ew cd M A D E aS BY LANCE RICHLINCONTENTS Introduction. ccc cece eee e cece eee see e ee eeeteseeeeeeeeeeeeeres 3 Materials & Basic Techniques . . . eeeeee cece eee | Shadows & Highlights. How to Light the Model....... 0.2.0.0 c00cceceeeeeeeeeeeeeee sense eeeeees 7 Anatomy 0.0.2.0 0 ooo coe cece eect cece eee eccneeeeene es 8 Planes of the Head 0.2... 02. 0.0 cc0 ccc ceeeeeceeeeeeeeeeseeseeeeeeesees " General Proportions .......0... cece 0eceececveceee eee eeueeteceeeneneees 12 Facial Features... 2.2... 02 cece eee ee cee eee eee ee 14 Expressions. Project 1: MAN... 00... cee cee eee eee ce eee eceeceeeeeeteseeeeetereees 28 Project 2: Woman. .... 2.02. 0e cece cece eect eee eeeeeseteeteeeeeesees 36 Project 3: Young Girl ...... : . cee eeeee ee ceeeeeeee =. 40 Project 4: Young Boy 2.0.02... eee cceeececeeeeeeeeeeeeesee eee eseees 44 Improving Your Work. 00.02.02 .0..000ceeececeeeeeeeeeesesseeeeeeseees 48 Including a Torso. 0.2... 00.22 s cece ccc eee ece ee eect tee eeeeereeeees 54 Working Within a Limited Time Laying In a Profile......... seeeeee . se teeeeeeeeeeeeeeees BT Drawing Babies... ce... cee ce ceee ee cee eee eseee eevee eta eee en eeeerees 58 Drawing Older People oo. sec cccee eevee sev eseeeeeueeseeaneeeeeee neers 59 Drawing Different Races 2.00... 20000 e cece cece cece cee eee eee eee eeee 60 Artistic PhilOSOphY .. 0.0.20. cece ee cee cee eec eee eee ee eeet ec eeenen eens 62 Beyond Portraiture .INTRODUCTION Here's some good news: There’s no such thing as talent, Talent actually is a skill developed by com- bining good technique and practice. In the 25 years that I've been teaching, I've never had a student who didn’t learn to draw after following directions and practicing. Of course, regular beatings are also essential If you're a beginner, you're about 60 heads away from being a good draftsman and about 100 away from being an expert. Here are three tips to help you get there: 1. You must read this book and fallow the seven stages. Artists generally prefer to look at pic- tures only, but the words are essential to understand the pictures. 2. When you draw the 60 heads, spend between three and six hours on each one—don''t just dash them aff, 3. The portraits should be drawn ftom live models—not capied from photographs. However, to avoid embarrassment and disappointment, you must practice from good photos for some time before persuading someone to sit for you. Once you can make an accurate drawing (with- out tracing) from a phota in three hours every time, you can move an to a live model. Of course, you can get started by capying all the drawings in this book ‘Great works can be created by copying photographs, so | don't mean to put down artists who rely on them, But ‘the experience of working from life teaches the artist how to measure by eye and how to capture subtleties of light, dark, and color that the camera can distort (When you have to rede a portrait because the cli- ent turns cut to be blond and not brunette, you'll be less trusting of the camera’s accuracy.) All the drawings in this book (with the exception of two) ware drawn from live models. I've included the two exceptions to show you how to use photo- graphs as tools. Photos are extremely useful, and sometimes they're all you have. My normal practice is to spend one to two hours on a drawing and then color it in with oil paint. (I paint classical portraits within two days.) But for this book I've done fairly elaborate life- size drawings, and I've observed a limit of one working day for each life-size head—five to a maximum of nine-and-a-half hours ever two to three sessions. There also are several small heads drawn in one to one-and-a-half hours.MATERIALS & BASIC TECHNIQUES Generally, graphite drawing requires a few simple tools, such as a pencil, eraser, and paper, However, my approach to this medium requires the small list of materials below. You don’t need anything else to complete the projects in this book 1. Woadless graphite pencils: 98, 28, and $8 2. Staedtler® 8B pencil (to achieve matte blacks) 3, Stumps (smooth, net ridged) 4, Ajar of graphite powder (store-bought isn’t dark enough, so buy Design® Ebony Sketching Pencils (Matte Jet Black) and sand the tips into a jar, this vill give you a powder that wil create velvety blacks) 5, Powder puffs and eye make-up applicators for blending and applying graphite powder (you'll find they can be used for things stumps can't) 