingonyourfriendsandfamily,youmayfeelyouhaverunoutofmodelsforyourportraits.Considertakingphotosofpeoplewhenyouareoutandabout.Thisportraitisofanactressatahistoricalfestival.

Materials

Paper12×9"(30cm×23cm)medium-toothdrawingpaperPencils2Bgraphitepencil4Bgraphitepencil6Bgraphitepencil



ReferencePhoto

1 ProportionandSketchtheShapeoftheHeadWith the 2B pencil, proportion the top, bottom and sides of the head withhorizontal and vertical lines. Start to form the shape of the head using theproportionlinesforguidance.

RELATEDTOPICS•Hats•Noses•Ears•Eyes•Mouths

2 SketchPlacementLinesfortheBasicFeaturesandtheCenteroftheFaceContinuingwith the2Bpencil,sketchhorizontal linesfor theplacementof theeyes,noseandmouth.Addaverticallineforthecenteroftheface.

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SketchPlacementLinesfortheRemainingFeaturesSketchhorizontalplacementlinesforthebrowsandlips,andaverticallinefortheear.Sketchlinesforthebasicformofthehatandlinesfortheneck.

DeveloptheFeaturesandShouldersSketchshortvertical lines for thewidthof theeyesandmouth.Formthenoseandsideofthemouth.Sketchacurvedlinefortheshoulders.

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DefinetheFeaturesDefinetheeyes,brows,lips,earandhair.

AddDetailsandEraseUnwantedLinesorTransfertheImageWiththe2Bpencil,adddetailstothefeaturesincludingthehairandhat.Erase

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unwanted lines if you are working directly on the drawing paper, or trace ortransferthestructuralsketchontodrawingpaper.

StartShadingWithLighterValuesStart shading the lighter regionswith a 2Bpencil. The light source is comingfromthetopright,makingtherightsideofthefacelighterthantheleftside.

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AddMiddleValuesAddmiddlevaluestothesubjectwitha4Bpencil.

AddDarksandValuestotheBackgroundWith a 6B pencil, add dark values to the subject and to the right side of the

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background.

MakeAdjustmentsandAddDetailsWith the 2B, 4B and 6B pencils, make adjustments and add details to

featuressuchasthehairandthehat.Usethekneadederasertolightenifneeded.Signanddateyourportrait.

RebeccaGraphitepencilondrawingpaper12×9(30cm×23cm)

ManinProfileThelightsourceforthissubjectisprimarilycomingfromtheupperleft,causingthefacetobelighterthanthebackofthehead.Usecharcoalpencil toobtain thevalues in thisdemo.Charcoal linescanbe

blendedusingfacial tissueandablendingstumptocreatesmoothshadingandtransitions,but themediumcanalsocauseunintentionalsmearing.Placeaslipsheetunderyourhandtoavoidunwantedsmearsandfingerprints.

Materials

Paper12×9(30cm×23cm)medium-toothdrawingpaperPencils2Bcharcoalpencil2Bgraphitepencil

OtherSuppliesblendingstumpfacialtissuekneadederaserslipsheet


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ReferencePhoto

SketchtheBasicHeadProportionsWitha2Bgraphitepencil,sketchtheheightandwidthproportionsoftheheadonasheetofsketchpaper.Thecurvedlinefortheleftsidewillbethebasisfortheprofile.Youcanmake this linewitha2Bcharcoalpencildirectlyonto thedrawingpaperifyouchoosenottotracethestructuralsketchontothedrawingpaperatalaterstage.

RELATEDTOPICS•Eyeglasses•FacialHair•Ears

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•Noses

SketchtheHeadFormandLinesfortheFeaturesSketch the overall form of the head, following the proportions previouslydetermined.Addlinesfortheplacementoftheeye,noseandmouth.

SketchLinesfortheBrow,UpperLip,NeckandShouldersSketch lines for the placement of the browandupper lip. Sketch lines for theneckandshoulders.

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DefinetheProfileFeaturesandAddtheEyeandEarDefinetheprofileofthefacebyshapingtheforehead,brow,nose,lipsandchin.Sketchtheeyeasatriangleshapeandformtheear.

AddandDefinetheStructuralFeaturesAddanddefinethefeaturesthatmakeupthestructuralsketchincludingtheeye,nose,toplip,ear,eyeglassframes,goatee,hatandshirt.

