Secrets To Drawing Realistic Faces by Blixer PDF

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https://www.slideshare.net/evinhal210186/secretstodrawingrealisticfacesbyblixer 1/145
26SimplificationThevisibleworldaroundyouisrichininformationactually,thereistoomuch
informationforany...
27PhotobyKellyDulanty12"9"(30cm23cm)Lookatthegirlshairandface.Withouttheappropriate
shadingherfea...
SiteWhenartistsrststarttodraw,theyusuallybeginbysketchingtheoverallimagesthelocationand
placementofwh...
Anyobjectinfrontofyouismeasurable.Mostpeoplehavebeentaughttomeasureanobjectbycomparing
ittosomethi...
ChooseabaselineSelectanobjectinthephotographthatismeasurablewithastraightline,suchasthe
widthoftheeye...
32HowtoestablishabaselineonathreedimensionalsubjectSelectthebaselineonthesubjectSelecta
portionofthef...
33ComparethebaselinemeasurementtothefigureUsingthemeasurementofthetipofthepenciltoyour
thumb,compareth...
34OK,soImeasuredit.Nowwhat?Letssummarizewhatyouvelearnedsofar.Toestablishthecorrect
proportionsofat...
35MeasurethelocationoftheeyesComparethedistancefromthetopoftheheadtotheeyes.Thiswillbe
thefirstand...
36EnlargeyourdrawingtheeasywayScrappysolutionToenlargeadrawing,takeascrapofpaperand
marktheoriginalme...
37ReuseorReverseYouwillusetheenlargedsideofthepapertodrawthatsamefeatureagainandagain.
Youcanpropo...
38MeasuringcurvedshapesMeasuringacurvedshapewithastraightedgecancauseyouproblems.Itis
difculttocorre...
IfImakeanimaginarylinestraightdownfromtheeyeinthisphotograph,itwillbringmetotheoutsideof
thenose....
TIPYoucancreateareusablegridthroughavarietyofmethods:Makeagridonacomputerandprintiton
anacetateov...
Usingtheflatteningandopticalindexingtools,IwasabletoaccuratelylineupthefeaturesofJefferys
face.Theop...
ShapeYouhavelearnedhowtomapoutthelocationsofthefacialfeatures.Nowyouneedtofocusonthe
featuresthems...
44Learningtorecognizeshapesinaphotographorimagetakestraining.Youneedtotrainyourmindwhat
tolookfor.O...
EveryoneneedspracticeSee,nobodysperfect.Heresanexampleofoneofmyearlyefforts.Lookatme
now!Isolatingfea...
46Inchaptertwo,Imentionedthatchildrennddrawingcartoonandcomicstripcharacterseasy.Thisis
becausethedraw...
47Acorrectlyproportionedeye.RelatingshapesThereisanassociationbetweenthevariouspartsofthe
eyethatyouc...
48Inthelastchapter,youlearnedthatyoucanmeasureanythinginfrontofyou.Thismethodhelpslocate
thefacialfea...
49Anotherwaytolearntoseeshapesistoinvert,orturn,thelinedrawingupsidedown.Sometimesthe
mindcantmake...
50Turningsomethingupsidedownforcesyourbraintolookforshapes.Eventheverbalormentalactof
referringtofacia...
51Negativespaceisdenedastheemptyspacesurroundingapositive(solid)shape.Thewholeofapicture
ismadeupof...
52Areyoupositive?Howcantherebenegativespaceonafacewhentheentirefaceisapositiveshape?
Actually,positiv...
FromthebeginningThistoolissonamedbecauseyouaskquestions:Whatistheline/edgedoing?Inwhat
directionisit...
54Doesthislinegoonforever?Asyouaredrawingthefirstlineinonedirection,thefaceeventuallyhas
anotherangle...
55Itsoftenastruggletomakeadrawingandapicturelookalike.Thisisespeciallytruewhenyouare
drawingafami...
Andtheansweris...Moveyourhandover,andlookatthetwoshapessidebyside.Youhaveremovedthe
backgroundnoise...
Byclosingmyoneeye,Iwasbetterabletotranslatethisthreedimensionalimagetomytwodimensional
paper.Withoutth...
ShadeProbablythesinglemostrequestedtopicmystudentsaskforisinformationaboutshading.Howdo
youmakesomethin...
60Tounderstandshading,youneedtoknowthreethings:Whattolookfor,howtoevaluatewhatyoure
seeingandanyusef...
61HolditrightthereThisisthestandardwayyouholdyourstump.Itonlyworksifyouaresmudginga
smallarea.Uset...
ApplyevenpressureTakeyourpaperstumpandblendintothefaceusinglong,smoothstrokes.Establishan
edgeStartwith...
RepeatasnecessaryYourgoalistonotgoimmediatelytothefinishedvaluebuttobuildvaluesuponthe
face.Youmayn...
ShadeToolsValues/Lines64Nowwewilldelveintothedeep,innerpsychologyofart,askingtheageold
question,Whatis...
65Oncedrawn,nevererasedLookatthisdrawing.Youknowitisincorrect,andcertainlydoesntappear
real.Butwhats...
66LinekillingThesideofthefaceisanexampleoflinekilling(andyouthoughtthiswasanonviolentart
book).Youd...
67NolineatallBetteryet,givenyourmindsabilitytodeceiveyou,dontdrawsomelinesinatall.The
upperliphas...
Awaytophysicallycheckthatyourshadingisthecorrectvalueistocomparethevaluesbetweenyour
drawingandthep...
Missingsomething?Inthisdrawing,youcannotseeonesideoftheface.Yourperceptionandmemorytell
youthattherear...
70ItdoesnthavetomakesenseMyhusband,Rick,wantedtodoaselfportraitshowinghimselfasanold
timeriverboatb...
SeekShadeTools71Ihaveaconfession:Myhusband,whomIadore,lovesthebanjo.There,Ivesaidit.He
studiestheban...
72RoundfacesIdentifytheroundshapesontheface:forehead,nose,eyes,cheeks,lips,chin,ears,face,
evenhair.App...
Theseektoolworksespeciallywellhere.Therearemanyroundedsurfacesthatcontaintheparticular
shadingpatternof...
74Thenalgeneraldrawingprincipleistocheckyourworkforaccuracy.Asyouwork,yourmindis
processingandplaci...
Walkingawayandtakingabreakhelpedmeironoutsomeoftheintricateshadingissuesinthisdrawing.
Sometimesallyou...
DrawingEyesSomuchhasbeenwrittenabouttheeye.HenryTheodoreTuckermanwrote,Theeye
speakswithaneloquence...
78Eyesareshapes,soyouwillusetheshapeandshadingtechniquestohelpdrawthembetter.This
sectionisthepract...
SubtractoutthedoohickeyYouprobablythoughttheinsidecorneroftheeyewascalledthemedialcanthus.
Icallitthe...
80Nowthatyouhaveestablishedtheinitialmeasurements,youmustndthecenterofthewhiteoftheeye
notthecenter...
81AptpupilsYouwillberepeatingtheprocessyoulearnedonpage47,butletsreviewitonemoretime.
Usingthemarks...
Wideopeneyes82Thisisagoodplacetostopandrevisitthetopicofrelate.Remember,thismeansthat
onceyouhave...
Averageeyes83
Sleepyeyes84
85Abovetheeye,theuppereyelidformsacrease.Intheaverageeye,thislookslikealinefollowingthe
uppereyelid....
KeepitneatBeforeshadingtheeyes,erasetheinteriorguidelinesyouhavemade.Leavethecrosshairsin
theiris,asy...
87ShadetheirisTokeepthecircleoftheirisneat,leavethecircletemplateinplaceinitiallyasyoushade.
Afterfi...
AddthefinishingtouchesFinally,useyourkneadederasertolightentheirisonthesideoppositeofthe
highlight.This...
89Eyebrowsaremadeofshorthairs.Interestinglyenough,apencilstrokeisshapedlikeahairfatwhere
itstartsan...
90EyebrowshapeEyebrowsmaycurve,bestraight,closetotheeyes,haveabendinthemorarchhighor
low.
91Useyourtools!Onceagain,usethetoolsforseeingthatyouhavelearnedaboutinthepastfewchap
ters.Eyebrows...
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1.1.Diana,ShilohandAynsleeStuart11"14"(28cm36cm)
2.2.NORTHLIGHTBOOKSCINCINNATI,OHIOwww.artistsnetwork.comsecretstoFACES
DRAWINGREALISTICCARRIESTUARTPARKS
3.3.CARRIESTUARTPARKSisanawardwinningwatercoloristandinternationallyknownforensic
artistandinstructor.In1981,CarriebeganworkingasaparttimeforensicartistfortheNorthIdaho
RegionalCrimeLabinCoeurdAlene,Idaho.Fouryearslatersheattendedacompositedrawingclass
taughtbytheFBI,andbecametherstcompositeartistinherarea.SoonCarriespeerswereasking
hertoshareherknowledgewiththem.Carriedevelopedasurereandcondensedinstructional
coursetoteachanyonewhateverageorskilllevelhowtocreaterealisticportraits.Carrieandher
husband,Rick,travelacrossthenationteachingcompositedrawingcoursestoFBIandSecretService
agents,lawenforcementagenciesandcivilianadultsandchildren.Carriehaswonnumerousawards
forexcellenceforherinstructionandgeneralcareerexcellence.Carriesstrikinglyrealisticcomposites
havehelpedsuccessfullyidentifyandcapturesuspectsacrossthecountry,includingserialmurders,
rapists,whitesupremacistsandbombers.CarriescompositeshavealsobeenfeaturedonAmericas
MostWantedand20/20.RickandCarrie(Stuart)Parksresideona680acreranchinNorthIdaho
whereCarriegrewup.Youmaycontactherbyemailatbanjoart@nidlink.comoratherWebsite
http://www.imbris.net/~banjoart/table.htmlMetricConversionCharttoconverttomultiplybyInches
Centimeters2.54CentimetersInches0.4FeetCentimeters30.5CentimetersFeet0.03YardsMeters
0.9MetersYards1.1Sq.InchesSq.Centimeters6.45Sq.CentimetersSq.Inches0.16Sq.FeetSq.
Meters0.09Sq.MetersSq.Feet10.8Sq.YardsSq.Meters0.8Sq.MetersSq.Yards1.2Pounds
Kilograms0.45KilogramsPounds2.2OuncesGrams28.3GramsOunces0.035SecretstoDrawing
RealisticFaces.Copyright2003byCarrieStuartParks.ManufacturedinSingapore.Allrights
reserved.Nopartofthisbookmaybereproducedinanyformorbyanyelectronicormechanical
meansincludinginformationstorageandretrievalsystemswithoutpermissioninwritingfromthe
publisher,exceptbyareviewerwhomayquotebriefpassagesinareview.PublishedbyNorthLight
Books,animprintofF&WPublications,Inc.,4700EastGalbraithRoad,Cincinnati,Ohio45236.
(800)2890963.Firstedition.OtherneNorthLightBooksareavailablefromyourlocalbookstore,
artsupplystoreordirectfromthepublisher.0605040354321LibraryofCongressCataloging
inPublicationDataParks,CarrieSecretstodrawingrealisticfaces/CarrieStuartParks.1sted.
p.cm.Includesindex.ISBN1581802161(alk.paper)ISBN13:9781600614958(EPUB)1.Face
inart.2.DrawingTechnique.I.Title.NC770.P2852002743.42dc212002023509Editors:Mike
BergerandBetheFergusonDesigner:WendyDunningProductionCoordinator:MarkGrifn
4.4.DEDICATIONThisbookisdedicatedtothememoryofmydad,EdwinZaringStuart(Ned),and
totheeverydayheroesinourlives.IfeellikeIshouldsaythankyoutoeverypersonIhaveevermet.