6. Kneaded, vinyl, and battery-operated erasers 7. A retractable, pen-shaped stick eraser 8, Aknitting needle or ruler 9. Market paper (at least 18 Ib; thinner than this is too flimsy) 10, Bristol paper with a rough finish 11, A drawing board with clips to hold the paper or pad Paper lume a sini nie oaapegosee ey Kneaded Sharpener Ponder puff eraers The two papers | use must be handled differently. The 18-Ib marker paper is the best paper for heads smaller than a fist and can be used for life-size heads. The rough Bristol paper should never be used for small heads; the tooth (or raised areas of textured paper) will obliterate the detail, Marker paper is essen- tial whenever speed is an issue because it automatically looks smooth and requires very little blending, The Bristol paper is excellent for large, time-consuming drawings. It is much more resilient, and the tooth absorbs graphite, which results in marvelous darks and blends. Unfortunately, the tooth also makes it necessary to continually blend the graphite to achieve smooth gradations. Please try both papers. Shading | always draw with the woodless 9B graphite pencil, switching to the 5B and 2B only for finer details. | respect using hatch lines for shading (see page 5), but |want my drawings to look a bit like black-and-white paintings—highly realistic. Therefore, | usually draw with the side of the graphite (A) and use the tip for fine detail and thin outlines (8).Below are a few methods for applying tone to your drawing, as well as examples of what to avoid when shading, Practice the recommended methods before you begin the projects so you can achieve dean, controlled tone in your drawings. Use whichever method adequately describes the form. ‘Shade Across the Form Cicaie Shade Along the Form You can Don't Shade Chaotically Don't zat aeANATOMY Knowing the anatomy of the head will help you understand the basic forms beneath the skin. Listing the names of the points on the skull isn’t practical for our purpose here. Instead, I've placed a dot at each point of the skull that you should be aware of when you draw. These points make an impression on the surface, and, if you include thom, your drawings will be more accurate The diagram directly below includes the temporalis (on the temple) and the masseter (on the jaw) muscles. These muscles allow you to chew by pulling the jawbone. The illustration below right is 2 general (though not complete) diagram of the facial muscies so you can see the shapes of the muscles that lay over the bone.Facial Muscles and Expression Below is a list of the most important muscles used in facial expressions. Familiarizing yourself with ‘them will help you understand how the muscles move to affect the shapes and bulges of the skin. 4 The frontais contracts to create wrinkles on the forehead. ft can contract inthe middle alane (indicating sadness) or in the middle and on the: sides (indicating surprise) 4 The procenusis inthe middle of the broailge; the cortugatr ison each side, ike litle wings. The corbiculeres cul (see below) work together with these muscles to create @ frown, <4 The aygomaticus majoris anchored on each cheek bone and insets inta anode at each side ofthe lips. ‘When they pul, hey widen and raise the lips, forcing a cheek bulge under each eye, These ave the main muscles for smiling, “4 The orbiculanis acu eye) and the erbicularis aris (mouth) squeeze and narow the eyes and mouth, They also close the eyes and mouth, respectively “4 Each devatoris anchored tothe skull and yanks up the side ofthe lip so you can sneer at other artists! rains, ‘4 The trianauiris musces are anchored on the jaw’ and tug atthe nodes on the sides of the lips, puling clown the comers of the mouth when you realize how lite money antists make, “4 The mentalis is anchored below the teeth and pulls up the flesh ofthe chin, This creates a pout or the appasrance of someone thinking (mental—get IP). “4 The platysmais anchored to the fascia of the muscles on the chest goes up and over the front of the neck tothe bottom lip and lip nodes. it tugs hard Cn te lips for extteme expressions. On the neck, it can contract itself nto cords that stand cut dramatically.Muscles of the Neck Fora the side, heneek ic wider at he top than Jn the idl. The pte ofthe mck varies, butts Bottom ofthe * faut pose i a ferrari, head feepia protuberance) Bottom of the neck Gt cereal vertsbra) Gn males, the thyroid ‘cartage sticks