6 TracetheImageOntoDrawingPaperUsingalightbox,tracethenecessarylinesoftheimageontodrawingpaperwitha2Bcharcoalpencil,oreraseanyunwantedlinesifyouchosetoworkdirectlyonthedrawingpaperwiththe2Bcharcoalpencil.

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AddLightValuesOvertheImageWith light side-by-side strokes of the 2B charcoal pencil, add values to theimage. The pencil strokes can be smeared with a facial tissue to soften thevalues. You’ll make the highlights by lifting off the charcoal with a kneadederaseratalaterstage.

AddMiddleValuesAdd themiddlevalueswithmorecharcoalpencil strokes,with the left sideofthe facebeingsomewhat lighterbecauseof the light source.Lightlysmear thecharcoal with a tissue. Remember to rest your hand on a slip sheet to avoidunwantedsmearsandfingerprints.

SlipaSheetUnderItRemember to use a slip sheet under the hand you’re drawing with to avoidunintentionallysmearingyourdrawingasyouareworking.

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AddDarkerValuesAdddarkervaluestotheface,hatandleftsidebackground.Smearwithatissue.

AddDetailedDarksAdddetaileddarkstoareasincludingsunglasses,eye,earandmouth.For

moredetailedblendingofvalues,usetheblendingstump.

11 AddDetailsandMakeAdjustmentsAddfinaldetailsandmakeadjustments,includingremovinggraphitewith

a kneaded eraser tomake highlights and lighterwhiskers. Darken some areasandmakesomedarkwhiskers.Signanddateyourportrait.

EarlCharcoalpencilondrawingpaper12×9(30cm×23cm)

MotherandBabyChildren’s heads are generally smaller than those of adults. However, in thisphoto the baby’s and mother’s heads appear to be about the same size. Thefeaturesandtheirplacementwillhelptoexpresstheirages.

ReferencePhoto

Materials

Paper9×12"(23cm×30cm)finetoothdrawingpaperPencils2Bgraphitepencil4Bgraphitepencil



1

RELATEDTOPICS•ChildProportions•Eyes•Hair•Teeth•Ears

SketchtheBasicProportionsandtheShapeoftheBaby’sHeadUsinga2Bpencil,sketchtheproportionsforthewidthofthebaby’sheadwithvertical lines and the height of the headwith horizontal lines. Form the basichead shape with proportion lines. Place the baby’s head left of center on thepapertoallowroomforthemother’shead.

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SketchtheBasicProportionsandtheShapeoftheMother’sHeadContinuingwith the 2B pencil, sketch a vertical line for the placement of theforeheadandhorizontal lines for theheightof theheadwithout thehair.Formthe basic head shape following the proportion lines. Pay attention to theplacementofthemother’sheadinrelationtothebaby’shead.

SketchPlacementLinesfortheBasicFeaturesSketchlinesforthecenterofthefacesandfortheplacementoftheeyes,baseofthenosesandmouths.Remember,babiesareproportionedmuchdifferentlythanadults.

SketchMorePlacementLinesSketchlinesforthebrows,lipsandthebaby’sear.Addlinesfortheshoulders.

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SketchLinesfortheWidthoftheFacialFeaturesPlaceshortlinestoindicatethewidthoftheeyes,nosesandmouths.

FormtheFeaturesForm the facial features following the placement lines. Form the hair, shirtcollarsandfacialshapes.

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Add Detail Lines and Trace or Transfer the Images or Erase theUnwantedLinesWiththe2Bpencil,adddetaillinestothefeatures.Traceortransfertheimageontodrawingpaper,orerasetheunwantedlinesifyouchosetoworkdirectlyonthedrawingpaper.

StartAddingValuesStartaddingvaluesoverthebabyandmotherwiththe2Bpencil.Leavesomeoftheareaswhiteforthehighlights.

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ContinueWithMiddleValuesAddmiddlevaluestothebabyandmother,usingthesamepencil.

StartAddingDarksWiththe4Bpencil,adddarkstotheeyesandshadowedregions.

11 FinishWithDetailsandAdjustmentsAdd details with both 2B and 4B pencils. Lighten some areas with a

kneadederaser.Signanddateyourportrait.