However,ifIindulgedthisideatherewouldbenoroomfortherestofthetextinthisbook.Instead,
Illtrytoconcentrateonthefolkswhomadethispossible,andIhopethattherestoftheworldwill
understand.Thelevelofmygratitudeisnottobemeasuredbythelocationororderofthenames.Iam
indebtedtoNorthLightBooks,startingwithRachelRubinWolf,whogavemethechancetowritethis
book.Iamsogratefulthatsheopenedthedoor.ThankyoutoMichaelBerger,whorstmadesenseof
itall,andtoBetheFergusonandtherestofthestaffwhowillbringthisbookintofocus.Onceagain,I
thankthemanypeoplelistedinthebackofthebookfortheirwonderfulartandbeautifulfaces.Ithank
mymomanddadforalifetimeofloveandencouragement.Ithankmybigbrother,Steve,andhis
wifeDianaanddaughterShilohfortheirpatience.Ithankmylittlebrother,Scottandhisgracious
family,Laurie,Jeff,BentleyandAynsleeforputtingupwithmycameraintheirfacesforyears(smile
forAuntCarrie).IthankDonParksforhiscaringandthegiftofmywonderfulhusband,Rick.Ithank
Donna,J.B.Cole,SkylarandCortneyLindseyfortheircontinuinglove.Tothemanypeopleoverthe
yearswhosupportedusbylettingusintotheirhomesandhearts,adeeplyfeltthankyouislong
overdueforBoydandCindyBryant,KamiandGerryHines,AidaandJimRemele,KathyandBob
Gonzales,DebbieandPatTorok,EdJany,JimandCathyChampion,ToniReddingandNorma
Shepherd.IthankmydearfriendsFrankandBarbaraPerettifortheirpersonalandartisticinspiration
andloveovertheyears.Iamtruly,eternallygrateful.ThebestforlastIthankmywonderful
husband,Rick,forhisconstantlove,patience,friendshipandartisticinspiration.Mostofall,Ithank
theLordJesusforhisblessingsandgrace.ACKNOWLEDGMENTS
5.5.TABLEOFCONTENTSINTRODUCTION8!LookingthePart:MaterialsandSupplies12Pencils
andErasersOtherTools$TheProblem18WhyisDrawingsoHard?NaturalArtists%Site28SITE
TOOL:MeasuringSITETOOLS:FlatteningandOpticalIndexingQShape42TrainYourMind
SHAPETOOL:IsolateSHAPETOOLS:SimplifyandRelateSHAPETOOL:MeasureSHAPE
TOOL:InvertSHAPETOOLS:RenameandInclineSHAPETOOL:NegativeSHAPETOOL:
QuestionSHAPETOOL:CompareSHAPETOOL:FlattenWShade58UnderstandingShadeTools
SHADETOOL:Values/LinesSHADETOOLS:Isolate,SquintandCompareSHADETOOL:
QuestionSHADETOOL:SeekAccuracyCheckingTechniquesEDrawingEyes76EyesasShapes
CenteringRelateEyelidCreasesShadingandFillingtheEyeEyebrowsandEyelashes
RDrawingNoses94TheNoseasaShapeNoseSiteWingSiteBasicWingShapeNostrilBasics
NostrilShapesNoseTricksTDrawingLipsandTeeth106PartsoftheMouthShadingtheMouth
DealingwithTeethUDrawingtheHead116TheStructureoftheHeadHeadShapesCheeksChins
NecksTheFemaleFaceChildvs.AdultHeadShapesDrawingEarsIDrawingHair132Creating
DifferentTypesofHairDifferentHairstylesCONCLUSION141INDEX142143
6.6.9ForthefirsttenyearsofmyartisticcareerIonlypaintedanimalsandusedthewetonwet
watercolortechnique.Ibeganpaintingbirds,andtheyallhadfurratherthanfeathers!Inowusemy
birdpaintingsforcompetitions.WingsasEaglesWatercolorCollectionoftheFrameofMind
Gallery,CoeurdAlene,Idaho28"22"(71cm57cm)INTRODUCTIONYouwillquicklynotice
inthisbookthatIapproachdrawingfacesfromaverydifferentdirection.Itmightbeeasierforyouto
understandifIsharesomeoftheroadsIhavetraveleddowntogethere.Mybackgroundissimilarto
thatofmostartists.Iwasoriginallytrainedasacommercialartistinthedaysbeforecomputersdidall
thelayoutandletteringwork.Iwouldsitwithmyclassmatesandpeeratatablefullofjunkthatthe
instructorcalledastilllife.Itwasassumedthatweknewwhattolookforandhowtorenderitin
charcoalorpencil.Theprofessorwouldwanderabouttheroomandcomment,orshudder,atour
efforts.Wewereintheartdepartment,whichmeantthatwewereartists,andassuchwewere
supposedtosomehowinstinctivelyknowhowtodraw.Weweretaughtafewtechniquesandthenleft
tostruggle.Itwasbelievedthatartcouldnottobetaughtitwasanaturaltalentthatpeoplewere
bornwith.BecauseIfounddrawinghard,IguredIlackeddrawingtalentandthatwasthat.Idecided
tofocusmyeffortsonwatercolorpainting.Iwasanimpatientartistandwatercolorswerefast.Icould
drawwellenoughtogetafewbasicshapesintothepaintingandtherestwasalltechnique.
7.7.Startingin1981,IworkedparttimeasaforensicartistfortheNorthIdahoRegionalCrimeLabin
CoeurdAlene,Idaho.IdliketoboastthatIwashiredbecauseIhadbrilliantdrawingabilitylike
LeonardodaVinci,crimesolvingskillslikeSherlockHolmesandcourtroomexperiencelikeF.Lee
Bailey...Well,notexactly.Iwashiredbecausemydadwasthedirectorofthecrimelab,andIwasthe
onlyartistheknew.Myoriginaldutiesweretosketchcrimescenesandpreparetrialexhibitsforthe
physicalevidencepresentedincourt.Onedayayerforupcomingcompositedrawingclassesatthe
FBIAcademycameacrossDadsdesk.DadalwaysthoughtFBItrainingwasinteresting,soin1985I
startedatwoweekclassincompositesketchesattheFBIAcademyinQuantico,Virginia.Iwas
cluelessastoexactlywhatthismeant.IwouldbetherstcompositeartistfromIdaho.Ilearnedthata
compositedrawingusuallyisafacecreatedbycombiningseparatefacialfeaturesthatthevictimor
witnessofacrimeselectsfromabookoffaces.Thecompositeisaformofvisualcommunication
betweenlawenforcementagenciesandthewitness.Itsusedtoidentifyanunknownsuspect.Upon
returningtoIdaho,ItraveledaboutthestateandeasternWashingtonsketchingthebadguys.Ihad
somesuccessfulidentications,andmydrawingsimproved.In1986adetectiveapproachedmeand
askedifIwouldteachhimhowtodrawcomposites.Ithoughtalotabouthisrequestforthenextyear.
CouldIteachcompositesketching?IfItaught,wouldIstillbeabletosketch,orwouldIndmyself
outofwork?InallydecidedthatIwouldbemoreeffectiveinthiseldifItaught.Afterall,Iwas
doingthirtytofortydrawingsayearforvariousagencies.IfItaughttenstudentstodraw,three
hundredtofourhundreddrawingsayearwouldbeproducedandmoresuspectswouldbeidentied.
NowIhadtodecidewhattoteach.Acompositeartistmustdotwothingswell:drawandinterview.
ForthenextyearIattendedvariouscoursesandtrainingsessionsininterviewing,Ireadeveryarticle
andbookonthesubjectandinterviewedofcers.Iwasthenreadytoteachtheinterviewsection.As
forthedrawingpart,fortunatelythemanImetattheFBIAcademy,abrilliantandgiftedartist,
becamemyhusbandanddrawingmentor.Withhishelp,mydrawingskillsimproved.AtthispointI
madeadecisionaboutmycompositedrawingclassesthathadneverbeendonebefore.Idecidedto
teachcompositedrawingandnotassumethatmystudentscoulddraw.Havingchosenthisroute,Iset
mycourseofaction.Theclassesweretobeoneweeklong,foratotaloffortyhours.Inthattime,I
onlyhadtwoandahalfdaystoteacheveryaspectofthehumanface.Ineededahalfdayfortheinter
viewandadayforthestudentstopractice.IreservedFridayforspecialneeds.Manyofmylaw
enforcementstudentswerealreadygiftedartists,andmanyhadgreatdoodlingskills.Butsome
couldntdrawbloodwithaknife.Theyalllearnedtodrawequallywell.Inowhavethreebinders
overowingwiththesuccessofthisprogram.MyhusbandandItravelacrossthecountryteaching
compositeandforensicarttolawenforcementagenciesrangingfromtheFBItotwoperson
departments.Ourstudentssketcheshaveidentiedsuchperpetratorsaschildkillers,rapists,
abductors,murderers,bankrobbers,drugdealersandthelargestserialarsonistinU.S.history.My
originalreferencematerialsweredrawthefacetypebooks.Isoonrealizedthatamoredetailed
book,suchasthisone,wasanecessity.TheleveloffacialinformationIwasteachingtomystudents
didntexistinanydrawingbook.Compositeartistscannotdrawwhattheyfeelortakeartisticlicense
likeregularartists.Theirdrawingscomenotfromtheircreativedreamsbutfromawitnesss
nightmares.Ihadagreatadvantage.Nootherauthorofportraitbookshadthesameaccesstofaces
thatIdidboxeslledwiththousandsofmugshots.Overtheyears,Iplacedthemugshotsonan
opaqueprojectorandmeasuredthousandsoffacesfortheinformationinthisbook.Ialsohadto
gureouthowtoteachpeopletodrawwellinanextremelyshorttime.Istudiedmystudents
drawingsinclassandthecompositestheysentmeaftersuccessfulidentications.Ilistenedtotheir
questionsandmyanswers.Throughteachingadulteducationandartistinresidenceprograms,I
expandedtheclassestociviliansandchildren.Theirworkalsoisincludedhere.Ihopeyouwillenjoy
learningaboutfacesinthisbook.Godblessyouonyourartisticjourney.10
8.8.11Compositefacesaremadeupofavarietyoffeatureschosenbyvictimsorwitnessesfrommug
shotsorfromtheFBIsbookoffacialfeatures.Thesedrawingsactasatooltohelpidentifyunknown
suspects.Icreatedthisfictionalcompositefromatleasttenfaces.Compositedrawing12"9"(30cm
23cm)
9.9.LookingthePart:MaterialsandSuppliesMycompositedrawingclassesarequitedifferentfrom
mostdrawingclasses.Unlikeacollegeclassoronetaughtthroughanartsorganization,theseclasses
arecompletedquicklyandwiththemaximumamountofinformationcrammedintovedays.The
participantshaveonlytwoandahalfdaystolearnhowtodrawanyface.Moststudentsarevery
nervousandintimidatedbytheprospectoflearninghowtodrawanythingintwodays.Studentsalso
feelpressurebecausetheirdepartmentshavepaidafairamountofmoneyforthisclass,andthereare
rapevictimsandhomicidecasesoftendependingonhowwelltheydo.Ifthatisntenough,mytypical
studentsarearmedpoliceofcers.ItsimportantthatIclearlyexplaintherstruleofart(seebelow)to
establishthecorrectatmosphereforlearning.Thesedrawingsarebothbythesameartist,JohnHinds,
oneofmystudents.Lookwhatadifferencejustoneweekofinstructionmadeinhistechnique!Self
PortraitJohnHinds12"9"(30cm23cm)ThefirstruleofartItsnothowwellyoudrawitshow
coolyourdrawingstuffis.!
10.10.TIPKeepyourpencilssharp.Dullpencilsarenotonlydifficulttouse,theyarenotcool(seeThe
FirstRuleofArtonthepreviouspage).B14Ha!Soyouthoughtyouknewart.Yousimplygottahave
therighttoystoplaywiththeartguys.MostofthematerialsandsuppliesImentionareavailableinart
stores,draftingsupplystoresandthedrafting/artssectionofmanyofcesupplystores.Getthelead
outPencilscomeinavarietyofleadgrades,althoughthetermleadisincorrect.Youareactually
usinggraphite.TheyellowschoolpencileveryonehasusedisusuallyanHBlead.Ifyoulinedupthe
pencilswiththeHBinthemiddle,thenumberswouldgetlargerastheymovedoutfromthecenter.An
easywaytorememberthisistothinkofHasHardthefartheroutfromHB,theharderthelead.
Hard=alighterline.Goingtheotherway,theBmightstandforBold,andtheleadswouldbecome
progressivelydarker.Chooseleadsdependingonyourhandpressure,thepaper,personaltasteand
yourbudget.Igenerallyuseavarietyincluding2H,HB,2Band6B.MakeapointIpreferusinga
leadholderbecauseIcangetaverysharppointonitusingaleadpointer(aspecialpencilsharpener
forthistypeofpencil).Regulardrawingpencilstaketoolongformetosharpen,nottomentionthat
youneedtosharpenthemwithacraftknifeorarazorblade.Sharprazorbladescutthingsclosetome,
likefingers,soIavoidthem.Ifyoureusingaleadholder(middlepencil),besureitisjustthatthere
arealsomechanicalpencils(bottompencil),whichseemlikeleadholders,butthemaindifferenceis
thattheyholdaverythinleadthatcannotbesharpened.Basicmaterials
11.11.15MorethankneadstheeyeKneadedrubbererasersstartoutinneatanddignifiedlooking
squares,buttheysoonresemblewadsofchewinggumunderyourdesk.Kneadederasersarevery
usefulforavarietyofreasons.Theyarecleanerasers,thatis,theywillnotmakeanyerasermesson
yourpaperandtheycleanthemselveswhenyoupullthemoutandreformthemintoanothershape.
Kneadederasershavetwoimportantqualities:Theycanbepulledintoavarietyofshapestoeraseitsy
bitsyareas,andtheycanbepushedstraightdownonyourdrawingtolightenatonewithoutmessing
upaparticularlybrilliantdrawing.ThesecretlifeofpinkerasersVeryfewpeoplehavespentenough
qualitytimewiththeirerasers.Oh,sure,youbuyabig,fatpinkeraserandthinkyoureontop.The
truthis,pinkerasersdontlikeyourpaper.Theyarefineforthosebig,industrialstrengthbooboos,
buttheylltearupyourpaperifyouusethemtoomuch.Getone,butkeepitforemergencies.
12.12.16ThegentleeraserNexttothekneadederaser,thebestallarounderaseristhewhiteplastic
eraser.Iteraseswell,isgentleonyourpaperandcomesinaclickpenalwaysafashionstatement.
OnlythebestOK,everybodyalwayslaughsatmyportableelectriceraser.TheythinkImaslaveto
thelatesttrends,fancycarsandcolorweaves.Allthisturnstoenvywhentheyseehowwellthislittle
puppyerases.Nothingisgreaterthananelectriceraser.Itissmall,lightweightandcanbeheldlikea
pencil.Itquicklyandcleanlyreestablishesyouredges.Notonlydoesiterasebetterthananyother
erasereverinvented,butbyusingityouareimmediatelybrandedasarealartist.Flossingyour
drawingErasingshieldsarethedentalflossofdrawinginexpensiveandindispensabletoolsthat
allowyoutocleanhardtoreachareas.Ihaveamondoversionthatallowsmetoshadeoutsidethe
linesanderasetheoverflowuptotheveryedgewithoutaffectingmydrawing.
13.13.17BlendingtoolsPaperstumpsandtortillionsblendpencilstrokesintosmooth,finisheddrawings.
Apaperstumpisacompressedwadofpaperthatyouuseonitssidetosmoothandshadethepencil
lead.Thetortillionisrolledpaperthatyouuseonthetipfortinyareasthatneedsmudging.Usingthe
tortilliononitssidewillresultincorduroyskin.RulersandtemplatesEversaytoyourself,Icant
evendrawastraightline?NeithercanI.NorcanIdrawaperfectcircle.ThisiswhereaplasticC
Thrurulermypersonalfavoritebrandname,butyoucanusewhateverrulerworksbestforyouand
acircletemplatecomeinhandy.Therulerhasaveryusefulgridonitandacenteringrowofnumbers.