o¥t, The steromartad pull the head in every retin ‘eeeptbackward. The submandibular gland secretes salva, The sens capitis (covered by the stem Imstoid ee) rotates te head so you can say “nol” ‘The levator aves the | shoulder blade (On females, tno winks can be seen cing themeck. Artists call them the "rings of Venus.” The sestene muscles pull the ned tothe sid, The tapezis shrugs the shoulders palling ‘the blade in avariey, of directions. The omohyod alls own ts te bone fn the throat when you salow ( The stemobyoid helps tex the head toward the chest nel alts in owalloning. The throat revealed (vith the stomabyere remit, The stemomastoid Revealing the Neck Ios ofthe forms on the fa be fom front ofthe neck and jaw are covered by a thin ie rene m the neck rotates musele called the “platysma” (686 page 9). I've eta enough ta these the thor ends oe ¥ ‘arouph to the side: the omited it here to reveal the forms that influence collarbone. of lis. the neck’s appearance. These corpses were the best model | eer worked with; not because they held sil but because they laughed at all my jokes. 10PLANES OF THE HEAD It's helpful to approach the head with a general idea of what can be expected, After decades of experi- ence, | automatically check for the basic forms and plane changes described below, | would have saved a lot of time if | had memorized the planes of the head at the beginning of my career. A loner that are perpendicater 1 the ight sour, ‘a Artists unfamiliar with the top view of ‘the head make errors atthe brow, with ‘the shape of the forehead, and in the head's overall length and width The neck doesn't narrow atthe top, and i isn't ‘concave a the sides (A), The body's forms bulge ® ‘out (8). They can be flat but not concave except in tiny vensitions that are baely visible), ‘The face wedges toward the nose like this Ths illustration of a Caucasian male This illustration of an Asian male shows helmet. Notice the exaggerated highligts shows how the face wedges toward the a flatter face and sharper angles at the 44} and reflected light (2) on the metal. center sides ofthe head,4> GENERAL PROPORTIONS Proportion (the comparative sizes and placement of parts to one another) is key to creating a likeness in your drawing. Although proportions wary mong individuals, there are some general guidelines to Keep in mind that will help you stay on track. Before you study the diagrams and tips below, memorize these twa most important guidelines: 1. The face is usually divided into thirds: one-third from the chin to the base af the nose, ‘one-third from the nase to the browridge, and one-third from the browridge to the hairline, 2. The midpaint of the head from the crown to the chin aligns with the tear ducts. a The mouthis usually the same width as Heads are somewhat heart shape, Generally, the distance between the tip of the distance borween the pups. This Tnetergle Avis wider than the cheekbone the nose and back ofthe head is langer particular model's ter dues zrehigher (0), whichis wider than the awe (C). than the stance fram the top of the ‘than the midpoint, head to the bottom of the head, ~ \ Proportion Subtleties «The neck pitches fanard slightly The neck doesnt aro a it goes up ta the jv. # You can usualy ft another oye betwee the eyes, + Hfyau'vedligenty measured and the model’ face is asymmeticel ar involves diferent propations thant To determine the width ofthe neck, use the features directly above each side ofthe sve given here, that’s kay. These neck to serve as a guides for placement. To easly see this, hold up your pencil vertically | ae guidelines —nat stiet rls, in front of you, ning it up withthe side ofthe model's neck.Shifts in Guidelines ‘When drawing the tilted head, it’s essential to first measure to find the midpoint to see where it has shifted (A). Next draw lines to indicate the new positions of the features (8). | apply 6 bit of shading because horizontal lines alone aren't enough for me to judge by. | once knew a boy who didn't use steps A and 8, and he was carried away by a troll a —_—— 8 / Shading ‘Adjusting Guidelines As the head tilts, the curvature of the surface of the face becomes more prominent. Keep this in mind while marking your guidelines. 