Drawing Portraits: The easy way - Part 2 [1 ed.] 9781909601109

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Fine Art Drawing Academy Drawing Portraits: The easy way Part 2 Author: Paul Christian Brown Published by Fine Art Drawing Academic Press England First electronic edition, 2020. eBook ISBN: 978-1-909601-10-9

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, or by any information storage retrieval system without permission from Fine Art Drawing Academic Press. Copyright © Fine Art Drawing Academic Press

Introduction This book does not bother with lengthy explanations regarding techniques and materials. Instead, it utilises a well refined technique and limited materials. In doing so, an aspiring artist can get straight to drawing effective and professional quality portraits as quickly as possible. In this short series of four portrait books, part 2 focuses on learning how to draw 8 different kinds of portrait, starting from a baby girl up to an old woman. Owing to the simplicity of the materials and technique, by the end of part 2, each student should be able to draw a well-balanced and good quality portrait. The focus of The Fine Art Drawing Academy for drawing portraits is to make sure future artists and hobbyists understand scale, light and shade as well as harmony. There is no reason why anyone who has the desire cannot master portrait drawing. Moreover, it is believed that this technique can remove any unnecessary hassle from what is considered the hardest skill to master in drawing. If you require any further information about current or future products, please contact us: [email protected]

Example of how one of the portraits is drawn:

Portraits 1 - 4

Portraits 5 - 8

Table of contents Chapter 1: Materials Chapter 2: Drawing the outline of a portrait Chapter 3: Portrait 1 – Baby girl Chapter 4: Portrait 2 – Young girl Chapter 5: Portrait 3 – Teenage girl Chapter 6: Portrait 4 – Young woman Chapter 7: Portrait 5 – Woman with hat Chapter 8: Portrait 6 – Woman at an angle Chapter 9: Portrait 7 – Woman with glasses Chapter 10: Portrait 8 – Old woman Chapter 11: Final thoughts

Chapter 1: Materials The use of 6 different types of pencil is required. For most portraits, the same 6 kinds of pencil are used. There is no deviation from this; as a result, the technique should be uniform. Thus, simplicity and replicability make it easier for students to draw their own portraits after they have completed this book.

Materials: F graphite (Staedtler Mars Lumograph or Faber Castell is recommended) 2B graphite (Staedtler Mars Lumograph is highly recommended) 4B graphite (Staedtler Mars Lumograph is highly recommended) 2B carbon pencil (Wolff’s Carbon is highly recommended) Substituting this with a charcoal alternative is not recommended. Black coloured pencil (Faber Castell or Prisma Colour is recommended) (0.5mm) mechanical pencil (Staedtler Mars Micro is recommended) Bristol board white paper (For this method, this is absolutely essential) Tissue paper (This is used for blending, so the softer the better)

Chapter 2: Drawing the outline of a portrait There are 3 useful methods for obtaining the necessary outline for a given portrait: 1) Using a grid. This method involves drawing a grid on both the picture of the portrait and your own Bristol board paper, and then copying from the picture. It is both classical yet still widely used and considered acceptable by most if not all artists.

2) The use of a LED drawing tracing pad is also recommended. However, to some this might seem like cheating; it is entirely up to the individual to decide.

3) Naturally, a careful observation of the subject and subsequent freehand drawing is also desirable. Such a method will prove a student’s mastery of portrait drawing. It could be argued, however, that once a student has learnt to draw a portrait like this, there is no need to do it each time. For all methods, use an F graphite pencil, because it is soft and will not make any abrasive marks. Furthermore, it can be erased without leaving any smudges and/or scuffs.

Chapter 3: Portrait 1 – Baby girl Step 1: As already explained, choose one of the three methods for drawing an outline. Just make sure that the line is not too dark or too light.

Make sure to get as much information in the line drawing as possible: more

information will make it easier to get a feel for how the final drawing will look.

Step 2: Gently erase the outline of the face so that it can just about be seen. This reduces the appearance of lines in the final drawing. Using the 2B carbon pencil or black coloured pencil, gently add lines around the eyes and pupil as shown below. These areas, as well as underneath the nostrils and the inside of the mouth, are the darkest areas of the drawing.

It is important to note that for this method, the 2B carbon pencil or black

coloured pencil is used sparingly. That is because it is a truly dark and potent shade; too much usage could spoil the final outcome.

Step 3: Gently smudge some of the carbon pencil marks into the surrounding areas, but only a little. This helps with the blending and shading later on. Use a cotton bud for this minor blending/smudging.

It is not absolutely necessary to do this, but it helps develop a bridge between the carbon pencil marks and subsequent graphite pencil marks. It is important to note that graphite pencils can be drawn on top of carbon

pencil marks, but it is impossible to draw carbon pencil marks on top of graphite pencil marks.

Step 4: Using the F graphite pencil, gently shade the iris part of eye as well as some of the eyeballs themselves on either side if necessary.

When shading the eyes, a slow build up of graphite pencil is recommended, since it adds depth and complexity to the overall effect.