Youcanfindasimilarruleratthefabricstore.Thecircletemplateisindispensableinmakingyour
irisesperfectcircles.AfewwordsonpaperOnthefirstdayofanyofmyclasses,bothwatercolorand
drawing,Ialwaysgoovermaterialsandsuppliesevenifmystudentsareexperiencedartists.Its
becausethereisamethodtomymadnessandareasonIusethetoolsIuse.Ioncehadawomanin
classwhoignoredmypapersuggestion.Sheboughtthecheap,worthlessstuffthatispassedoffto
clueless,emergingartists.Shejustcouldntfigureoutwhyherartlookedsobad.Thepaperyouuse
willmakeadifferenceinyourart.FordrawingIuseplateorsmoothfinishbristolboard.Tracing
paperisalsoimportant.Acheappadoftracingpaperhasthousandsofuses(OK,sosomecheap
materialsdoworkwell).
14.14.TheProblemGrowingupIwasveryinuencedbymyparents.Bothmydadandmomwere
teachers.Tothisday,theirstudentswhohadaclasswithMomorDadthirtytofortyyearsago,will
comeuptomeandtellmehowmuchtheylearnedfromandlikedmyfolks.Dad,especially,was
consideredatoughteacherhetaughtchemistry,physics,mathandlawenforcement.MomandDad
sharedtheirteachingsecretwithme,andithasbeenmyruleofthumbforallofmyteaching
experience:Ifastudentdoesntlearn,itsbecauseyouarefailingasateacher.Overtheyears,Ihave
keptthatrmlyinmind.Ifsomeonedoesnotdrawwellinmyclass,itsmyfault.Ihaventfoundthe
waytocommunicatethenecessaryinformationtothepersoninawaythatmakessenseandworksfor
himorher.ThisiswhyIexplainwhy,howandwhatittakestodraw.ThisiswhyIhavesomany
approachestodrawing.AndthisiswhyImeasure,listen,watch,talk,reviewandcontinually
improvetheneartoflearningtodraw.Mostimportantly,Itrulycarethatyoulearntodrawwell.I
holdbacknosecrets.Ipresentalltheinformationinmanydifferentways,becauseonewaymight
makesomethingclearertoyou.Inmyclasses,Ineverdoubtthatmystudentswillnotlearn,becauseI
willnotfailthemasateacher.Herearetwobeforeandafterdrawingsbyanotherofmystudents,Greg
Bean.SunbathingBabyHannahinherDaddysHandsGregBean12"9"(30cm23cm)$
15.15.Nomatterhowyoulookatit,youknowtheseareallexamplesofthelettera.Thankstoyour
mindsabilitytomemorizepatterns,youdonthavetorelearnwhatthissymbolmeanseverytimeyou
seeit.Thesepatternsalsoallowyoutoquicklyrecallthesoundassociatedwiththeletter.20Before
youcontinueinthisbook,Istronglyadviseyoutocompleteapreinstructionaldrawing.Thisisa
yardstickbywhichyouwillseeimprovementinyourskilllevelofdrawing.Asyourdrawingskills
improve,yourknowledgeofdrawingleapsaheadofyouractualabilitytodraw.Itiseasytobecome
frustratedbyyourapparentlackofprogress.Yet,infact,yourabilitieshaveimprovedtremendously.
Trackingprogressbyusingpreinstructionaldrawingswillhelpyouseeclearlywhatyouhavelearned
andwillprovideagreatdealofamusementwhenyougobackandseeyouroriginalefforts.Most
people,includingmanyartists,havetroubledrawingfaces.Whyisthis?Itsbecausedrawingis
seeing.Mostpeopledrawwhattheythinkfaceslooklike,andtheendresultmaynotmatchthe
imageintheirminds.So,rstIwillhelpyoudiscoverwhyyouhavetroubleseeing.Then,Iwillshow
youhowartistsseeandwhattoolstheyusetohelpthemtranslatetheirmentalimagesintodrawings.
Finally,youwilllearnwhattosee,orhowtorenderthefacialfeaturesthemselves.Drawingthingsthe
waytheyreallyareisnotagiftgiventoartists.Youmaythinkdrawinghassomethingtodowithhand
eyecoordination,butitreallyhaseverythingtodowithhowthemindworks.Yourmindtakes
informationfromthesurroundingenvironmentandplacesitintopatternssymbolsrepresentingan
idea,conceptorinformation.Thisorganizationintounderstandablepatternsiscalledperception.There
arethreeimportantpointsyoushouldknowaboutperceptions:Perceptionsareltersthroughwhich
youseetheworld.Perceptionsarepowerful.Perceptionsdonotchange.Perceptionsarelters
Perceptionsareltersthroughwhichyouseetheworld.Yourmindrecordsandprocessesinformation
throughthevesenses.Thisinformation,however,isnotrecordedlikeamoviecamera.Instead,its
translatedintoanunderstandableformforfutureuse.Whenyourststartedschool,youlearnedthat
theshapeshownbelowwasthelettera.Wheneveryousawthatshape,youknewwhatitmeantandthe
sounditmade.Itwasnotnecessarytorelearnthatshapeeverytimeyoureaditinaword.Itcouldlook
likeanyoftheshapesyouseebelow,andyouwouldstillknowitwastheletteraandthatit
representedasound.Infact,youdidnteventhinkabouttheshapeoftheletteraafteryoulearnedit.
Yourmindprovidedtheinformationforyou.Younolongerreallysaworhadtothinkaboutthe
lettera.Simplystated,thisishowthemindprocessesinformation.Itmemorizeswhatashape
represents,likehowtheletterarepresentsasound,andeverytimeyouneedtowritethatsound,your
mindWhyisdrawingsohard?
16.16.21TIPYourdrawingsarebasedonperceptionsformedfrompatternrecognitionand
memorization.Bprovidesthisshape:a.Itsimportantthatyourminddoesthis.Imaginewhatwould
happenifeverytimeyoucametothisletteryouhadtorelearnwhatitmeant!Thus,therstpointyou
needtorealizeisthattheuntrainedminddrawspicturesfrommemorizedpatterns.Whenyoudraw
aface,yourmindprovidesthememorizedshapesrepresentingtheeyes,noseandmouth,notthereal
shapeofthefacialfeatures.Youdrawwhatyouperceivetobereal,notwhatisreal.Wheredidyour
mindgettheseshapes?Letslookatsomepreinstructionaldrawingsandgureoutthesourceofthe
shapes.MemorizedfacialpatternsThesedrawingsaretypicalpreinstructionaldrawingsby
nonartists.Theyhavesomeratherstandardpatternsrepresentingtheface.Atypicalpreinstruc
tionalfacialdrawing.EyepatternsTheseeyesarepartofpatternmemorizationfortheaverageperson.
NosepatternsNosesofferavarietyofshapessuchasthese.MouthpatternsMouthsmighthavea
haveanicedaysmileoranupperandalowerpairoflips.
17.17.22PreinstructionaldrawingThisdrawingisbyTaylorPerkins.Shewaslookingatherfacewhen
shedrewthissketcheverydetailwasinfrontofheryettheinformationwasmeaningless.Notice,
forexample,thathereyesareplacednearthetopofherhead.Hadshebeenabletoseeherface
withoutfilters,shewouldhavenoticedthathereyesareinthemiddleofherface.TIPTobreakpat
terns,youmustfirstrecognizethatyouhavethem.BPerceptionsarepowerfulPerceptionallterswill
preventyoufromseeinginformationthatisclearlybeforeyou.Theseltersmaypreventyoufrom
drawingsomethingaccurately,evenifitisrightinfrontofyou.PerceptionsdonotchangePerceptions
donotchangeunlessasignicanteventoccurs.Withoutinstruction,youwillcontinuetoseeanddo
thingsaccordingtoyourunderstandingofthem.Mygreatestwishisthatthisbookwillconstitutea
signicanteventandthatasaresult,yourperceptionsondrawingfaceswillchange.
18.18.23AfterinstructionThephotographthatTaylorwaslookingatprovidedalltheinformationshe
neededtocreatearealisticselfportrait,asshownbythisdrawingshecompletedafterabitof
instruction.Thepowerofperceptionalfiltersandthepersistentnatureofthemindtocontinually
processinformationintopatternsisthechallengetodrawingwellbutyoucanlearn!Taylor
Perkins,Age7,selfportrait14"11"(36cm28cm)CollectionofthePerkinsFamily
19.19.24PeopleIcallnaturalartistsarethosewho,forsomereason,havebeenabletodrawaccurately
withoutknowingexactlywhyorhowtheyareabletodothis.Generallyspeaking,thisabilityseems
tobespotty.Theycandrawsomethingswellandothersubjectsnotsowell.Suchcommentsas,Ican
drawanimalsandlandscapesgreat,butIcantdrawpeople,areverycommon.Theseartistshave
learnedsomedrawingtechniquesnaturally,buthaveyettolearnhowtochangealltheirperceptions
abouttheworldaroundthem.Naturalartistswhohaveundergonesomeformofarttrainingareusually
abletodrawmosteverythingwell.However,whetheryouareatrainedartistorareanaturalartist,
yourmindstillplacesallincominginformationintoapatternofperception.Afterashorttime,you
stopseeingwhatyouarerenderinganddrawapattern.Itsamoresophisticatedpattern,awelldrawn
pattern,butapatternnevertheless.Withouthavingthephenomenonofpatternmemorization
explained,youmighthaveusedsometechniquetoreviewthecompleteddrawing.Youmighthave
totakeabreakfromyourdrawing,turnyourdrawingtoamirrororplaceituponaneasel.Nowyou
canseewhythisisnecessary.Ithelpsbreakthepatternsandtoseeyourworkofartwithfresheyes.
Thisiscalledcheckingforaccuracy,anditsadrawingtoolthatnaturalartistsuse.Whatareyou
lookingat?Thebestwaytobeginyourartisticjourneyistolearnhowtolookatthings.Drawingis
seeing.NaturalartistsIhavetaughtmanyartworkshops.Irememberinparticularthissweetwoman
andherrstoilpainting.Itwasahalfcompletedbowlofdaisiesonatable.Thedaisieswereallfacing
towardtheviewer,andeveryonewasidentical.Therewasntasinglesmallorbigdaisyreachingfor
thesky.IaskedtheeagerartistifIcouldseethereferencephotosheusedforthispainting.Ineededto
pointoutthevarietyofimages,shapesandcolors.Shesaidtherewasntareferencephoto,theimage
camefromhermind.Yourmindprettymuchhasapatternforeverything.Nevertrytoimagine
somethinginyourearlyartcareerlookatit.Thenyouwillbeabletodrawitaccurately.Alwayslook
atit.OK,soImlookingatitIhavetoldyousofarthatdrawingisseeing,thatyourbrainuses
patternstorecordtheinformationandthatyourelyonthosepatternstodraw.Furthermore,youknow
thatyouneedtobreakthosepatternsofperceptionbyhavingsomethinginfrontofyoutodraw.OK,
soyourelookingatit.Now,amiraclehappensandyoucandraw,right?Ah,notquite.Knowing
whattheproblemisdoesntsolvetheproblem.Youvejustcompletedstepone:Whyyoucantdraw.
NowIwillgointosteptwo:Whatareyoulookingat?Thereissimplytoomuchinformationforyour
tired,patternhungrybraintogothroughwithoutsomekindofmanualorguideline.Youneedtolearn
howtosiftthroughalltheinformationtomakesenseofitandbeabletouseit.Likeasomeassembly
requiredkit,thepartsareallthere,butittakesamanualtoknowwhatyouarelookingatandwhereit
goes.Therearefourbasiccomponentstoassemblingakitandtodrawing:SiteShapeShade
AccuracyYouneedtoknowwhatthepartslooklike(shape),wheretheygo(site),whatthenished
productlookslike(howtomakeitlookrealshade)andhowtoxthewobblyparts(accuracy).Site
Itseasytosaythatartistsneedtolearnhowtoseethingsthewaytheyreallyare,notthewaythey
thinkorperceivethemtobe.Mostbookssaythat.Notonlydomostpeoplenotseetherealityofthe
worldaroundthem,theyalsodontplacetheobjectsinthecorrectlocation.Sure,theyknowthatthe
eyesareabovethenoseandmouthandthatsomewherebeyondthatishair.Buttheresmoretoitthan
that.Measuringanddeterminingthecorrectlocationandsizeofdifferentitemsiscalledproportion.
Whensomethingisinproportion,itscorrectinscaletotheotheritemsinthepicture.Itseasytolook
atapictureandknowwhensomethingisoutofproportion,buthowdoyoudrawsomethingin
proportion?Learninghowtocorrectlyproportionimagesinapicturethroughtheuseofartistictools
willbecoveredinchapterthree.
20.20.Heather14"11"(36cm28cm)25Naturalartist?Youwerentbornwiththeinnateabilityto
knowhowlongameterisorhowmanycupsareinagallon.Youlearnedwhichofthevarious
measuringtoolstouseforeachapplication.Drawingalsohasmeasuringtools.Lookatthetwo
examplesshownhere,bothdrawnbythesamestudent.Noticetherelativesizeandlocationofthe
facialfeaturesinthepreinstructionaldrawing.Evenifthefeatureswerecorrectlydrawn,theyarestill
inthewrongplace.Notethedifferenceinthelaterdrawing.