MotherandBabyGraphitepencilondrawingpaper9×12(23cm×30cm)

Close-upPortraitIfindthisviewofthesubjectmorechallengingtodrawthanadirectprofilebutlesschallengingthandrawingthefullheadbecausepartoftheheadiscroppedoutof thepicture.Thisdrawsmoreattentionto thefeatures thantotheoverallform.Thoughthesubjectisinteresting,thelightingofthephotographmakestheface look flatandcouldbe improvedupon.For this reason, Iwillbroaden therangeofvaluesinthefacetoaddmoredepthtothedrawing.Themanwhomodeledforthisdemonstrationwasapersonalityatanoutdoor

historical reenactment. Such events are great places to photograph people inperiodcostumes.

Materials

Paper9×12"(23cm×30cm)fine-toothdrawingpaperPencils2Bgraphitepencil4Bgraphitepencil8Bgraphitepencil


OptionalSupplies9"×12"(23cm×30cm)sketchpaperlightboxortransferpaper

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ReferencePhotoRELATEDTOPICS

•Hats•Noses•Lips•Ears

SketchPlacementLinesWitha2Bpencil,sketchaslightlycurvedvertical linefortherightsideoftheface.Sketchcurveddiagonallinesforthebrowsandthebaseofthechin,thenalinehalfwaybetweenforthebaseofthenose.Addlinesfortheeyesandmouth.

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PlaceandFormtheBasicFeaturesPlace the eyes, and form the nose and mouth. Sketch basic shapes for theplacementof theeyesonthepreviouslydrawnline.Start toformthenoseandmouth.

PlacetheEarContinue the lines from thebrowsandbaseof thenosearound thesideof theface.Addavertical lineacrossthelinecomingfromthebaseofthenose.Thedistance between this short line and the right vertical face line is equal to thedistancebetweenthebrowlineandthechinline.

FormtheEar,Hat,ShirtandVestSketchtheformoftheear,usingthepreviouslinesforitsplacement.Addlinesforthehat,shirtandvest.

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AddLinestotheFeaturesAddlinestotheear,brows,eyesandlips.Formtherightsideoftheface,noseandchin.Sketchthecurvedlineofthehat.

AddDetailLinesandTransfertheImageorEraseUnwantedLinesWiththe2Bpencil,adddetaillinestotheeyesandbrows.Sketchthewrinklesandsideburn.Traceortransfertheimageontodrawingpaper,oreraseunwantedlinesifworkingdirectlyonthedrawingpaper.

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StartAddingValuesWith the4Bpencil, startadding themiddlevalues.Thedirectionof thepencilstrokesmayfollowthecreasesandlinesoftheface.

ContinueAddingMiddleValuesContinuecoveringthefacewithmiddlevalues,goinglighterordarkerinsomeareas.Thereismorelightontherightsideofthefacethanontheleft.Thiswillaffectthevaluesoftheindividualfeatures.

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StartAddingDarkstotheFaceAdddarkstothefacewiththe4Band8Bpencils.Someplacessuchastheneckareaandbehindtheearneedtobeverydark.

AddtheShirtandSideburnAdd values of the shirt and sideburn with a 4B pencil. To draw the

individualhairs,sharpenthepenciltoafinepoint.

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AddtheHatandVestAddtherichdarksofthehatandvestwiththe8Bpencil.

FinishtheDetailsandAdjustmentsAdddetailstotheeyes.Makeadjustmentsbylighteningsomeareaswitha

kneadederaseranddarkeningotherareaswiththe2B,4Band8Bpencils.Signanddateyourportrait.

E.B.Graphitepencilondrawingpaper9×12(23cm×30cm)

MaleTeenWithHatThelightingforthissubjectiscomingalmostevenlyfromboththerightandtheleft.Noticehowdarkthelowerleftportionofthefaceiscomparedtotherestoftheface.Includingthehandgivesmorepersonalitytothesubject.

MaterialsPaper12×9(30cm×23cm)fine-toothdrawingpaperPencils2Bgraphitepencil4Bgraphitepencil8BgraphitepencilOtherSupplieskneadederaserOptionalSupplies12"×9"(30cm×23cm)sketchpaperlightboxortransferpaper

ReferencePhotoRELATEDTOPICS

•Hands

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•Hats•Lips•Ears•Noses

SketchtheBasicProportionsandtheShapeoftheHeadWitha2Bpencil,sketchtheproportionsforthewidthoftheheadwithverticallinesandtheheightoftheheadwithhorizontallines.Theheadshouldbeplacedtotheupperleftonthepapertoallowroomforthehandandshoulder.Thelinefor the topof thehead isplaced justbelow the topof thehat.Form thebasicheadshapeusingtheproportionlines.