1314 FACIAL FEATURES Now that you are acquainted with the basic forms and proportions of the head, let's examine the indi- vidual features that make up the face, Ears of the ear. indicate the shatows, out hightights to polish, shadlows and highlights. a e Pe : f \ 2 £& - J fw \\ or ( _ \ \ “ ‘Memorize shapes A and B: combine them to create C_ This gives you a basic outline to work with. Eaefoma ties Earfrom Earfrom cuarter view the front theback important commission. Step Draw a rough layin ‘Step 2 Then applytone to. Step 3 Stump and then lift Each form has core and cast Biderly people usually have much larger ears and noses. Don't puta teenagers eat on an elderly person lke | once did on anEar to farback Ear to far forward Ears ast ight 30 he's happy. ake all your diawings happy! The earis situated between the brow and the base ‘of the nose. I tends to be more in line wit the lower part ofthe eyetrow, not the arch “a > People who aro a overweight often | have lobes that > Thete's 3 are pushed out sat transition From theit faces. of the jay om ‘the lobe to the neck, The back of ‘the jawine isn't sharp, ‘a Eatlobes can hang (A), be attached (6), and even be underdeveloped (C). > Ababy’s eas are ‘said to be rounder ‘than an adult's, but ‘haven't natice it Fats have 2 confounded habit af having ‘They do seem tobe extra forms, Notice the doubled helix and more concave. {two lumps an this lobe. 1516 Step 1 Layinthesize location, and ‘Step 2 Build thevolumeby adding tone Step 3 Sturnp, pul out highlights, and falds ofthe eye. for the frm and cast shadows. sive clay to edges. When drawing the eye, always begin by There are two forms inthe inner corner of The outer corner ofthe eye is usualy drawing a sphere and wrapping the ids the eye: hence there are wo highlights! higher than the inner corner. The upper tid overt. cverlaps the lower lid at the outer comes, 7 Ifyou take my class, you'd better not “The lid should always partially cover the When a person smiles, even more of the show the top ofthe is! This looks top of the is, itis is covered (especially atthe Lotion uneatural To correctly place the eye in relation to. Students often make the mistake Stuclents also often place the eye atthe the nose, there must be aside plane ating the eyecieep up theside of top ofthe nose. The epeis to the sidleof between the nase-and the ee. the nase, the nase.Ue Ze) ‘a The eyebrows star vertically and end aa The eyebrow is rarely the same tane horizontally all the way across because it’s located on both the front and sie of the face. A There's 2 dear diagonal trom the brow to the chee, ‘AA, 6, and C are bulging forms surtoun- x The eye ofthe Asian race has aii ding the eye; Dis concave, tional deposits of fat within the eye socket. bso has an extra fld of skin above the inner comer that combines with the upper tid ‘a. Never forget thatthe eye mustbe shaded as fit were a sphere. There's shading inthe “whites” of the eye. ‘They're only white where the sphere is lf the emtce eye socket is in shadow, A From this angle, the outer coiners of the receiving direct light so shade this area then | beg you, please make the “white” eyes are lower than the inner comers, sp avoid flatness. ofthe eye darker. Students always forget this plane. Also, ny lime where the lover lid meets the eyeball is sub ‘A. The eye ison the comer of the face ‘Wrong: A big black ine and no plane. “A The eyes are on an arc. 718 Noses Step Checkthenose’s Step 2 [dently the planes Step3 Add tonetothenose Step Stump and then pull vertcal angles and size com- and forms af the nose. to represent he core and cast out highlights fora realistic pared with other features, shadows. effect. Nose Variations Hoses come in a wide variety of shapes, Notice the dilflerences between the noses of a black male (fr let, an ‘Asian male (lft center}, @ Caucasian female (ight center), and a Caucasian male ffar ight) \) \ \ \y \ \ j ‘A The middle of the nose is A. Note how changing the angle of the nostril (the apening) a The height af the naseis usually lower than the wings. affects the character of the nose, about 3'2 wings high : : \ j aay ~~ \ \ j 4 \ m—"\ / , } 7 4 ‘Core shadow } L ait ; ‘— ay | z Female Male Core shadow Gest shader, We Female noses tend to be Remember to delineate the . smaller and tilted upward @ bit care shadows and the cast ‘These are the nine typical when compared with a male's. shadows. planes to lack for on noses.Canect Wrong ‘A The nostis don’t extend tothe tn, Hteitert ‘A Be ruthless about just how close the tip ‘of the nose is tothe eye when your mode! is looking up! The distance diminishes. or 4 The