21.21.26SimplificationThevisibleworldaroundyouisrichininformationactually,thereistoo
muchinformationforanyemergingartisttounderstand.Itfirstneedstobesimplifiedforyoutosee
justexactlywhatitisthatyouarelookingat.Thisiswhyitseasyforpeople(especiallychildren)to
drawcartooncharacterssowell.Theshapesaresimplified,outlinedinblackandeasytosee.Most
peoplecandrawtheseshapeswithlittleornoinstruction,otherthanwhattheyvelearnedabout
drawingletters.ShapeBasicshapesarenoteasytoidentifywhendrawing.Youneedtoknowwhatto
lookfor.ShapeIdentication101startedinkindergarten,andceasedshortlythereafter.Mostpeople
arenotformallytrainedtoseeshapesfordrawingpurposes.Youhavetolearnthisskill.Onceyouve
determinedthecorrectsizeandlocationofanobject,youcanthenconcentrateontheshapesofthe
objectyouwishtodraw.Anartistautomaticallyltersoutallbutthebarestshapestobeginwith.This
isnottalent,itstraining.Wearetrainingourmindstoseethesubtleshapesinthevisualworldaround
us.ShadeThenextstepinthedrawingprocessisshading.Shadingmakessomethinglookreal(as
shownintheexampletotheright).Mostpeoplehaveneverlearned,however,toevaluateandsee
shading.Yes,youcanseethatblackjeansaredarkerthanbluejeans.Butshadingrequiresmorespecial
knowledgeandtools.Learningtoshadealsoinvolveslearningmoreaboutyourmindandthepowerof
yourperceptions.AccuracyFinally,youneedtobeabletolearnhowtoovercomeyourbrainsdesire
toputtheworldbackintopatterns.Howcanyoukeepcheckingtoseeifyouaredoingwell?Inthe
backofmostdoityourselfkitsisaproblemsolvingsection.Youneedasimilarchapterinyour
drawingroutine.Ask,Whatiswrongwiththeshapeofthisface?Thisischeckingtheaccuracyof
theimage.Thisisthephotographthatthedrawingonthefollowingpageisbasedupon.Seeing
withoutoutlinesManychildrenshowgreatinterestandtalentindrawingcartoons.Oftenwhenthey
areintroducedtoregulardrawing,theywillloseinterestorgiveup.Theproblemisnottheirlackof
talentoreveninterestitsinhowtheyaretaughttoseethesamesimpleshapesinthephotograph(or
world).Drawingtheworldaroundyouinvolvesusingthesamebasicshapes.Theyrejustnotoutlined
inblackinkanymore.
22.22.27PhotobyKellyDulanty12"9"(30cm23cm)Lookatthegirlshairandface.Withoutthe
appropriateshadingherfeatureswouldhavelookedunrealisticandincomplete.Learninghowtoshade
properlycansaveyourdrawingfromtherecyclebin.
23.23.SiteWhenartistsrststarttodraw,theyusuallybeginbysketchingtheoverallimagesthe
locationandplacementofwherethingswillgo.Iftheyintendtomakearealisticpicture,theyllneed
tomakesureeverythingtsandisthecorrectsize.Onceeverythingisscaled,theyllstartrening
thedetails.Iwillteachyoutoapproachdrawingthefaceinthesameway.Wewillstartwiththe
locations,orsites,ofthefacialfeatures.ThenIwillinstructyouhowtorenderthecorrectproportions
oftheaverageadultface.Learningproportionsandscalingapictureisnotaskillpeoplearebornwith.
Illteachyouhowtogureouttheproportionsusingtoolstohelpyou.Youlllearnthreeprimarytools
inthischapter:measuring,atteningandopticalindexing.Inthepast,youveprobablyheardabout
vanishingpoints,eyelevels,twopointperspective,horizonlineandparallelperspective.Scruball
that.Youcandrawanythinginperspectiveusingonlymeasuring,opticalindexingandattening.Don
Parks12"9"(30cm23cm)%
24.24.Anyobjectinfrontofyouismeasurable.Mostpeoplehavebeentaughttomeasureanobjectby
comparingittosomethingtheyknow.Traditionally,youmaycomparesomethingtoaspecicmeas
urement,suchasaruler.Thereisanexpressionbiggerthanabreadboxthoughmostyoung
peopletodayhaveneverseenabreadbox.Thisisacomparison.Everythinginfrontofyoucanbe
compared.Anobjectiseitherthesamesizeas,largerthanorsmallerthansomethingelse.Biggerthan
abreadboxUsingamapasanexample,youcheckthedistancefromonepointtothenextby
comparingittothemapscale.Youdontusethescaletomeasureanothermaporthelengthofa
baseballeldonlythecontentsofthisparticularmap.Youcanmeasureavarietyofobjectsusing
otherformsofmeasurement,suchasagallonorameterstickArtistsalsomeasureobjects.The
differenceisthattheymeasureanobjectbycomparingittoitself.AllaboutbaselinesAbaselineisa
comparisonsystem.Forexample,whencomparedinarangeofChihuahuastoGreatDanes,abig
dogisaGermanshepherd.AGermanshepherd,however,isnotallthatbigwhencomparedtoan
elephant.Sizeisrelativetowhatisbeingcompared.Whenyouusethissysteminart,youcomparethe
baselineintheimageinfrontofyoutosomethingelseinthesameimage.Forexample,youmaywish
tocompareanobjectslengthtoitswidth.Becauseyoullbedrawingthisobject,youalsohavea
straightlinethatyoucanuseasabaselineinyourdrawing.EstablishingbaselinesinphotographsThe
easiestwaytomeasureobjectswithabaselineistousephotographs.Photosdontmove,arealreadyin
twodimensionsandareeasytoreferto.Todothissimpleexercise,youwillneedapencil,aneraser,
asketchpad,ascrapofpaperandalarge,easytoseephotograph.ProportionsProportionsarelike
mapstheyprovideanoverallviewofwherethingsareandhowtheyfitintothewholepicture.Most
peoplehaveaprettygoodideawherethefacialfeaturesarelocated.Theeyesareabovethenoseand
thenoseisabovethemouthandsoforth.Thefirstdrawingconceptisonhowtolocatevariousitems
wewishtodrawwithmoreexactness.Somebookswrittenaboutfacesarenotalwayscorrectonthe
placementofthefacialfeatures.TheymaygeneralizeorusesomekindofGreekidealizedfacewith
along,thinnose.Onceagain,itsimportanttolookatsomethingtodrawasyoucontinuethisprocess.
Itshardtomeasure,lineupandviewimagesthatyouvecreatedinyourmind.Proportionsarea
comparison,arelationshipbetweenobjectsdealingwithsize,volumeordegree.Youmaybeableto
drawthegreatesteyesintheworld,butiftheyareinthewrongplace,thedrawingwillbeoff.
Proportionistherelationshipofdifferentelementsinaworkofart.SiteToolsMeasuring30
25.25.ChooseabaselineSelectanobjectinthephotographthatismeasurablewithastraightline,suchas
thewidthoftheeyefromsidetoside.Yourbaselineshouldbeeasytoseeandafairlyshortline(a
smallarealiketheeye).Takeascrapofpaperandmeasurethatwidth.Transferthebaselinewidthto
yourpaperPlacethesamelengthoflineonyourpaper.Thelineyouhavemarkedonyourpaperis
yourbaseline.Withthisonesingle,simpleline,youcanproportionandrendereveryotherfacial
feature.PlacethecorrectmeasurementsMarkeachmeasurementonyourpaper.Compareandmeasure
theotherfeaturesComparetheproportionofonefeaturetothebaseline.Usingthesamescrapof
paper,youcannowmeasureeveryotherpartofthefacebycomparingittothewidthoftheeye.Eye
EyeEyeEyeEstablishingbaselinesinphotographs!$%Q31
26.26.32HowtoestablishabaselineonathreedimensionalsubjectSelectthebaselineonthesubject
Selectaportionofthefaceorbodytouseasyourbaseline.Thebaselineshouldbeafairlysmall
horizontalorverticalline.Rememberthatabaselineissomethingyouwillcompareeverythingelse
toinyourdrawing.MeasurethebaselineExtendyourarmstraightoutinfrontofyou,holdingthe
pencilasillustratedhere.Closeoneeyeandusethetipofthepenciltomarkthestartofthehead.Use
yourthumbtomarktheendofthehead.Thismeasurementisyourbaseline.!$
27.27.33ComparethebaselinemeasurementtothefigureUsingthemeasurementofthetipofthepencil
toyourthumb,comparethefiguretoestablishifsomethingisthesamesize,largerthanorsmaller
thanthatmeasurement.Forexample,comparedtotheheightofthehead,theheightofthispersons
bodyissixheads.Usingthissystem,youcancomparetheheightoftheheadtoallotherpartsofthe
body.Whatevermeasurementyouchoosetomaketheheadonyourpaper,youwillcomparetherestof
thebodytothatstartingpoint.%AnticipatedproblemsThreeimportantsecretstousingapencilasa
measuringdevice:1.Holdyourpencilasifitwereapieceofpaperinfrontofyou.Inotherwords,
dontanglethepencilawayfromyou.Youretryingtodrawathreedimensionalobjectonatwo
dimensionalpieceofpaper.Youcannotdrawintothepaper,soholdyourpencilflat.2.Extendyour
armfully.Ifyoukeepmovingyourarmtovaryinglengths,yourmeasuringwillbeoff.3.Always
closethesameeye.
28.28.34OK,soImeasuredit.Nowwhat?Letssummarizewhatyouvelearnedsofar.Toestablishthe
correctproportionsofathreedimensionalworldandputitontoyourtwodimensionalpieceofpaper,
youdothefollowing:1.Selectabaselinefromsomeobjectinfrontofyouthatshouldbestraight,
shortandhorizontalorverticaltoyou.2.Useapencil,penorotherstraightobjectheldinfrontofyou
atarmslengthtorecordthelengthofthebaseline.3.Makeamarkonyourpapertorepresentthat
samelength.4.Usethebaselinemeasurementforcomparisontootherobjectsinthepictureinfront
ofyou.Everythingshouldbethesamelength,longerorshorterthanthatbaseline.5.Usethedrawing
baselinetomakethesameproportionsonyourpaper.MeasuringthefaceYoucanlocatetheeyesby
usingthesameconceptofmeasuringtheheadandcomparingittothebody.Thisisaneasyexercise
forallages.Heresthefinisheddrawingthatwillbethebasefortheexerciseinmeasurement.
29.29.35MeasurethelocationoftheeyesComparethedistancefromthetopoftheheadtotheeyes.
Thiswillbethefirstandsimplestbaseline.Layonehandflatontopofyourhead,andtakeapencilin
yourotherhand.Holdthepenciltipwithyourflathand.Thehandholdingthepencilshouldpoint
towardyoureyes.Usethepenciltohelpyoumeasurethedistancefromthetopofyourheadtoyour
eyesandlocatetheeyes.ComparetothedistancebetweentheeyesandchinComparetheprevious
distancetothedistancefromyoureyestoyourchin.Onmostpeople,thedistancebetweenthetopof
theheadandtheeyesisaboutthesameasthedistancebetweentheeyesandthechin.Measurethe
facetolocatefeatures!$
30.30.36EnlargeyourdrawingtheeasywayScrappysolutionToenlargeadrawing,takeascrapofpaper
andmarktheoriginalmeasurementononesideandtheenlargedmeasurementontheother.Inother
words,makethebaselinelarger.EyeballitByestablishingtheeyeastheoriginalbaseline,youcan
nowcomparethatmeasurementtoeveryotherfeatureontheface.Usetheoriginalbaselinesideof
thepapereverytimeyoumeasureafeatureontheoriginalphoto.OriginalPhotoMySketchOriginal
PhotoMySketch!$
31.31.37ReuseorReverseYouwillusetheenlargedsideofthepapertodrawthatsamefeatureagain
andagain.Youcanproportionallyenlargeadrawingtoanysizeusingthismethod.Reverseittomake
somethingsmaller.MoremeasuringaidsThissitemeasuringtechniqueisveryuseful.Notonlycan
youmeasuresomethinginfrontofyouanddrawitthesamesize,youalsocanusethesametoolto
enlargeorreduceapicture.Todrawsomethingthesamesize,marktheestablishedbaselineandone
othermeasurementonyourpaper.Therearemoretoolssomeofthemareprettyexpensivetohelp
youmeasure.Besidesbeingabletoenlargeorreducethesizeofapicture,youcanalsousethesetools
tohelpyoumeasurecurvedshapes.Probablythemostusefultool,althoughexpensive,isthe
proportionaldivider.Thisdeviceoffersanadjustablewaytomeasureandcomparetwoimages.Ithasa
slidingscrewthatallowsyoutoadjustthewidthtoanytwoimagesyourdrawingandtheimageyou
wishtodraw.OriginalPhotoMySketch%
32.32.38MeasuringcurvedshapesMeasuringacurvedshapewithastraightedgecancauseyou
problems.Itisdifculttocorrectlyseeandaccuratelydrawcurvedshapes.Howcanyoumeasurea
curvewithyourstraightedgedmeasuringtool?Thegoodnewsisthatyouusethesametool,youjust
measurethestartandnishofthecurve.StraightenthecurveYoucanmeasurethecurveofthecheek
inthephotographbyusingtheeyebaseline.Drawtwolines,oneatthestartofthecurveofthecheek
andoneatthechin.Thehorizontalandverticallinesaremeasurabledistancesandgiveyouthestart
andendofthecurve.Takethemeasurementoftheeyeandcompareittothecheek.Hercheekcurves
downtwoandahalfeyesandoveronehalfeyes.Measurehowfarupandoverthecurvegoes.You
havealsocreatedanegativespacethatwillbeexploredinmoredetailinchapterfour.Widthofeye
33.33.IfImakeanimaginarylinestraightdownfromtheeyeinthisphotograph,itwillbringmetothe
outsideofthenose.Inowknowhowfardownthenosecomesto(becauseImeasureditcomparedto
theeye)andhowwidethenoseis.FlatteningandOpticalIndexingSiteTools39FlatteningToolWhen
yourstusedyourpencilasameasuringdevice,youextendedyourarmandclosedoneeye.Whydid
Iaskyoutocloseoneeye?Tryitwithbotheyesopen.Itdoesntwork.Ittakesbotheyestohavedepth
perception,whichyoudontwant,becauseyouredrawingonatwodimensionalpieceofpaper.