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SketchPlacementLinesfortheBasicFeaturesContinuing with the 2B pencil, sketch a vertical line, slightly angled, for thecenterof the face.Sketchhorizontal lines thatareslightlyangled for theeyes,baseofthenoseandmouth.

SketchMorePlacementLinesSketchhorizontallinesfortheplacementofthebrows,lipsandear.Addverticallinesforthewidthoftheear.Addlinesfortheneckandshoulders.

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SketchLinesfortheHat,Features,HandandWristSketchacurvedlineforthelowerportionofthecapandashortverticallinefortheplacementof thebrim.Use shortvertical lines to indicate thewidthof theeyes,noseandmouth.Sketchlinesforthebasicshapesofthehandandforearm,payingattentiontotherelationshipofthehandtothebrimofthehat.

FormtheFeaturesFormthefacialfeaturesincludingthebrows,eyelids,nose,lips,hairlineandtheside of the face. Form the top of the hat and brim. Add the fingers and then

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collarstotheundershirtandoutershirt.

AddDetailLinesandTransfertheImageorEraseUnwantedLinesWith the2Bpencil,adddetail lines toallof thefeatures.Traceor transfer theimage onto drawing paper, or erase unwanted lines if working directly ondrawingpaper.

StartAddingValuesWitha4Bpencil,startaddinglightervaluestothesubject.Keepthebackgroundwhite.Thehatwillbedrawndarkerthanitisinthephotoandwithouttheplaid

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pattern.

AddMiddleValuesWith thesamepencil,add themiddlevalues togivedepth to thesubject.Atalaterstageyoucanlightensomeareaswithakneadederaser.

StartAddingDarksWiththe8Bpencil,startaddingdarkstotheface,hand,armandshirt.

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M.C.Graphitepencilondrawingpaper12×9(30cm×23cm)

FinishDetailsandMakeAdjustmentsAdddetailstothefeaturesusingboth4Band8Bpencils.Lightensomeof

theareaswithakneadederaser.Signanddateyourportrait.

LittleGirlinPastelFor this drawing, I selected a gray paperwith three pastel pencils, one pencillighterandtwodarkerthanthepaper.Whenworkingwithpastelpencils,buildupvaluesslowly.Itcanbedifficulttoplaceonepasteloveranother,especiallyawhitepasteloveradarkerpastel,sobethoughtfulintheiruse.I sketched the structural drawing on sketch paper and transferred it to the

drawing paper. However, you may choose to work out the structural sketchdirectlyonthedrawingpaper.Thelightsourceisfromabove,slightlytotheright.

ReferencePhoto

MaterialsPaper12×9"(30cm×23cm)mediumgray,medium-toothdrawingpaperPencilsblackpastelpencillightgraypastelpencilmediumgraypastelpencil

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OtherSupplieskneadederaserOptionalSupplies2Bgraphitepencil12×9"(30cm×23cm)sketchpaperlightboxortransferpaper

ProportionandSketchtheShapeoftheHeadUsing a 2B pencil (or medium gray pastel pencil if working directly on thedrawingpaper),sketchanangledlinefor thecenterof theface.Proportionthetop,bottomandsidesofthehead,thenfollowtheproportionlinesfortheshapeoftheface.

RELATEDTOPICS•ChildProportions•Hair•Hands•Noses•Eyes•Mouth

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PlacetheFeaturesSketchangledlinestoplacetheeyes,noseandmouth.

PlacetheBrows,LipsandHairSketchlinestoplacethebrows,lipsandtheshapeofthehair.

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EstablishtheWidthoftheFacialFeaturesandPlacetheCollarSketchlinesforthewidthoftheeyes,noseandmouth.Sketchacurvedlinefortheshirtcollar.

DefinetheFacialFeatures

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Definetheeyes,noseandmouth.

SketchtheHandandArmSketchthebasicshapeofthehand,payingattentiontoitssizeandplacementinrelationtotheface.Addtwolinesforthearm.

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DefinetheHandSketchthefingersandthumbtodefinethehand.

AddDetailsandEraseUnwantedLinesorTraceorTransfertheImageAdd details, including hair. Erase unwanted lines if working directly on thedrawingpaper,ortraceortransfertheimageontodrawingpaperusingamediumgraypastelpencil.

9 StartShadingtheFaceStartaddingvaluestothefacewithamediumgraypastelpencil,whichisdarkerthanthepaper.

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AddShadingtotheHair,Hand,ArmandNeckContinue adding values to the hair, hand, arm and neck. The paper

providesthevalueformanyareasthroughouttheportrait,soitisn’tnecessarytogoheavywiththepastelpencil.