nose is approximately one-third of the face: one-third chin to nase, one-thicd 4 nose to brow, one-third brow to haitine. ‘A. The space between the nosti s narcow. ‘Avoid drawing big, thick, black outlines around the light side of the nose Locking dave on the nose Carefully place the nose atthe correct level before developing it The seven-tighths view (shown above and below) i especialy ricky. Don't forget this ite feller. The wing of ‘the nose has a ridge that wraps under- neath to the middle ofthe nase, Notice that both nostls can’t be the Make simple forms before adding same tone and that one side ofthe nase character. must be Fighter (with side fighting. 1920 The Mouth Step 1 Lay in the size, location, and angle of the mouth, To avoid confusion, never draw the undulations first oF Always draw the size and angle fist, — —— ‘Then add the shapes, Ifyou light a woman from aboue, she gets a mustache, Tryto aaid this. This reais called the "philtrum." Il bet you ‘Step 2 Build the volume and add tone for the core and cast shadows, Step 3 Stump and then pull out highlights fora polished look. ‘The mauth isn’ flat t's stetched aver @ ‘incrical muzzte. YY al 44 The mouth is usually closer to the nose than itis to the chin, There are three forms for the uoperlip (A 8, Cho forms for the Lowe ips (D, E); and two “pillars” underneath F}. Note the ridges abowe and below the ls— they often get their own highlights (6). Wrong ie Wrong ‘a Sludents never want to accept that the middle ofthe lips is directly below the middle ofthe nese. A.Dimple °C 2, Masofebia fla Comrie .Agrodua!slope—nst ine. Te ine is below atc."Sorgant greater than Ribera? "You setuly wane to buy a painting?” “This book’s gotta be done mane month? e'e takin this outside!” kes!” The Mouth and Expression The mouth assumes predictable shapes forthe ematians. Note the square for ange, the small -drcle for surprise, and the trapezoid for fear. The handsome gent inthe examples abave was drawn withthe aid ofa mittor—a great tool for checking the veracity ofan expression Every tooth has ahigiight ‘Curve and shade those teeth back, or the teeth wil ut forward atthe corners, and you'll get a danged tcothy gin. Erron the side of to light when adding lines between teeth. Itc rare forboth sides ofthe rurale tobe the sie shade, ‘When lit fom the side, the lips darken Because the toplip faces down and the a the forms tun aay from the ight bottom ip faces up, they'e rarely the source. (Notice the sharp-edged shadow same shade, ‘ast from the upper lip onto the lower lip ‘on the shadowed side.) these three planes 2 usually in shadow. > Portraits often gat lazy with the lips. Inbreaks my bear. You must -accentwate the detals, Look at the tellected light on the coiners of the upper lip. The reflected light tends 10 -show up under the core shadow, and the line between the lips isn't aline—i’s a -ast shadow.22 Hair Don't think of hair as a series of lines or squiggles—instead, treat it as a mass with texture. Following the steps and tips below will help you draw it realistically. Drawing Hair Lay in a pattern of light and dark with core shadows (A), Add striations and details of the forms (B). Stump and rub; then reinforce the striations (C). Forma kneaded raver into a point and pull out highlights. Erase parallel stations of fight to mimic hair (D). The highightsin black hair aren't white. This ene af three crawings copied from 2 photo inthis book. Isa picture of my father’s hat. Wa says he was a famous singer in the "80s, Curly Hair Wheo encountering curly halt, don't panic You don’t have to cra every cur. Just lay dowm atone and casa few cu, Highlight some of them, and deepen some of therm. Have fun vith it. Creating Beards Beards ent cotton cendy—you must bear in mind a structure as you tencer the volumes. acto eure Tighteuls 4 Shadows in Hale Core shaciows aren't smart enough to stop when they get 10 the haitne, ‘They keep going through the hai,4 Drawing Realistic Hair Kair should be composed of tones and stations —not bundles of spindly ines, & A Common Mistake |'ve included this example of the “spaghetti hait” mathod {o show you what beginners need to stop doing. A good way to make hait look real is demonstrated on page 22.24 EXPRESSIONS For this section on facial expressions, | drew the models fram life and coaxed them into specific expres- sions, | must recommend, however, that you use a camera to capture fleeting