Closingoneeyeattenstheworldaroundyou.Aha!Youvejustestablishedadrawingtechnique!To
drawathreedimensionalimageonatwodimensionalpieceofpaper,youmustcloseoneeye.Optical
IndexingToolThenexttooltohelpyoundoutwherethefacialfeaturesarelocatediscalledoptical
indexing.Thatisafancywayofsayingthingslineup.Whatfeaturesonyourfacelineup?Isit
possibletousethelocationofonefacialfeaturetondoutwheretheothersarelocated?Takealookat
thetwodrawingsonthispageandthetwophotosonthenextpage,andnoticehowthefeaturesline
up.Theedgesofthemalenoselineupwiththestartofthewhiteoftheeye.Themouthisroughlyas
wideasthecenteroftheeye.Theeyebrowoftenendsinlinewiththenoseontheoutsideoftheeye.
Earsareroughlyaslongasthenose,andmayrunfromtheeyes/eyebrowstothebaseofthenose.The
eyebrowwilloftenstartattheinsidecorneroftheeye.Note:Youwillsoonbegintonoticethatyou
willseethesamegenericmaleandfemalefacesthroughoutthebook.Usingthesamefacetoteach
multiplelessonswillhelpyoutobetterseeallthepartsthatmakeupthewhole.Referbackto
individuallessonsasnecessary.
34.34.TIPYoucancreateareusablegridthroughavarietyofmethods:Makeagridonacomputerand
printitonanacetateoverhead.Drawagridonacetateoverheadmaterial.Drawagrid,runit
throughacopierandmakecopiesonacetate.Makeagridonaclearinsertorfolder,andslidethe
photointotheinsert.B40Grid/opticalindexingUsingagridisprobablyoneoftheoldestsystems
artistshaveusedtoestablishcorrectproportions.Therearetwotypesofgrids(oropticalindexing)you
canuse:First,youcandrawequallyspacedhorizontalandverticallinesacrossyourpaper.Repeatthis
patternonyourphoto.Nowdrawtheshapesthatoccurwithineachsquareandlocatewherethe
shapescrosstheguidelines.Ifyourgridisthesamesizeasyourphoto,youcandraweachshapethe
sameproportiononyourpaper.Youcanalsoenlargeorreducethesizeofdrawingsbysimply
adjustingthesizeofthegridonyourpaperandproportionallychangingthesizeoftheshapesonyour
paper.Secondly,drawanoccasionalhorizontalandverticallineortwo(orasmanyasyouneed)to
orientyouonthepaper.Thiswillhelpyouestablishlocationandproportiononyourdrawing.Either
oftheformsofopticalindexingareextremelyusefulforestablishingproportions.
35.35.Usingtheflatteningandopticalindexingtools,Iwasabletoaccuratelylineupthefeaturesof
Jefferysface.Theopticalindexingtoolwasespeciallyusefulforhelpingmedrawhisglassesin
proportiontotherestofhisface.41jefferystuart14"11"(36cm28cm)
36.36.ShapeYouhavelearnedhowtomapoutthelocationsofthefacialfeatures.Nowyouneedto
focusonthefeaturesthemselvestheshapesthatmakeupthefacetrainyourmindhowtoseekout
shapes.Inthischapteryoulllearnaboutaseriesoftoolsandtechniquesthatartistshavelearnedor
developedtohelpthemseebetter.Artistsgenerallyusethesetoolswithoutevenreallythinkingabout
them.Themoretoolsorwaysofseeingyouhaveatyourdisposal,theeasieritisforyoutodraw
accurately.Evenyoungchildrencandemonstratethisabilitytoseekoutanddistinguishshapes.Itis
thisabilitythatenablesthemtowriteletters.Drawingisthesameconcept,butyoumusthonethis
abilitytoahigherlevel.Thischapterwillteachyoutodiscernthesubtleshapesintheinformationrich
visualworld.ThisdrawingisbasedonanawardwinningphotographbyB.KellyDullanty.Itwas
usedwithhiswrittenpermissionandthereleaseofthesubjectinthephotograph.Thatmightseemto
bealotofworkforjustthisonedrawing,butthealternativeiscopyrightinfringementalsoknownas
stealing.wedding12"9"(30cm23cm)Q
37.37.44Learningtorecognizeshapesinaphotographorimagetakestraining.Youneedtotrainyour
mindwhattolookfor.Onceyoubecomeawareofsomething,itseasiertoseeit.Forexample,when
youarebuyinganewcaryouspendtimestudyingthecarsonthemarket.Youthengotoadealerand
lookovertheselection.Youmightfallinlustwithaparticularmodelandcolor.Afterwards,itseems
likeeverybodyhasthecaryouwerelookingat.Dideveryonesuddenlygooutandbuythesamecar?
No,youhavesimplybecomeawareoftheshapeandcolorofthatparticularcar,andyounow
recognizeitamongalltheothercarsontheroad.Thesamethinghappenswiththeshapesinfacial
features.SaycheeseBecausedrawingisseeing,youshouldalwayshaveareferenceimageinfront
ofyou.Ninetyeightpercentofsuccesscomesfromhavingthecorrectphotograph.Yourselected
photographshouldbeclear,interesting,bigandpreferablyblackandwhite.Ifthephotographissmall,
enlargeit.Acomputerwithascannerandareasonablephotoprogramwilldothejobnicely.Ortake
thephotographtoacopycenterandenlargeittoa8"10"(20cm25cm)image.Usetheirbest
copiertoretainallthedetail.Manypeoplestartwithastudiophotographofafamilymember.Though
thesestypesofphotographsareclear,largeandwelldone,thereareafewdrawbacks.Theyre
copyrightedbythephotographer,soifyourdrawingturnsoutwell,youcantdisplayit.Second,the
lightingisoftenboring.Flattering,butboring.OldiesbutgoodiesConsidertheantiquephotographs
sittingintheatticofGreatGrandmaSparksorthewifeofyoursecondcousinonceremoved.An
interestingdrawingcomesfromaphotographthatiseasytosee,clear,largeindetail,interestinglylit
andpreferablyblackandwhite.Artistsshouldalsoownorhaveaclearcopyrightuseofthe
photograph.Youlloftenfindthesequalitiesintheantiquephotosofyourfamily.Trainyourmind
MeasureInvertRenameInclineNegativespaceQuestionCompareFlattenToolsofthetrade
Okay,soyouhavefoundtheperfectphotograph,nowitstimetomoveontolearningsometoolsto
helpyoutrainyourmindtorecognizeshapes.Theyare:IsolateSimplifyRelate
38.38.EveryoneneedspracticeSee,nobodysperfect.Heresanexampleofoneofmyearlyefforts.Look
atmenow!Isolatingfeaturescanhelpyoubetterseetheindividualshapesthatmakeuptheentire
drawing.OnceIlearnedthistool,Iwasbetterabletoaccuratelydrawahorse.WhenIwasalittlegirl,
Ilovedhorses.Ilovedtoridehorses,andIlovedtodrawhorses.IwasveryfortunatebecauseIlived
ona680acreranchwherewecouldhavelotsofhorses.Likethedrawingontheright,myrst
effortsatdrawingahorseweretypicalofayoungchild.Iknewthehorsedidntlooklikemy
drawing,especiallythehooves.Icouldseehorses'hooves.Istudiedthem.Ilookedatphotographs,
andItracedtheshapeofthehoofwithmynger.Iisolatedthehoofandlookedatitseparatelyfrom
therestofthehorse,asshowninthedrawingontheright.TherstartistictechniqueIusedwastoiso
latetheshape.Lookattheworksofanyartist,andyouwillndsketchesofeyes,handsandpartsof
theface.Theseartistsareisolatingeachofthedifferentcomponentsofthewholeoftheartthatthey
willbedoing.45IsolateShapeToolsDEFINITIONIsolateToseeshapesbystudyingindividualshapes
separately.
39.39.46Inchaptertwo,Imentionedthatchildrennddrawingcartoonandcomicstripcharacterseasy.
Thisisbecausethedrawingsareoutlinedwithblackink.Thesimpleshapescurvesandlinesare
easytosee.Aphotograph,orreallife,doesnthavethesameblackoutlinestoshowtheartistwhatto
lookfor.Toseethesubtletyoftheshapestakestraining.Inlineardrawing,thereareonlytwobasic
shapes:astraightlineoracurvedline.Thelinesgoup,down,right,left,buttheyareeitherstraightor
curved.Whenartistslookattheface,theydonttrytondeyesorlips,theyseekthesimplestlinear
shapes.Seekingthesimpleshapesremovesyourmemorized,incorrectperceptionofwhatconstitutes
aneyeandallowsyoutofocusontheactualrealityofaneye.Artistsseekthesimplestexpressionof
shapeasafoundationforbuildingtheface.Theylookforthesimplecurve,line,circleorshape,
ratherthananeye,noseorlips.Thedictionarydenesrelateasbringingintologicalornatural
association,tohavereference.Thefacehasauniqueshapethathelpsartistsrelateotherinformation.
Theiris,thecoloredpartoftheeye,isaperfectcircle.Thepupil,theblackcenteroftheiris,isalsoa
perfectcircleandisinthecenteroftheiris.Theaverageadultirisdoesnotvarymuchfromfaceto
face.Youcanusethisinformationtohelpyouseeanddrawbetter.Lookatthecorrectlydrawneye
onthenextpage.Then,followthestepstolearnhowtodrawacorrectlyproportionediris.Bad
drawing,bad,bad!Nowsit...Usingtherelatetool,placethepupilinthecenteroftheirisbefore
drawingthelidandothereyeparts.Youllresolvetheproblemofoffcenteredpupilsandtheresulting
commentslike,Idontknow,Marge,theressomethingwrongwiththispicture.SimplifyandRelate
ShapeToolsDEFINITIONSimplifyAtoolforlearningtoseeshapesbyseekingthesimplestexpres
sionofthatshapeintheformofastraightorcurvingline.DEFINITIONRelateAtoolforlearningto
seeshapesbyusingoneshapetohelpseeasecondshape.PupilsecretsYoumightbewonderinghow
bigtomakethepupiloftheeye.Theansweris:Itdepends.Thepupilexpandsandcontractstolight.
Studieshaveshownthatitalsoexpandsandcontractsasareactiontoseeingsomethinglikableor
unlikable.Mostartistsunconsciouslyrecordthispieceofinformation.Therefore,aneyewithasmall
pupilislesslikeablethananeyewithalargerpupil.Ifyouwantpeopletolikeyourdrawing(orin
otherwords,getpaidforyourportrait),makethepupillarge.Ifyouaredrawingabadguycomposite
ofacoldbloodedkiller,makethosepupilspinpointyoullnaturallydisliketheguy.
40.40.47Acorrectlyproportionedeye.RelatingshapesThereisanassociationbetweenthevarious
partsoftheeyethatyoucanbaseonthecircleoftheiris.Usingacircletemplate,drawacircle.X
marksthespotUsingthetopandbottomsidesofthecircleinthetemplate,connectthelinestothe
centerofthatcircle.CircleswithincirclesCenterthepupiloftheeyeinthemiddleoftheiris.Check
thatyouareusingthecorrectcirclesizeonthetemplateitshouldfitnicelyaroundthecenterofthe
lines.Drawacorrectlyproportionedeyeusingyourtemplate!$%
41.41.48Inthelastchapter,youlearnedthatyoucanmeasureanythinginfrontofyou.Thismethod
helpslocatethefacialfeatures,whichthencanbemeasured.Onceasingleshapeisinplace,youcan
usethatshapetolocateanddetermineotherlocationsandshapes.Rememberthatthereisoneshape
thatoccursineveryaverageface:Itstheperfectcircleoftheiris.Gogure...Measureitforyourself.
Knowingthatyoucancorrectlymeasureaneyeonaphotographmeansyoushouldneverdrawan
incorrecteye.Itstrulyasplainasthenoseonyourface.Youcanusethewidthoftheeyetomeasure
theheightoftheeyebrow,thelengthofthenoseandanyothermeasurementyoumightneedto
check.Justasyouestablishedabaselinewithinthesitetoolssection,youcanselectanduseabaseline
intheshapetools.EyeballingameasurementYoucanusethewidthoftheiristodeterminehowwide
theeyewillbe.Theirisoftheaverageadulteyeisonehalfthewidthofthewhiteoftheeye.Notethat
Isaidwhitenottheentireeye.Youstillhaveabitofyoureyeleftover.ShapeToolsMeasure1414
12DEFINITIONMeasureAtoolforseeingshapesbymeasuringasmallershapeandcomparingitto
alargershape.
42.42.49Anotherwaytolearntoseeshapesistoinvert,orturn,thelinedrawingupsidedown.