Step 5: Using the 2B carbon pencil or black coloured pencil, start shading or adding simple marks in the nostrils and the inside part of the mouth. Again, use this pencil sparingly, as too much will affect the final drawing’s balance.

Then, using the F graphite pencil, gently shade the entire face. This could be considered the ‘underdrawing’. This term has been developed from the concept of an ‘underpainting’ in classical oil painting. The reasoning behind it is that an underdrawing can form a base from which additional shades and structures can be developed. As a result, the final drawing will have a noticeable depth and quality not achieved via other methods. After it has been completely covered, use some soft tissue paper and gently

blend all of it together to produce an even and clean look.

Step 6: At this stage, the 2B graphite can be used. In chapter 1, the Staedtler Mars Lumograph is highly recommended. The reason is as follows: This particular brand has been chosen due to how easily it can be applied and blended. It has a soft, deep consistency, not observed with other pencils. That is not to say that other brands are not sufficient, just that this methodology has been developed over time, with many trials and errors already made. The student should therefore feel confident that the methods and materials prescribed in this book are appropriate.

For the eyebrows, just add shading and, if necessary, a few lines to indicate hairs. At this stage it is the overall shape, not any particular details that is important.

Step 7: As shown below, a thorough use of the 2B graphite pencil is necessary to block in as much shading as possible. Pay careful attention to the lips. The lips require several layers of both 2B graphite and some 4B graphite at the end. And again, use the soft tissue paper to blend carefully.

Step 8: At this stage, the 4B graphite pencil can be used. This is used in the final stages for the darkest shades for the entire face.

It is up to the student to decide how dark or light the final drawing will be, so application of the 4B graphite is somewhat subjective.

Step 9: If steps 8 and step 9 are compared, then there is usually a difference in quality. This is due to a further layer of F graphite being applied in step 9. This should be a staple, because when using 2B or 4B graphite pencils, it is possible to get a ‘grainy’ texture appearing, so the F graphite smooths the drawing out. In addition, the hair area has a layer of F graphite and 2B graphite applied. This, again, acts as an underdrawing for the hair.

Step 10: At this stage, some lines are added in the hair area using the mechanical pencil. This pencil is without a doubt the best pencil for drawing hair. No other kind of pencil is recommended. These lines should be drawn swiftly and fairly evenly.

Step 11: In this final stage, the hair is shaded carefully, and additional hair strands are added if necessary. Moreover, at this final stage, it might be prudent to pick up any details and/or shading imbalances that were previously missed. An eraser is used to make the tiny white lines in the hair.

Chapter 4: Portrait 2 – Young girl In the following 7 portraits, brief explanations are given since the methodology is the same. There may be fewer or more steps in the following portraits, but this is due to additional complexities or fewer. Step 1: Outline of face with F graphite.

Step 2: Use 2B carbon pencil or black coloured pencil for eyes.

Step 3: Gently blend carbon pencil lines into surrounding areas.

Step 4: Use F graphite for iris and sides of eyeballs.

Step 5: Use 2B carbon pencil or black coloured pencil for nostrils and mouth, and F graphite for entire face.

Step 6: Use 2B graphite for darker shading and eyebrows.

Step 7: Use 2B graphite for entire face except lightest areas. Also start applying 4B graphite for darkest areas.

Step 8: Make all the necessary shading using a combination of 2B and 4B graphite. Use soft tissue paper as often as is required to smooth it out.

Step 9: Use F graphite and then 2B graphite for layering the hair area. Then make sure to smooth the hair area to the same standard as the face area.

Step 10: Using a mechanical pencil, add hair lines where necessary.

Step 11: At this stage, white lines can be added using an eraser to add depth and an indication that her hair is blonde.

Step 12: Finally, use 2B graphite to make final darker hair strands, and add more white lines according to what is required.

Chapter 5: Portrait 3 – Teenage girl Step 1: Outline of face with F graphite

Step 2: Use 2B carbon pencil or black coloured pencil for eyes, nostrils and mouth.

Step 3: Gently blend carbon pencil lines into surrounding areas.

Step 4: Use F graphite for iris.

Step 5: Use F graphite for entire face, except teeth.

Step 6: Use 2B graphite for darker shading and eyebrows.

Step 7: Use 2B graphite for entire face except lightest areas. Also start applying 4B graphite for darkest areas.

Step 8: Keep using a combination of 2B and 4B until the desired skin tone is obtained.

Step 9: Use F graphite and then 2B graphite for the hair area. At this stage, 4B graphite is also used in the darkest areas of the hair.

Step 10: Using a mechanical pencil, draw as many hair strands as possible. F graphite can be used to add a slight bit of shade for the teeth.

Step 11: Use 2B and 4B graphite for the hair, and also some more F graphite and a little 2B graphite for the teeth.

Step 12: Finally make white lines in the hair using an eraser as required.

Chapter 6: Portrait 4 – Young woman Step 1: Outline of face with F graphite

Step 2: Use 2B carbon pencil or black coloured pencil for eyes, nostrils and mouth.