expressions. A photo can be copied on its own or—ideally—used in cambination with sessions with the live model. Regardless of how you work, ana scpected to knavw a fev rules of how to achieve his ar her purpase and nat ative at “accidental” moads. Belov is alist of important changes that you must check when crawing a broad smile. As you work, remember that the lines atthe comers cf the mouth shift and sometimes disappear. See the cover drawing or the Mona [sat ‘4. Tho areas above and bolaw the ‘mouth become shallower as the lips widen, B. Lips stretch and fold in a the sis, which laaves mae light in the middle. (C. The cheeks bulge up and should have a highlight indicating this. D. The upper eyes lnwer sight, but the lower ejelcs se, cvering the bottoms of the irises. This is essential to depict. E. Laugi ines form around the eyes ‘and mouth, I's tempting to minimize ‘these to flatter the model, but don’t. Without the appropriate wrinkles and folds, your drawing ill net look. comect F. le very selective about witen to show lower teeth, They're barely visible unless the expression is, very intense. 6. The nastil wings widen and rise. H. The eyebrows remain easedA.Gentle Smite Here | depict a hint of a smile that ene might have in mid ‘conversation tems through H from page 24 are repeeted here, but only subty. | can keep a woman smiling until she realizes she despises me, but if ‘you can', ty the following strategy, Ask the model to sil for 30 seconds and quickly check an item fram my list. Then let her ela for § minutes and ask again. Notice how the lines between the teeth are drawn as lightly as possible. Also, the teeth are shaded as they tum away from the light. tf you forget this, they will appear to jut Forward and out atthe sides cf the mouth, > Indicators of a Gentle Smile This viagiam shows important areas involved in 2 gentle smile, A slight coveting ofthe bottom of the iris will help -ceate the smila (A). Careful—if you raise the nasolabiat fold too much atthe rostil, the model will have & sneer (B). The positions of highlights C and D ‘depend on the intensity af the smile, Notice that the highlight on the f 4€)is brighter than the ene on her chin () 25Expressions to Avoid Although the emotions depicted in both c create them accidentally. These examples and how to improve an it to create a portrait are intentional, students tend t «for in an expression wn but are tase in inthe center to ‘mouth. TheMischievous Expression Daniel's smiles nice and sincere, bt hs brows are lower in the center than the average person's, ‘giving him a mischievous look. if you see this type of expression in your drawing but not on your mode, consider iting the brows a bitat the center, > Considering Design fy sulaly eepeating a sha the portrait will become rote cohesive and rhythmic. | discovered several natural curves on Daniel including the lines atound the nack, the shape of ‘the beatd, the earring, etc), so | began acding and emphasizing them. Some drawings will suggest squares or triznales instead, Emphasizing o shape anc repeating it may seem silly, but i's acuallya technique used by the old masters, 2728 PROJECT tl: MAN We now begin the step-by-step method for drawing, | have done four projects—an adult male, an adult female, a young girl, and a young boy. Each of these projects is broken down into what, | consider the seven stages of drawing: the lay-in, plumb lines, volume, edges and outlines, tonal pattern, finishing, and polishing. The first project provides the most detail on these saven stages, so it’s best to start here, However, | urge you to read all four projects because | include slightly different information in each, Actually copying the stages (drawing each step over the previous) would be pared with the softness ofthe core. The shadaw’s edge wil soften and lighten as it travels away from the form casting é(E). The shadow edge on the form is core (f); the edge throw by the farm is cast. Nate your model's softest and sharpest shadaw edges‘Adding Halftone i's cokayt0 put some halftone ‘now as your penel glides across the cores, but adding the darkest parts ofthe shad fs most important. Shade right over the reflected light. wail come back when you darken around it. STAGE 5 Tonal Pattern This should be the simplest stage. i's actualy better you think vey litle during this stage. lust squint your eyes, ‘and the mode!’ face will became blury and simpli into pater