Sometimesthemindcantmakeheadsortails(pardonthepun)ofthepictureyouwanttodraw,so
insteadoflookingforaspecicfeature,trycompletingyourdrawingusingshapes.Byworking
upsidedown,asshownintheexampleonthispage,youfocusonseeingshapesratherthanthe
familiarimage.Turningaphotoupsidedownandcheckingyourworkisalsoawaytocheckfor
accuracy,whichiscoveredinchaptersix.DEFINITIONInvertAtechniqueforseeingshapesby
turningthelinedrawingyouretryingtocopyupsidedown.TIPTheinverttoolisanaidtohelpartists
seebetter,however,itworksbestifusedonlinedrawings.Turningaphotoupsidedownandtrying
todrawitisquitedifficult.Instead,usealinedrawingtohelpyoucopytheimageonyourpaper.The
inversiontoolisexcellenttrainingforanyone.BInvertShapeTools
43.43.50Turningsomethingupsidedownforcesyourbraintolookforshapes.Eventheverbalormental
actofreferringtofacialfeatureswithintheimageyouredrawingasshapesisawaytotrainyour
mind.Forexample,whenyourefertotheiris,callitbyitsshape,acircle.Byspeakingorthinkingof
somethingintermsofshapes,youstarttoreallyseethingsintermsofshape.SpeakingisbelievingIn
collegeIstudiedvarioustheoriesofpsychologicalthought.ThoughIneverstudiedpsychologyandart
together,thereisatleastonesharedconcept:labeling.Inthebehavioristicmodelofinformation
processing,labelingiswhereanRemembertorenameItishardtorealizetheeffectthelabelingofa
facialfeaturehasonthewayyouthinkaboutit,butlookatthispreinstructionaldrawing.The
instructionsweretodrawaface.Whatwasmeantwastodrawtheentireheadthatincludestheface
andthehairbuttotheartistthewordfacemeanteyes,noseandmouth.Lookhowdisproportionate
thisdrawingappears.Itisalmostallface.EnterthelowlyrulerTheamazingplastic,gridruler
comestotherescueforinclines.Usingthesideofthephotographasaverticalguide,youcanplace
thegridoftherulerovertheshapesofthefacialfeatureandchecktoseewhatiswhere.Thetiltofthe
eyeiseasytoseeusingtheguidelines.Dontassumethatyoucanseethesubtlecurveorangleofa
shape.ShapeToolsRenameandInclineDEFINITIONRenameAtoolforseeingtheshapeinfacial
featuresbyrenamingthatfeatureintermsofshape.Facialfeaturesarenotalwayssymmetrical,and
willvaryfromonesidetotheother.Eyesmaybelevelwitheachother,oronemaybehigherorlower.
Eyesmaytiltupinthecornerordown.Lipsgoup,down,wiggleaboutorcurve.Unfortunately,
peopleseyeshavedifcultyseeingthesesubtlevariations.objectorsituationhasbeengivenaname,
andactionsaremadeintermsofthatname.Forexample,ifyoulabelafeatureaniris,youwillthink
ofitasanirisanddrawyourmemorizedpatternofaniris.Ifyouthinkofitasacircle,youwillbegin
yourdrawingwithacircleanddrawtheshapesyouactuallysee.DEFINITIONInclineAtoolfor
checkingsubtleanglesinthefacialfeaturesbyusingaruler.
44.44.51Negativespaceisdenedastheemptyspacesurroundingapositive(solid)shape.Thewholeof
apictureismadeupofpositiveandnegativespaces(orshapes).Peoplenormallylookatashapeand
drawitlikeavaseoraower.Ifthedrawingdoesntlookright,theywonderhowitbecame
distorted.Artists,beingthetrickyfolksthattheyare,payattentionnotonlytothesubject(positive
shapeorspace)butalsotothenothingnessnexttothatsubjecttheshapescreatedbetweenthe
owersornexttothevase.Ivebeenframed!Itsofteneasiertoseenegativespaceifitisframedbya
viewfinder.Aviewfinderplacesaboxaroundsomethingsothattheedgesofthesubjecttouchthe
edgesofthebox.Bylookingthroughaviewfinder,youcanmoreclearlyteachyourmindto
concentrateonthetrueappearanceofashape.Youcanmakeasimpleviewfinderbycuttingasquare
outofapieceofpaper.Lookthroughtheopenareaandyouwillseetheworldnicelyframed.
DEFINITIONNegativeSpaceAtoolthatallowsyoutoseeapositiveshape(solidspace)clearerby
focusingonthenegativeshape(emptyspace)nexttoit.NegativeSpaceShapeTools
45.45.52Areyoupositive?Howcantherebenegativespaceonafacewhentheentirefaceisapositive
shape?Actually,positivespaceisreallytheobjectyouredrawing,andnegativespaceisthearea
betweenthoseobjects.Drawingtheeyesandeyebrowsmeansthattherewillbespacebetweenthe
two.Thisspacingisjustascriticalastheshapeofthefeatures.WhenIlookatcertainshapes,Ialways
checkboththepositiveandnegativeshapes.Forexample,Iwillchecktoseeifanirisisdrawn
correctlybycheckingtheshapeandsizeofthewhiteoftheeye.Negativespace:distancebetweenthe
eyebrowandhairline.Negativespace:distancebetweentheeyeandeyebrow.Negativespace:distance
betweenthenoseandmouth.Negativespace:distancebetweenthemouthandchin.Negativespace:
distancebetweenthenoseandthesideofface.Negativespace:distancebetweentheeyeandeyelid.
46.46.FromthebeginningThistoolissonamedbecauseyouaskquestions:Whatistheline/edgedoing?
Inwhatdirectionisitgoing?53Iwasyinghomelateonenightfromteachingacompositedrawing
class.IhadreadeverybookIbrought,Ididntenjoyreadinganyoftheprovidedmagazines,there
wasnomovieandIwasboredtotears.Fortunately,theyoungboysittingnexttomewasalsobored
andwastryingtosketchpicturesfromtheightmagazine.Theywereverycomplexphotographs.
Afterwatchinghimstruggleforafewmoments,Iaskedhimifhewantedhelp.Sure,hesaid.Hehad
roughedinaheadshape,soIplacedmyngerintheneckarea.(SimplifyIwasliterallypointing
outthelocationandshapetothechild.)Iasked,Whatdoesthisedgedo?Hereplied,Itisgoing
slightlydownwardandaway(fromtheface).Hethendrewthatedgeinthecorrectdownwardangle.I
said,Doesitgodownwardforever?Child:No,itchangesdirectionandgoesdownthearm.Me:
Wheredoesitchangedirection?Child:Righthere(pointingtothelocation).Wehadidentiedthe
shapeandthelocationonthedrawingwheresomethingwasdifferent.Theparticularspotonthe
photoweweredrawingwasbothmeasurableandlocatableusingopticalindexing.Usingthis
questioningtechnique,thechildwasabletocompleteaverycomplexdrawingofamodel.Mynger
onthelocationonthephotographandmyverbalquestionsrequiredthechildtobothseethat
informationandarticulatewhathewasseeing.Theresultingdrawingwasquiteremarkablyskilled.
QuestionShapeToolsDEFINITIONQuestionAtoolforseeinganglesandshapesmoreclearlyby
askingyourselfexactlywhatitisyouareseeing.
47.47.54Doesthislinegoonforever?Asyouaredrawingthefirstlineinonedirection,theface
eventuallyhasanotherangle,andyourlinegoestoofar.Somethinghaschanged,soyoumightask,
Whathappened?Inwhatdirectionisyourline/edgegoingnow?Yourfinalquestionis,Whereon
thefacedidthischangeoccur?Askingquestionsmakesyouarticulatecertainpointsandlocations
thatarenotguessworkortrialanderror.Theycanbeseen,butfirstyouhavetoknowwhatyouare
lookingfor.AnglecheckpointsTheaveragefacetendstohavecertainplaceswhereananglewouldbe
located:thetransitionbetweenthechinandjaw,thejawandcheekbone,thecheekbonetotempleand
thetempleacrosstheforehead.
48.48.55Itsoftenastruggletomakeadrawingandapicturelookalike.Thisisespeciallytruewhen
youaredrawingafamilymember.Itmaybethatthemouthiscausingthedifculties,soyoudrawit
again.Andagain.Andagain.Thepaperstartstothininthatareafromallyourerasings.Youmay
becomefrustratedbecauseyoucantseewhattheproblemisinthatshape.Drawingisdifcultat
times,especiallywhentheshapesyouseearesubtle.Thereisasimplesolutiontohelpingyourpoor,
beleagueredbrainseetheelusiveshape:thecomparetool.CheatPlaceasheetoftracingpaperover
thephotographandtracetheoutlineoftheshapecausingthedifficulties.CompareMakeyourdrawing
lookrealDEFINITIONCompareAtoolforseeingshapesmoreclearlybytracingthatshapefromthe
photograph,tracingyourowndrawingandcomparingthetwoshapesaslinedrawings.ShapeTools!
49.49.Andtheansweris...Moveyourhandover,andlookatthetwoshapessidebyside.Youhave
removedthebackgroundnoiseoftheinformationrichphotographandcreatedtheshapeinits
simplestform.Thesubtledifferencebetweentheshapesisapparentwhenyoucompareditinthis
manner.TraceagainMovethetracingpaperovertoyourdrawing.Placeyourhandoverthetracing
youhavejustdone,soyoucantbeinfluencedbyit.Tracethesameshapeonyourdrawingthatis
causingyouproblems.56$%
50.50.Byclosingmyoneeye,Iwasbetterabletotranslatethisthreedimensionalimagetomytwo
dimensionalpaper.Withoutthistechnique,Aynsleesimagewouldmostlikelyhavelookedstrange
andoutofproportion,almostlikelookingintooneofthosecarnivalmirrors.57Youpreviously
learnedhowtotakeathreedimensionalimageinfrontofyouandtransformitintoatwodimensional
imageonyourpaperbyclosingoneeye.Thisistrueforndingthesiteorlocationofanobjectaswell
astheshapeofanobject.Afacialfeature,likethenose,canbedifcultifyoudontattenitbyclos
ingoneeye.Aynslee12"9"(30cm23cm)FlattenShapeToolsDEFINITIONFlattenAtoolfor
seeingathreedimensionalshapemoreclearlybyclosingoneeyetoleveltheimageintotwo
dimensions.
51.51.ShadeProbablythesinglemostrequestedtopicmystudentsaskforisinformationaboutshading.
Howdoyoumakesomethinglookreal?Thischaptercoverstechniquesonhowtoseeshadingand
thecorrectshadingthatisspecictoeachfeature.Understandingshadingisthecriticalstepfortaking
alinedrawingandtransformingitintoalifelikeworkofart.Shadingbringsathreedimensional
qualitytothedrawing.Traditionaltraininginshadingatmostartschoolsinvolvesaninstructorplacing
avarietyofwhiteobjectssuchasballs,plates,sheetsandboxesonatablewithalightononesideand
thentellingthehorriedstudents,Drawthis.Ifyourinstructorwassomewhatenlightened,heorshe
mightgiveyouacluelikesquint.Yeah,right.Yourbraintellsyouthattheobjectsareshapes,white,
differentfromeachotherand,er,well,white...Afterall,ifyoucoulddrawstufflikethatwithno
instruction,youcouldhavesavedyourselftheclassfees.corrine16"20"(41cm51cm)W
52.52.60Tounderstandshading,youneedtoknowthreethings:Whattolookfor,howtoevaluatewhat
youreseeingandanyusefultechniquestomakeyourdrawingsbetter.Theonlyadditionaltipfor
shadingyourdrawingispractice.Shadinginvolveshandeyecoordination.Emergingartistshave
troublewithshadingnotbecauseitismoretechnicalordifculttheystrugglebecauseitrequiresnew
physicalskillsthatcomewithpractice.Shadinginvolvestrainingtheeyetoseewhatartistscallvalue
changes.Valuemeansthelightnessordarknessofacolor.Avaluechangeiswheresomething
changesfromlighttodarkorviceversa.Thevetoolsyouwilllearnare:Values/LinesIsolate
CompareQuestionSeekShadingtechniquesTherearemanytechniquesforshading,including
varyingthepencildirection,makinglinearstrokes,buildingupleadandsmudgingthelead.Iprefer
theshadingtechniqueofsmudgingthelead.Smudgingrequiresasmoothpapersurface.Ithasafew
trickyareas,butitsfasterandrequireslesspressureandcontrolofthepencil.Understandingshading
toolsRubadubdubSmudgingrequiresapaperstumportortillion(seechapterone).Thestumpisjust
rolledpaperwithnothingonit.Youuseittopickuplead(graphite)fromoneareaofthedrawingand
blenditout.Thepaperneedstobesmooth,platefinishbristolboardorillustrationboard.Textured
paperisbetterforothertechniquesbecauseitsnagsthelead.ThefineartofsmudgingTheleadmay
comefromthedrawingitselforbyscribblingonapieceofpaperwithasoftpencil(2B6Bwork
well).Asyoupickupleadandmoveitaroundwiththepaperstump,itgraduallygetslighterasthe
leadiswornoffthestump.Thisiswhyitseasiertosmudgethetoolishelpingyoumaintainthe
correctamountoflead.
53.53.61HolditrightthereThisisthestandardwayyouholdyourstump.Itonlyworksifyouare
smudgingasmallarea.Usethetipofthepaperstumpforthesesmallareas.Youwillusethestumps
taperedside,heldflatagainstthepaper,forlargerareas.Placeitacrossyourflathandandsmudge
usingthetaperedarea.KeepyourgrubbyfingersoffYourhandscontainoilsthatwilltransfertothe
paper,causingthepapertoreactwiththegraphiteinadverseways.Placeapieceoftracingpaper
underyoursmudginghandasshownhere.ThewhitestuffPreservethewhiteareasofyourdrawing.
Rememberthatyouaregrindingleadintothepaper,andthoughthepaperissmoothandcleansup
well,youwanttokeepfromgrindingleadintotheareasyouknowwillremainwhite.Workfromyour
darkareasandblendtowardyourlighterareas.ThelongandshortofitTomaketheskinonthe
drawinglooksmooth,uselongsmoothstrokesonyourpaper.Short,jerkystrokesmakeforbadskin.If
necessary,gooutsidetheedgesofthefaceanderaselater.(Iknow,Iknow,Ijusttoldyoutonot
smudgewhereyouwanttoretainthewhiteareas,whichmightbeoutsidetheface.Thatsokay.