AddDarkValuestotheFace,HandandArmWiththeblackpastelpencil,adddarkstotheface,hand,armandneck.

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AddDarkValuestotheHairandShirtDarkenthehairandshirtwiththeblackpastelpencil.

AddLighterValuesWiththelightgraypastelpencil,addlightervaluestotheface,hand,arm

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andhair.

LittlePrincessPastelpencilongraydrawingpaper12×9(30cm×23cm)

MakeAdjustmentsandAddDetailsWith the light gray, medium gray and black pastel pencils, lighten or

darken, adding details as needed to complete the portrait. Sign and date yourportrait.

Self-PortraitinProfileThisdemonstrationisaself-portraitofme,MarkWillenbrink.Youcandrawthisportrait ofme, or you canwork froma photo of yourself, following the samesteps.To take aphotoof yourself, it is best touse a camera supportedwith atripod,thenusearemoteshutterrelease.Manydigitalcamerascanbesettotakeblack-and-whitephotos,whichareeasiertoworkfromthancolorphotoswhendoing monochromatic (one color) art because there is less guesswork whentranslating the values. A plain sheet can be used as a backdrop for thebackground.Theprimarylightsourceofmyphotoisfromtheright,causingtherightside

ofthefaceandhandtoreceivemorelightthanotherareas.

MaterialsPaper12×9(30cm×23cm)medium-toothdrawingpaperPencils2Bgraphitepencil4Bgraphitepencil8BgraphitepencilOtherSupplieskneadederaserOptionalSupplies12"×9"(30cm×23cm)sketchpaperlightboxortransferpaper

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ReferencePhoto

SketchPlacementLinesWitha2Bpencil,sketchacurvedlineforthebasicformoftherightsideoftheface.Sketchlinesfortheeyes,nose,browsandmouth.Addalineforthechin,placingitthesamedistancefromthenoseasthenoseisfromthebrows.Thoughthe hand covers the chin, sketching the chin will help place the hand andshadows.

RELATEDTOPICS•Hands

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•LightEffects•HairandFacialHair•Ears•Eyes

PlacetheEye,NoseandEarSketchtwoshortverticallinesalongthepreviouslydrawnlinetoplacetheeye.Sketch a diagonal line and a short vertical line to place the nose. Add twoverticallinesbetweenthepreviouslydrawnbrowandnoselinestoplacetheear.

FormtheFacialFeaturesFormtheeye,brow,nose,lips,ear,hair,chinandjawline.

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SketchtheIndexFingerandKnucklesStartsketching thehand,beginningwith linesfor the indexfinger,whichrestsbelowthelowerlip.Drawalinetoplacetheknuckles.

SketchtheOverallHandShapeSketcharectangleforthebackofthehand.Noticeitssizeinrelationtotheface.Add two curved lines for the thumb, paying attention to their placement inrelationtothejawline.

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Add the Shoulder, Shirt and Details, and Transfer Image or EraseUnwantedLinesSketch theshoulderandshirt.Adddetails to the faceandhand,and refine thecreasesandshadow lines.Eraseunwanted lines ifyouareworkingdirectlyondrawing paper.Otherwise, trace or transfer the structural sketch onto drawingpaperwiththe2Bpencil.

StartAddingValuesWitha4Bpencil, start addingvalues,keeping theareaswhite that receive the

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mostlight.

AddMiddleValuesContinueaddingmiddlevaluesinmanyplaces,buildinguponthelightervaluespreviouslylaiddown.

9 AddDarksWiththe8Bpencil,addthedarkvaluesincludingthehair,shirt,backgroundandshadowsonthejaw.

TestYourPortraitOnceyouhave completed a demonstration, youmay look at your portrait andthinkthatsomethingjustisn’tright.Manytimesagoodportraitisonestepawayfrom a great portrait. You can improve your work just by making simpleadjustmentsandpushingcontrasts.Placeasheetoftracingpaperoveraportraitdrawingtotestdarkeningareasofasubject.

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Self-PortraitGraphitepencilondrawingpaper12×9(30cm×23cm)

FinishWithDetailsandAdjustmentsAdddetailstotheeyesandadjustsomeofthelightsanddarks.Tomake

an area lighter, just pinch the kneaded eraser and dab to lift out some of thegraphiteinthatarea.Signanddateyourportrait.