Step 3: Gently blend carbon pencil lines into surrounding areas.

Step 4: Use F graphite for iris and sides of eyeballs, and shade entire face with F graphite.

Step 5: Use F graphite and 2B for the lips.

Step 6: Use 2B graphite for darker shading and eyebrows. And then use 4B graphite for some darker areas.

Step 7: Use more 2B graphite for entire face except lightest areas. Also use more 4B graphite for darkest areas of entire face.

Step 8: Use a combination of 2B and 4B graphite to obtain the desired skin tones.

Step 9: Use F graphite and 2B graphite for the hair area.

Step 10: Using a mechanical pencil, make hair strands. These hair strands are longer, so it is good practice to keep your elbow pivoted on the desk. If you try and draw hair strands with your arm completely in the air, it becomes unnecessarily challenging.

Step 11: Use 2B and 4B graphite to draw the darker hair strands. Using an eraser, make longer lines indicating lighter hair areas.

Step 12: Finally, make all the necessary adjustments and alterations to the hair and face so that it all comes together.

Chapter 7: Portrait 5 – Woman with hat Step 1: Outline of face with F graphite

Step 2: Use 2B carbon pencil or black coloured pencil for nostril and mouth.

Step 3: Gently blend carbon pencil lines into surrounding areas.

Step 4: Use F graphite for the mouth and entire face.

Step 5: Use 2B and 4B graphite for darker shading and F graphite for the hat.

Step 6: Use 2B graphite for entire face except lightest areas. Also start applying 4B graphite for darkest areas.

Step 7: Keep using a combination of 2B and 4B graphite for the entire face and hat.

Step 8: Use F graphite and 2B for the hair area. Here, a few hair strands are shown, but are not necessary.

Step 9: More hair strands are drawn using 2B and 4B graphite.

Step 10: In the final step, the error on the hat has been corrected, and the usual white lines are added to the hair.

Chapter 8: Portrait 6 – Woman at an angle Step 1: Outline of face with F graphite.

Step 2: Use 2B carbon pencil or black coloured pencil for eyes, nostrils and mouth.

Step 3: Gently blend carbon pencil lines into surrounding areas.

Step 4: Use F graphite for iris and sides of eyeballs.

Step 5: Use F graphite for entire face.

Step 6: Use 2B graphite for darker shading and eyebrows.

Step 7: Use 2B graphite for entire face except lightest areas. Also start applying 4B graphite for darkest areas.

Step 8: Use a combination of 2B and 4B graphite to obtain the desired skin tone.

Step 9: Use F graphite and 2B for the hair area.

Step 10: Use mechanical pencil to make hair strands.

Step 11: Use 2B and 4B graphite for darker hair strands.

Step 13: Finally, make some white lines in the hair.

Chapter 9: Portrait 7 – Woman with glasses Step 1: Outline of face with F graphite.

Step 2: Use 2B carbon pencil or black coloured pencil for eyes.

Step 3: Gently blend carbon pencil lines into surrounding areas.

Step 4: Use F graphite for iris and sides of eyeballs.

Step 5: Use 2B carbon pencil or black coloured pencil for nostrils and mouth, and F graphite for entire face, except teeth.

Step 6: Use 2B graphite for darker shading and eyebrows.

Step 7: Use 2B graphite for entire face except lightest areas. Also start applying 4B graphite for darkest areas.

Step 8: Keep using a combination of 2B and 4B graphite for entire face until the desired skin tone is achieved.

Step 9: For the glasses, the 2B carbon pencil is used.

Step 10: Use F graphite and 2B for the hair area.

Step 11: Use mechanical pencil to make initial hair strands.

Step 12: Use 2B and 4B graphite for darker hair strands and eraser for white strands.

Step 13: Finally, keep making all the relevant and necessary white lines in the hair.

Chapter 10: Portrait 8 – Old woman Step 1: Outline of face with F graphite.

Step 2: Use 2B carbon pencil or black coloured pencil for eyes.

Step 3: Gently blend carbon pencil lines into surrounding areas.

Step 4: Use F graphite for iris and sides of eyeballs.

Step 5: Use 2B carbon pencil or black coloured pencil for nostrils and mouth, and F graphite for entire face.

Step 6: Use 2B graphite for darker shading and eyebrows.

Step 7: Use 2B graphite for entire face except lightest areas. Also start applying 4B graphite for darkest areas.

Step 8: Use a combination of 2B and 4B graphite for entire face until the desired skin tone is achieved.

Step 9: Use F graphite and 2B for the hair area.

Step 10: Use mechanical pencil to make hair strands.

Step 11: Use 2B and 4B graphite for darker hair strands.

Step 12: Finally, make some white lines in the hair using an eraser.

Chapter 11: Final thoughts By the end of this book, it should be clear that the technique is consistent, and the materials have been kept to a minimum. That is not to say that students should not modify this technique to suit their needs, but it could be considered a useful starting point for learning how to draw portraits. [email protected]