Sometimesyouneedtobreakanartruletoachieveagoalinthiscase,smoothskin.)Thesameholds
trueforyouroriginalpencilshadinglong,smoothstrokesappliedwithanevenhandmakefor
smoothskinandhair.Imstartingtofeellikeacommercial.LayersWhenyousmudge,youliftasmall
partoftheleadfromoneareaandtransferittoanother.Thismeansthatnotonlyareyoublendinginto
onearea,youarelighteninganother.Smudgingisnotaonetimeapplication.Youmayneedtogoback
anddarkentheoriginalareaagainandapplylayersofblendingtogettherightvalue.
54.54.ApplyevenpressureTakeyourpaperstumpandblendintothefaceusinglong,smoothstrokes.
EstablishanedgeStartwithanHBpencil.Usingthesideofthefaceasanexample,evenlyscribblea
smooth,continuoustonenexttothelinethatrepresentsthesideoftheface.Keepyourpencilonthe
paperandthepressureonthepencilevenandsteady.62Usingtherightpencilhardness,pressureand
strokemakeaterricdifferenceinyourshading.Youcannotgobackandtrytoblendazigzagblack
linedonewitha6Blead.Youwillendupwithazigzagsmudge.!$Stepbystepshadingtechnique
55.55.RepeatasnecessaryYourgoalistonotgoimmediatelytothefinishedvaluebuttobuildvaluesup
ontheface.Youmayneedtogobackandaddmorelead,smudgeagain,addmoreleadandsmudge
again.63%ShadingtechniquessummaryUsesmoothpaper.Usetherighttool.Holditcorrectly.
Keeptracingpaperunderyourhandasyousmudge.Preserveyourwhiteareas.Uselongstrokes
forsmoothskin.Keepapplyingmoredarklayersasyousmudge.Useevenpressureandsmooth
pencilstrokes.
56.56.ShadeToolsValues/Lines64Nowwewilldelveintothedeep,innerpsychologyofart,askingthe
ageoldquestion,Whatisaline?Whenyoudraw,youusuallystartwithlinestotellyouwhereyou
areonthepaperandwheretheedgesofvariousitemsoccur.Beyondalgebraandothermathapplica
tions,youhaveprobablyneverthoughtanymoreaboutlines.Yourbrain,however,loveslinesand
willlietoyouaboutthem.Itstrue.Inchaptertwo,youlearnedthatthemindplaceseverythinginto
patternsofperception,memorizesthatpatternandusesthatpatterninsteadoftherealityofwhatis
actuallypresentinthephoto.Yourmindguresitknowsallaboutthingslikefacialfeaturesand
thereforewillprovideinformationaboutthatfeature,regardlessofreality.Perceptionsaremore
powerfulthanfacts.Drawinglinesrepresentoneoftwothings:athin,darkvalueontheface(suchas
thecreaseintheeyelid)oravaluechange.AlineinthelatterinstanceIgotyou,babeBecauseyour
mindtellsyouthatthereisalineonthebottomlid,youdrawitin.ThisisfineifyouredrawingCher,
circa1965,IGotYou,Babe...butitisincorrectformostothereyes.Lookatthisillustration.Your
mindacceptsthelinesyouoriginallyuseascorrectlydefiningtheshapesoftheface.Yourmind
(perceptions)reallylikesthosesamelinesandwillleavetheminplaceattheendofthedrawing.
DEFINITIONValues/LinesAtoolforunderstandingvalues/linesinwhichthecloserinvaluetwo
shapesaretoeachother,thelessalineisneededtoseparatethem.showswhereadarkandalight
valuecometogether.Heresasecret:Therearefewtruelinesontheface.Mostoftheshadingonthe
facecomesfromvaluechanges,notlines.Whenyoudrawlinestoindicatevaluechanges,youtendto
leavethelinesinplace.IthinkofthisasCarriesDictum:Thecloserinvaluetwoshapesaretoeach
other,thelessyoucandrawalinetoseparatethem.EyeballtoeyeballAcloseexaminationofthe
eyes,forexample,willshowusthatthebottomlidisashelf.Thisshelfpicksuplightandislightin
color.Youseeitoftenbecauseitisactuallylighterthanthesocalledwhiteoftheeye.Thereareno
linesonthebottomliditsaseriesofvaluechanges.
57.57.65Oncedrawn,nevererasedLookatthisdrawing.Youknowitisincorrect,andcertainlydoesnt
appearreal.Butwhatstheproblem?Yourmindhasacceptedthelinesasreality,buttheyarenotreally
thereandsoyouarefrustrated.HandlinglineslikeanadultYouhavetwochoiceswhenshading:
Eitherkilltheline(thatis,shadeuptothelineandmakethelinedisappearbecauseitsnowthesame
shadeatthatpoint),ordontdrawthelineinthefirstplace.
58.58.66LinekillingThesideofthefaceisanexampleoflinekilling(andyouthoughtthiswasa
nonviolentartbook).Youdohavetodrawthesideofthefaceoriginallywithaline,butthereisnoline
there.Youseethefacebecauseitiseitherlighterordarkerthanwhateverisbesideit.Darkhair,for
example,formsthesideoftheface.Thefacemayalsogetdarkerasitreachestheedge.Thisisnota
line,mindyou,butatonalchange.Therefore,shadeuptothelineandmakeitdisappear.Thiswill
indicatethattheareaisnowallthesamevalue.
59.59.67NolineatallBetteryet,givenyourmindsabilitytodeceiveyou,dontdrawsomelinesinat
all.Theupperliphasqualitiesthatyoumayneedtooriginallydraw,butwatchthatlowerlip.Itsnot
necessarytocompletethelowerlipasaline.Youneedonlyindicatewherethelipendsandthe
shadowbegins.ProblemareasThemostcommonproblemareasinusinglinestoseparatevalue
changesarethelowereyelids,thesidesofthenose,theedgeofthefaceandaroundthelips,in
particularthelowerlip.Theseareascontainnolinesandshouldnotbesketchedaslinearseparations.
Eitherkillthelinebyabsorbingitintotheshadingordontdrawitinatall.Noticehowoddtheright
sideofherfacelookswiththelinesleftinthedrawing.Susie12"9"(30cm23cm)
60.60.Awaytophysicallycheckthatyourshadingisthecorrectvalueistocomparethevaluesbetween
yourdrawingandthephotograph.Todothis,youcancreateavaluescale.ShadeToolsIsolate,Squint
andCompare68Thecorrectvaluesonadrawingwillmaketheimagecometolife.Afullrangeof
shadesfromthewhiteofthepapertothedarkestdarkyourpencilcanmakeisusuallynecessaryto
makeaninterestingdrawing.Theshading,orvalues,ofaphotographalsohasashape.Ithasa
startingplaceandanendingplacethatyoucanndontheface.Trainyoureyetoseetheshapeofthe
shading.Ifyouhaveaphotographicmodicationprogramonyourcomputer,youcanscana
photographanduseacutoutprogramtoisolatethevaluesinthephotograph.Thiscanbeusefulin
showingyouthelocationsoftheshading.Shadinghasashape.Squintingatthephotographhelpsyou
seethegeneraloutlineandshapesoftheshadows.Squintingwillalsodropoutthosepeskylinesyou
feltyouneededtoseparatethevariouspartsoftheface.Squintingistheoriginal,lowtechwayof
seeingshadingandvalues.ValuescaleThevaluescaleisasimple,homemadetooltohelptheeyessee
thecorrectlightordarkareasofaphotoandthecorrespondingvaluesinadrawing.Tomakeavalue
scale,divideapieceofpaperintotenequalboxes.Leaveoneboxonthetopwhite.Makethebottom
boxthedarkestdarkyoucanmakewithapencil.Thenshadetheboxessothattheygetprogressively
lighterfromthebottomboxtothetop,whitebox.Punchaholeinthecenterofeachbox.Byplacing
thissimpleguideoveraphotograph,thenoveryourdrawinginthesamelocation,youcanseeifyou
havereachedthecorrectvalue.DEFINITIONIsolateAtoolformoreclearlyseeingthecorrect
shadingbyisolatingtheshadingandseeingitasashape.DEFINITIONSquintAtoolforseeingvalue
changesmoreclearlybysquinting.DEFINITIONCompareAtoolforseeingvaluechangesby
creatingavaluescaleforcomparison.
61.61.Missingsomething?Inthisdrawing,youcannotseeonesideoftheface.Yourperceptionand
memorytellyouthattherearealwaystwoeyesontheaverageperson.Youknowtherearetwoeyes.
Theminorfactthattheeyesarenotcompletelyvisiblewontdeteryouinyourquesttodrawthatface.
Youknowthereareeyesintheresomewhere.Intheenditdoesntmatter.Thisdrawingstilllooks
complete,evenwithoutbeingabletoseeabsolutelyeverythingonherface.Question69Ihave
stressedthroughoutthebookthatyouneedtobelookingatyoursubjectinordertodrawit.Even
thoughyouarelookingatit,yourmindwillprovideinformationthatsimplyisntthereorisnttrue.
Mosterrorsoccurwhentheartistlosesfaithintheviewer.Theartistthinkstheviewerwillnotbeable
tounderstandwhattheyarelookingat,unlessthatartistputsineverylittledetail.Itdoesntmatterifa
partofthephotoismissing.Askyourself,Whydoyouseeit?Thissimpleactforcestheartistto
questionwhatexactlymakesitvisible.Issomethinglighterordarker?Isitseparatedbyaline?If
youdontseeit,thendontdrawit.GuessworkYouhavejuststumbleduponaproblem.Yourbrain
maytellyouthatjustbecausewecannotseesomething,thereisnoexcusefornotdrawingit,right?
So,youdrawit.Becauseyoucannotseethedetailsoftheeyes,youguessatwhattheylooklike.After
all,bygolly,youworrythatifyoudontdrawthoseeyes,peoplearegoingtothinkyourdrawingis
wrong.Soyouarewronginyourguesswork.Askquestions.Talkingtoyourselfwillhelpyou
understandwhatyouaretryingtoshade.Ask:WhydoIseethisshape?Ifitsthesamevalue,Icant
seeit.IfIcantseeit,Idontdrawit.Ifitlookslikeabigblackblob,thatswhatIdraw.Ifitsa
uniformwhite,itstaysallwhite.Dontoutlinesomethingjustbecauseyouknowitisthere.Sodoes
everyoneelse.Drawwhatisactuallyinthephoto.Yourvieweralsoknowsthatthenosehasasidetoit
andthattheeyesareseparatefromtheskinoftheface.DEFINITIONQuestionAtoolforseeingvalue
changesbyaskingyourselfwhyyouseeaparticularshape.Ifyoudontseeit,dontdrawit.Ifyousee
it,thereisusuallyavaluechange.ShadeTools
62.62.70ItdoesnthavetomakesenseMyhusband,Rick,wantedtodoaselfportraitshowinghimself
asanoldtimeriverboatbanjopicker.Hegotpermissionfromthelocalmuseumtouseahistorical
photographofariverboat.AsRickwasshadingintheriverboat,allhesawweredabsoflightanddark
onthedeck.Whenhetookabreakfromhisdrawingandsteppedback,thedabsbecamepeople.He
didnttrytomakethedabslookexactlylikepeopleitwascorrectandrealinthephotograph.Afterhe
hadusedthequestioningtechnique,hecametorealizehecouldntmakeitmorecorrectormore
realbyapplyingreasoningtoit.Donttrytoarguewithreality.Drawwhatyousee,whereyouseeit,
tothecorrectshade.
63.63.SeekShadeTools71Ihaveaconfession:Myhusband,whomIadore,lovesthebanjo.There,Ive
saidit.Hestudiesthebanjo.Heplaysbanjoandbluegrassmusicinmypresence.Hetakesbanjos
apart.Heknowswhomadewhatbanjo,theyeareachwasatitspeakandeverymajorbanjopickerin
theworld.Rickcanwalkintoamusicstore,apawnshop,agaragesale,anatticoralivingroom,seea
banjoandknoweverythingaboutitinseconds.Heknowswhattolookfor.WhyamIrattlingon
aboutbanjos?Allofyouknow(oraremarriedto)someonewhohasthissameabilitythoughitmight
becars,guns,dogs,(IcandothiswithGreatPyrenees),sportsteams,clothes,hairstylesorantiques.
Youknowwhatyourelookingfor.Youreyeistrainedtoseeksomeparticulardetailthatistotally
obscuretotheaverageperson.Artists,too,seekoneparticulardetailwhentheyworkontheirart.
Artistsseektondsomethingroundorroundedinasubject.Whyseek?Becauseartistshavelearned
thatroundshapeshaveaparticularshadingpattern.Ifyouknowtheshadingpatternofarounded
surface,youwillknowwhattolookforinthephotograph.Evenifitisnotclearlypresentinthe
photo,orismissingaltogether,artistsknowthatiftheyincludethispatternintheirdrawings,that
featurewillappearrounded.Infact,someartistsdrawusingonlyroundedorroundshapes.Theythink
inround.Theyteachinround.Theyillustrateinround.Theproblemwithdrawingandlocating
featuresusingroundedshapesisthatcurvesandcurvingshapesvary.Mystudents,intheiroriginal
drawings,willalwayserrwherethereisacurveinthedrawing,notwherethereisastraightline.
Locateusingstraightlines.Thinkshadingincurves.OK,sonowyouaregoingtothrowoutthefact
thatIjustsaidifyoudontseeit,dontdrawit.Thisistheexceptionthatprovestherule...or
somethinglikethat.Thefacehasmanyroundedsurfaces.Ifyouknowtheshadingonaroundsur
face,andyouknowwherethefacehasroundedareas,youwillknowhowtoshadethefacebetter.
RoundshadingpatternTheballhasapatternthatisasfollows:lightestlight,whichisthehighlight
dark,whichistheshadowareareflectedlight,whichislightbouncingoffthefloororfromother
objectsandacastshadow,whichistheshadowthatiscreatedbytheobject.CastshadowReflected
lightDarkLightestlightDEFINITIONSeekAtoolforseeingaparticularshadingpatternbyseeking
outroundobjectsinyoursubject.