ToddlerWithToyPhoneTo help simplify the process of drawing this portrait, think of the structuralsketchasthreeelementsplacedtogether:theheadandtorso,thetelephone,andthehandsandarms.Tomake theportrait lookbelievable, it’s important togettheseelementsproportionedandpositionedaccurately.The light iscomingfrom the left,causing the right sideof thesubject tobe

darker.

ReferencePhoto

MaterialsPaper12"×9"(30cm×23cm)medium-toothdrawingpaperPencils2Bgraphitepencil4Bgraphitepencil6Bgraphitepencil

1

OtherSupplieskneadederaserOptionalSupplies12"×9"(30cm×23cm)sketchpaperlightboxortransferpaper

ProportionandSketchtheShapeoftheHeadUsea2Bpenciltoproportionthetop,bottomandsidesofthehead.Followtheproportionlinestoformtheshapeofthehead.Noticehowthetopoftheheadiswiderthanthelowerportionofthehead.

RELATEDTOPICS•Hands•Props•ChildProportions•Teeth•Eyes•Hair

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PlacetheEyes,Nose,MouthandCenteroftheFaceContinuingwith the2Bpencil, sketch slightly angledhorizontal lines toplacetheeyes,noseandmouth.Sketchaslightlyangledverticallineforthecenteroftheface.

SketchPlacementLinesfortheBrows,LipsandEarSketchmorelinesfortheplacementofthebrows,lipsandear.

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SketchLinesfortheWidthoftheFacialFeaturesandfortheShouldersIndicatethewidthoftheeyes,noseandmouthwithshortverticallines.Sketchlinesfortheshoulders.

DefinetheFeaturesAdddefinitiontothefeatures,includingthehair,brows,nose,mouthandear.

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SketchtheTelephoneStart sketching the shape of the phone, making the long curved lines of thehandle and a similar line connecting the receiver andmouthpiece.Make suretheselinesareinthecorrectpositiontotheface.

SketchtheEndsoftheTelephoneSketchlinesforthereceiverandmouthpieceofthephone.

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DefinetheFormoftheTelephoneDefinethecurvedformsofthephoneincludingthecord.

SketchtheHandsSketch the hands with basicmitten shapes for the fingers in contact with thetelephonehandleandcord.

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SketchtheArmsSketchthebasicshapesofthearmsinrelationshiptothehands.

DeveloptheHandsandArmsSketchtheindividualfingerstodevelopthehands,andcompletetheright

arm.

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AddDetailsandEraseUnwantedLinesorTraceorTransfertheImageAdddetails including thehair, teethandshirt. Ifworkingdirectlyon the

drawingpaper,eraseunwantedlines.Otherwise,traceortransfertheimageontodrawingpaperusingthe2Bpencil.

StartShadingWithLighterValuesWitha2Bpencil,startshadingthelighterareasofthesubject.Mostofthe

phonehandlecanbekeptwhite.Thedarkerformoftheshirtwilldistinguishitfromtheshapeofthephone.

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AddMiddleValuestotheFace,HandsandArmsWith a 4B pencil, add middle values to the face. Most of the light is

comingfromtheupperleftwithsomereflectedlightontherightsideoftheface.Addmiddlevaluestothehandsandarms.

AddMoreMiddleValuesContinueaddingmiddlevaluestothehair,phoneandshirt.

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AddDarkstotheBackgroundWith the 6B pencil, add dark values to the background.Notice that the

darkestareasaretowardthetoparoundthehead.

AddDarkstotheSubjectWith 4B and 6B pencils, add darks to the hair, eyes, nose, mouth and

fingersofthesubject.

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J.T.Graphitepencilondrawingpaper12×9(30cm×23cm)

MakeAdjustmentsandAddDetailsAdjustbyerasinganddarkeningdifferentplaces,andadddetails.Signand

dateyourportrait.

FinishingYourPortraitsNowit’stimetoprepareyourportraitsfordisplay.Framingyourportraitsmaynotseemimportantnow,butonceyouhavecompletedthesesteps,youwillseeyourportraitsinawholenewlight.Theywillhaveamorefinished,professionallookthatwillmakeyouproudofyourmasterpieces.

UsingaFixativeYoumaychoosetosprayafixativeonyourdrawings,particularlyartworkdonewith charcoal or pastel, which is more prone to smearing over time. Beforesprayingyourartwork,checktoseethatitisfreeofdustandotherparticles.Besuretofollowtheinstructionsonthespraycan,anduseonlyinawell-ventilatedarea.