64.64.72RoundfacesIdentifytheroundshapesontheface:forehead,nose,eyes,cheeks,lips,chin,ears,
face,evenhair.Applythispatterntoafaceandyouwillmakeitround:lightestlight,dark,reflected
lightandcastshadow.CastshadowCastshadowReflectedlightReflectedlightDarkDarkLightest
lightLightestlightCastshadowReflectedlightDarkLightestlight
65.65.Theseektoolworksespeciallywellhere.Therearemanyroundedsurfacesthatcontainthe
particularshadingpatternof:lightestlight,dark,reflectedlightandthecastshadow.73Courtney12"
9"(30cm23cm)
66.66.74Thenalgeneraldrawingprincipleistocheckyourworkforaccuracy.Asyouwork,yourmind
isprocessingandplacingyourdrawingsintopatternsofperception.Afterafairlyshortamountof
time,youwillnolongerreallyseeyourwork.Youneedwaystobreakthatpatternofperception.Its
likeproofreadingsomething.Youtendtomissthetyposandothererrors,butyoucancorrectthisby
havingsomeoneelsereaditorbyreadingitaloud.Manyartistsalreadyuseoneormoretechniquesto
checktheaccuracyoftheirart.Thesetwopagesareasummaryofmanyofthesetechniques.Iadvise
youtoincorporateoneormoreofthefollowingtechniquesintoeveryworkofartyoudo:Invert
DistanceTimeToolsReverseFriendandfamilyfactorOtherartistfactorCombinationInvert
Invertingyourartsimplymeanstoturnitupsidedownsothatitlooksdifferent.Turnbothyour
drawingandtheoriginalphotoupsidedownandplacethemsidebyside.Youmayseeanyerrorsor
problemsmoreclearly.DistanceWheneverIcompleteawatercolorordrawing,Iplaceitata
differentdistancefromwhichIpaintedordrewit.Iusuallypropitacrosstheroomandstudyitfrom
afar.Changingthedistancealtersthewaytheartlooks.IrecalloneyingospreypaintingIproppedin
justsuchaway.Itlookedne,butsomethingwasbotheringme.Afteradayofwalkingaway,walking
back,wanderingaroundtheroomandsneakingpeeksatthepainting,Irealizedthatthewingwasbent
atthewrongangle.Imadeasimplecorrectionandthispiecewasacceptedintoajuriedshowandthe
travelingshowaswell.TimeBecauseyourmindhasplacedthedrawingintoapattern,ifyouwalk
awayfromthatwork,youwillseeitdifferentlywhenyoureturn.Ioftentakeadrawingawayfroma
student,wanderabouttheroomforaminuteortwo,thenholditatadistanceforthestudenttoseeit
withfresheyes.Buildinbreaksawayfromyourwork.Caution:Whenyourstreturntoyourdrawing,
immediatelywritedownthecorrectionsyouseeoryouwillforget.ToolsTherearetoolsthatwill
helpyouseebetter.Manyartiststhinkitscheatingtouseatooltohelpthemdraw.Thatslikethinking
ahammerischeatingbecauseithelpsyoutoworkfaster.Toolsarejustthatphysicalaidstomake
youabetterartist.Onecommontoolisarulerforcheckingforangles.Anothertoolisapieceofred
lmheldinfrontofyoureyes.Itwillblocktheartintovaluesandwillhelpyoumakethose
corrections.Othertoolswillshowyoushading,anglesandperspective.Youmaypurchasesomeof
thesetoolsormakethemyourself.ReverseHoldingartuptoamirrorisalongstandingartistic
technique.Thereverseoftheartshowssomeproblemsmoreclearly.Friendandfamilyfactor
Sometimesyoucantseeitbutotherscan.Askyourfriendsandfamilymemberswhattheythinkof
thework.Irememberaskingmy(nonartistic)momforheropiniononapaintingIliked.Shesaidall
shecouldseewastheblueblobofpaintonthenose.Shemissedmywonderfulartbecauseablueblob
capturedherattention(andassumingmypurposewasnottoexpressmyfeelingsonnoses,blue
blobs,oracommentaryonRudolphtheRedNosedReindeer),herobservationmademerevisitthe
painting.OtherartistfactorCritiquesareusefulforgettingoutsideinputonyourwork.Theyhelpyou
seetheartwithfresheyes.Myhusbandisanartist,soIhaveabuiltinradaronmyart.Ofcourse,itis
notgoodhavingyourhusbandstarecriticallyatyourwork,thenincredulouslystate,Yourenotdone
yet,areyou?Thismaynotmakeforthemostharmoniousmarriage.CombinationOfcourse,a
combinationoftheaccuracytechniquesisanartistsbestbet.Eachofmycompositesketchesand
paintingsreceivesacombinationcheckforaccuracy.Withmycomposites,Ipropthedrawingonthe
tableatadistance,takeabreak,returnandplacethedrawingontheoorandwalkaroundit.Iaskthe
witnesstotakeabreakandthenrecheckthedrawingfromadifferentdistancewhenheorshereturns.
Checkingforaccuracy
67.67.Walkingawayandtakingabreakhelpedmeironoutsomeoftheintricateshadingissuesinthis
drawing.Sometimesallyouneedisalittletimeforeverythingtoclick.JB&Cole16"20"(41cm
51cm)75
68.68.DrawingEyesSomuchhasbeenwrittenabouttheeye.HenryTheodoreTuckermanwrote,The
eyespeakswithaneloquenceandtruthfulnesssurpassingspeech.Itisthewindowoutofwhichthe
wingedthoughtsoftenyunwittingly.Itisthetinymagicmirroronwhosecrystalsurfacethemoods
offeelingtfullyplay,likethesunlightandshadowonaquietstream.Giventhattheeyeisindeed
thewindowofthesoul,artistsneedtogetthewindowright.droolingchildPhotobyKellyDulanty
12"9"(30cm23cm)E
69.69.78Eyesareshapes,soyouwillusetheshapeandshadingtechniquestohelpdrawthembetter.
Thissectionisthepractical,stepbystepapplicationofthevarioustechniquespresentedintherst
fewchapters.Youwillisolatethefeatureoftheeyes,simplifytheshapeandrenamethepartsofthe
eyeasshapes.ThepartsoftheeyeLateralcanthusCreaseScleraShelfoflowereyelidPupilIris
MedialcanthusUppereyelidEyebrowEyesasshapes
70.70.SubtractoutthedoohickeyYouprobablythoughttheinsidecorneroftheeyewascalledthemedial
canthus.Icallitthedoohickey.Onmostpeople,itisasmall,triangular,pinkishareaintheinside
corneroftheeye.Nowthatyouknowitisthedoohickey,youneedtoignoreorsubtractoutthat
measurement.LookfortheinclineWhenyoudrawahorizontallinethroughtheeyes,fromtheout
sidetotheinsidecorners,itsimmediatelyapparentiftheeyesarelevel,onehigherorlower,ortilted
atthecorner.StartwithalineYouwillneedaruler,acircletemplate,apencilandanerasertodothis
exercise.Drawaline712inches(19cm)long.Breakitupinto112inch(4cm)sections.Thiswill
becomeanimaginarylinerunningacrosstheeyes.Youlearnedearlierthattherearefiveeyesacross
theaverageface:aneyebetweenthesideofthefaceandtheeye,theeyeitself,aneyebetweenthe
eyes,asecondeyeandthespacebetweentheeyeandthesideoftheface.79!$%Locateand
measuretheeye
71.71.80Nowthatyouhaveestablishedtheinitialmeasurements,youmustndthecenterofthewhite
oftheeyenotthecenteroftheentireeye(rememberyouareignoringthedoohickey).Thisiswhere
youcentertheiris.Youmightneedtoreferbacktopages4648torefreshyourmemoryonhowto
drawacorrectlyproportionedeye.LookingforcirclesTheiris,ontheaverageadultface,isonehalf
thewidthofthewhiteoftheeye.Youcouldfittwoirisesintothewhiteoftheeye,asshowninthe
photographabove.Thepointwherethetwocirclestouchisthecenter.Markthispoint.Placethe
circlesThecircleoftheirisisnotcenteredonthelineyouvedrawnfromtoptobottomaboutone
fourthofthecircleextendsbelowthelinewithmostoftheirisabovetheline.Findacircleinthetem
platethatisonehalfthewidthoftheeye.Drawthatentirecircle,usingthecentermarkyoujustmade.
Dontforgettocenterit!$
72.72.81AptpupilsYouwillberepeatingtheprocessyoulearnedonpage47,butletsreviewitone
moretime.Usingthemarksatthetop,bottomandsidesofthecircletemplate,connectthelinesto
findthecenterofthecircle.Centerthepupiloftheeyeinthemiddleoftheiris.%
73.73.Wideopeneyes82Thisisagoodplacetostopandrevisitthetopicofrelate.Remember,this
meansthatonceyouhaveashape,youcanrelateothershapestothatshape.Thecircleoftheirisisa
goodexample.Anotherfeatureyoucanrelateshapestoistheuppereyelid.Noticewhereonthecircle
oftheiristheeyelidtouches.Onwideopeneyes,theentirecircleshows.Onaverageeyes,thelidsare
abovethepupil.Sleepyeyesshowverylittlecircle(seepage84).Dontvarythecircletotinto
theeyevarythelidsaccordingtotheiris.Relate
74.74.Averageeyes83
75.75.Sleepyeyes84
76.76.85Abovetheeye,theuppereyelidformsacrease.Intheaverageeye,thislookslikealine
followingtheuppereyelid.Whenthecreaseisveryhighabovetheeye,itscalledheavylids.When
itsveryclosetotheeyeordoesntshowatall,itscalledoverhanginglids.Paycloseattentionto
thelocation,directionandappearanceoftheupperlidcrease.EyelidcreasesAverageeyesHeavylids
Overhanginglids
77.77.KeepitneatBeforeshadingtheeyes,erasetheinteriorguidelinesyouhavemade.Leavethe
crosshairsintheiris,asyoucanusetheminshading.Eyescontainoneormorehighlightsinthem.To
keepyourwhiteswhite,leavetheseareaswhiteratherthantryanderaseoutthehighlights.86Both
theupperandlowerlidshaveathicknesstothem,asshowninthedrawingtotheright.Theupper
lidsthicknessisindicatedbyitscastshadowandbytheappearanceofanedgeinonecorner.The
lowerlidisashelfthatwilloftenpickuplight.Iffact,intheoutsidecorneroftheeye,theshelfofthe
lowerlidisoftenlighterthanthewhiteoftheeye.Makesurethatyouhaventmadetheshelfasingle
line,andthatyourlinesarentshowingwhenyouaredoneshading.Lowerlids
78.78.87ShadetheirisTokeepthecircleoftheirisneat,leavethecircletemplateinplaceinitiallyas
youshade.Afterfillingintheblackpupil,fanoutwardwithadarkpenciltokeepitfromlookingso
stark.Goaroundtheoutsideoftheiris(withthecircletemplateinplace),andfaninwardforthesame
reason.Paycloseattentiontothecontrastbetweentheblackpupilandthecoloroftheeye.Because
youredrawinginblackandwhite,itsthecontrastbetweentheblackpupilandtheshadingontheiris
thatyousee.Withsomeverydarkeyes,youwontseeaseparatepupilandanirisitsalldark.Some
eyeshaveadarkerrimontheedgeoftheiris.Backtothestepbystepdemonstration.Youwillneedto
incorporateallofthelessonsfromthelastfewpages,sodontbeafraidtogobacktotheinformation
atanypoint.FinishtheeyewithflairTIPShadeoutwardfromtheblackpupiltotheedgeofthecircle
template.Thiswillenhancetheappearanceoftheeye.B!
79.79.AddthefinishingtouchesFinally,useyourkneadederasertolightentheirisonthesideopposite
ofthehighlight.Thiscreatestheappearanceoflightpassingthroughthetransparentcornea.Shadethe
eyeUsingthepaperstump,placetheshadowcastbytheupperlid,andashadowinthecornerswhere
theballoftheeyegoesbackintothehead.Eraseandabsorbthelinesofthelowerlidintothe
shading.FillintheirisTheirisismadeupoflinearshapesfanningoutfromthecenter.UsinganHB
pencil(onlightercoloredeyes),fillinbetweenthepupilandtheouterrim.Keepthehighlightwhite.
Then,useapaperstumptoblendtheshadingtogether,againsavingthehighlight.Ondarkcolored
eyes,useadarkerleadtofillinthespacebetweenthepupilandirisedge.88$%Q
80.80.89Eyebrowsaremadeofshorthairs.Interestinglyenough,apencilstrokeisshapedlikeahair
fatwhereitstartsandtaperingoffintoathinnerend.Combeyebrowhairwithyourpencilplace
thepencillinesinthedirectiontheeyebrowhairgrows.EyebrowsandeyelashesEyelashesYou
generallywontbeabletoseeeyelasheswhenyoulookstraightonatmosteyes.Theexceptionstothis
aremascaracoatedlashesandveryheavy,longlashes.Thelashescomeforwardandcurlupward,
appearingasaraggededge.Onewaytoimplylonglashesistoplacetheirshadowintothehighlightof
theeye.EyebrowlocationEyebrowsvaryquiteabit.Moststartattheedgeoftheeyeandendinaline
thatrunsfromthenosepasttheeyes.
81.81.90EyebrowshapeEyebrowsmaycurve,bestraight,closetotheeyes,haveabendinthemorarch
highorlow.
82.82.91Useyourtools!Onceagain,usethetoolsforseeingthatyouhavelearnedaboutinthepast
fewchapters.Eyebrowshaveasitethatyoucandeterminebymeasuring.Asshowninthesethree
photos,placearulernexttotheeyebrowstoseetheirincline.Thenusetheeyestorelatethelocation
ofthecurveofthebrows.
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