AllDressedUpFrames and mats should complement the art and express the general themewithoutdistracting from theart itself.Someartists includeanameplateon thefrontoftheframethatstatesthetitleoftheartpieceaswellastheirname.Thebackmay be coveredwith a sheet of craft paper,which acts as a dust cover.Bumpers keep the frame from resting directly against awall and allow air tocirculate around the painting to prevent mold. Youmay also want to place astickerstatingtheartist’sinformationontheback.

DressedforSuccessAnattractivematandframeenhanceadrawingandgiveitafinishedlook.

Conclusion

Thisbookisonlythebeginning.Youmaywanttorevisitsomeofyourfavoritedemonstrationstohoneyourskillsanddevelopyourownartisticstyle.Takeyourtimeandbepatientwithyourself.Lookatyourpreviousartworkto

see theprogressyou’vemade.Drawingportraits isaskill thatgetsbetterwithpractice.Theknowledgeandexpertisegainedthroughdrawingportraitscanbeapplied

topaintingportraits inothermediums.OurotherAbsoluteBeginnerbooksaregreatresourcesforlearningnewsubjectsandmediumsasyoucontinueonyourartisticjourney.Havefunandkeepupthegoodwork!

MarkandMaryWillenbrink

PortraitStudyPastelpencilongraydrawingpaper9×6"(23cm×15cm)

Glossary

AArt horse: (or drawing horse, horse bench) a bench used for sketching anddrawingwithapropforadrawingboard.

BBlack-and-whitedrawing: also called chiaroscuro, adrawing thatdefines thesubjectusinghighlycontrastingvalues.

Blending stump: also referred to as a tortillion, a roll of tightly wound softpaper,aboutthesizeofapencil,usedforblending.

Blindcontoursketch:acontoursketchcreatedwithouttheartistlookingattheartinprogress.

CCarbonpencil:apencilwithacarboncore.

Caricature:adrawingthathasdistortedthefeaturesofthesubject.

Castshadow:ashadowcastontoanotherform.

Charcoalpencil:apencilwithacharcoalcore.

Charcoalstick:astickmadeofcharcoalwithnooutercasing.

Chiaroscuro: also referred to in this book as black-and-white drawing, adrawingdefinedbyhighlycontrastingvalues.

Coloredpencil:apencilwithacoloredcorebutalsoavailable inblack,whiteandgrays.

Continuouslinesketch/drawing:seecontoursketch/drawing.

Contoursketch/drawing:alsoreferredtoasacontinuouslinedrawing,asketchor drawing that is done by keeping the pencil in contact with the paper andmovingthepencilalongthesurface,whilestudyingthecontoursofthesubject.

Contrast:differingvalues.

Copierpaper:inexpensivepaperusedincopymachinesorprinters.

Crosshatching:linesoverlappingindifferentdirections.

DDivider:atoolsimilarinappearancetoacirclecompassusedformeasuringandproportioning.

Drawing:afinishedrepresentationofasubject.

Drawing board: a sturdy board with a smooth surface used as a support forsketchinganddrawingpaper.

Drawing paper: heavyweight paper used for drawing, usually 80 to 90 lbs.(170gsmto190gsm)ormore.

EErasingshield:athinmetalshieldusedtomaskareasduringerasing.

FFixative:asprayappliedtodryartworktopreventsmearing.

Formshadow:ashadowonasubjectthatdisplaysitsform.

Frisket: a sheet of paper used to cover part of a drawing to control theplacementofthepencilstrokes.

GGraphitepencil:apencilwithagraphitecore.

Graphitestick:astickmadeofgraphitewithnooutercasing.

HHighlights:thelightest,brightestareasofasubject.

KKneadederaser:asoft,puttylikeeraser.

LLead:commonreferencetothecoreofapencil.

Lead holder: a type of mechanical pencil that can accommodate thickergraphitethanothermechanicalpencils.

Lightbox:ashallowboxwithalightinsideandatranslucentsurfacethatisusedtotraceartwork.

Lightsource:theoriginoflightinacomposition.

MMechanicalpencil:apencilthatallowsforrefillablegraphite.

PPad:astackofsheetsofpaperthatisattachedatoneside.

Pastelpencil:apencilwithapastelchalkcore.

Pencil extender: a pencil handle with a sleeve to hold pencils that wouldotherwisebetooshorttohold.

Pencilsharpener:adeviceusedtoformtheendofapenciltoapoint.

Proportionlines:linesusedtoobtainthecorrectproportionswhendrawing.

RReferencephoto:aphotousedtostudyasubject.

Reflectedlight:lightthatisreflectedfromonesurfaceontoanother.

Rotaryleadpointer:adeviceusedtosharpenthegraphiteofaleadholder.

SSandpaperpad:asmallpadofsandpaperusedtosharpenthecoreofapencil.Sewinggauge:atoolwithamovableguidethatcanbeusedformeasuringandproportioning.

Sketch:arough,unfinishedrepresentationofasubject.

Sketch paper: lightweight paper used for sketching, commonly 50 to 70 lbs.(105gsmto150gsm).

Slipsheet:asheetofpaperplacedoveraportionofadrawingsothehandcanbeplacedontopwithoutsmearingthedrawing.

Structural sketch: a sketch of a subject showing the basic structural formwithoutvalues.

TTooth:theroughnessofapaper’ssurface.

Tracingpaper:thin,translucentpaperusedfortracing.

Transferpaper:alsoreferredtoasgraphitepaper,agraphite-coatedpaperusedfortransferringastructuralsketchontodrawingpaper.

V

Valuescale:acardboardorpaperstripthatshowsarangeofvaluesfromblacktowhite.Valuesketch:asketchthatdisplaysthelightsanddarksofasubject.

Values:thelightsanddarksofasubject.

WWhitevinyleraser:asoft,nonabrasiveeraser.

Woodlesspencil:apencilmadeofacylinderofgraphitecoatedwithlacquer.

Acknowledgments

First,wewant to thankallof the individualswhoallowed theirportraits tobeused.Youmadethisbookunique!A special thanks to all those at F+WMedia, Inc. who worked behind the

scenes forus tomake this anotheroutstandingAbsoluteBeginner book:LauraSpencer, designer; Mark Griffin, production coordinator; Kirstie Runion,editorial intern; NicoleMiller, publicist; and Stefanie Laufersweiler, freelancecontenteditor.Mary Bostic, we thank you for all you do as our editor. Again, youmade

everythinggososmoothly.Youareagifttous!Throughoutthewritingofthisbook,ourfriendsandfamilyconstantlyshowed

their love and support. And as a husband andwife team, we express to eachotherhowmuchweenjoyworkingtogetherandappreciateeachother,butit isnicetodoitinwriting.Lastly,wethanktheLordforHisinspiration.WebelieveHeistheauthorof

ourindividuality.

EyesofInnocenceGraphitepencilondrawingpaper7×7(18cm×18cm)

Dedication

Wededicate thisbook toourchildren.Thankyouforyourwillingness tobeapart of the development of this project. Your contributions have made this agreatbook!

AbouttheAuthors

Mark and Mary Willenbrink are the best-selling authors of the AbsoluteBeginnerseries.Markisalsoafineartistandteachesartclassesandworkshops.Hiswebsiteiswww.shadowblaze.com.MarkandMaryliveinCincinnati,Ohio,withtheirthreechildren,twocatsandbordercollie.

http://www.shadowblaze.com

Drawing Portraits for the Absolute Beginner. Copyright © 2012 by Mark and Mary Willenbrink.ManufacturedinChina.Allrightsreserved.Nopartofthisbookmaybereproducedinanyformorbyanyelectronicormechanicalmeansincludinginformationstorageandretrievalsystemswithoutpermissioninwritingfromthepublisher,exceptbyareviewerwhomayquotebriefpassagesinareview.PublishedbyNorthLightBooks,animprintofF+WMedia,Inc.,10151CarverRoad,Suite200,BlueAsh,Ohio,45242.(800)289-0963.FirstEdition.

OtherfineNorthLightBooksareavailablefromyourfavoritebookstore,artsupplystoreoronlinesupplier.Visitourwebsiteatwww.fwmedia.com.

161514131254321

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EditedbyMaryBurzlaffBosticDesignedbyLauraSpencerProductioncoordinatedbyMarkGriffin

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MetricConversionChart

Toconvert to multiplybyInches Centimeters 2.54Centimeters Inches 0.4Feet Centimeters 30.5Centimeters Feet 0.03Yards Meters 0.9Meters Yards 1.1

Drawing Portraits for the Absolute Beginner : a Clear and Easy Guide to Successful Portrait Drawing

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