of dark and light. if you squint hard enough, the halftones in the light area and the reflected lights in the dark area will na longer distract you, The brain wants to exaggerate every tone (io show: how deverit is), but if you draw only what the eye sees, your drawing will be more accurate. Great portraitst Velkaquez alvays ‘subordinated detail into the overall pattern. Without any “finish,” he painted accurate tonas that look wety realistic rom a distance, ‘To judge tone correctly, you must squint often. This fresher eye wil tell ou when an area has fooled you into inaccuracy. Correct ‘tone isthe mark of a master realist If the model has alot of shadow on his face, you cen experiment with drawing this tonal pattern at earlier stages (though never before the layin and plumb line stages). Personally, |find that a ltée toning is valuable to judge proportions and decide where to ‘outline ‘Tryto shade in one direction for the whole head (along or across the cores) il in gaps and shade-evenig. This pattem initially will be of medium darkness. Shade over several forms with the same strokes (e., face through hair through ear). 33 roe lich gesthiketes Ntatatial34 STAGE G Finishing | recommend always drawing with a kneaded eraser in your opposite hand so you can continually lean up mistakes a you go along, Moreover, you've now had five stages to achieve accuracy of outlines and proportions. Between the erasing and constant checking, the drawing shouldbe extremely accurate Now you need to concern yourself only with adding coneet tone (value). This consists of adding darks and halftones. The darks must be graciually blended into the halftones by repeatedly caressing the side ofthe 9B into the “bed” of tone (A). Darks must be shaded ‘up to any fines either on the outline or on the edges ofthe cast shadows (8). Lines must be hunted down and eliminated like vermin, They are the enemy of realism and must suffer accordingly. Eliminate ther by shading up to ther, Caress haltones from the outlines or the core shadoves all the way upto the highlights (C) Feckless students shade over the highlights, hoping to erase them out, but ‘this wil result in flatness. By stopping atthe highlight, a clear plane change emerges, Later you can, and should, rub over and erase them out, but frst you must establish 2 clear division between the highlight plane and the halftone piane to avoid the charge of ‘vagueness, which is $0 common in our dravéng and in our times!36 PROJECT 2: WOMAN STAGE 1 The Lay-In 1. first draw an oval with a 9B pencil, The straight-on view cals for a somewhat symmetrical shape, ‘but don’t worry about making the shape of the head accurate at this point; the oval simply is tool to establish the size of the head. Mark the midpoint of the oval. Now you must find the midpoint on your mods! so youcan place reference marks for nearby features, such 3s the eyes and browidge. To do this, hold your pencil vertically with the pencl tip up. Extend yout arm with your ebour locked, and place the pencil tip where you estimate the midpoint tobe. 3. Now add a line to establish the vertical center of the oval: then estimate and check ether vertical distances, marking the ‘bottam, top, and center of the ips; the tip and base of the nase; the browridge; and the hai > 7 ™~ \ 2. Then move your thumb alang the pen until the top cf your thumbaal isin ine wwith the models chin, Now check yoursel: Ra your am so that the top of your thumbnallis atthe estimated | conte, Ifthe tp is row inline with the top of the model's head, then you've found the midpoint fed =) STAGE 2 Plumb Lines. During this stage, youl nail own the placement ofthe facial features by checking your verticals, horizontals, and negative space. Begin by marking an estimated width for each horizontal ine along the vertical line; then roughly block in the features, Compare the sizes of the features wwith one another, and continue ta check the harizontal and vertical plumb lines, adjusting your drawing as necessary. As you rave, remember thatthe negative space between the forms is a important as the forms themselves, so compare the spaces in your drawing with your model often. As you check the verticals, ane horizontals, assess the negative space (2s shown by the arrows), which wall help you find any shapes that might differ from those of your model,STAGE 3 ‘Volumes ‘vith all the measuring complete, ‘you're now fee to draw move intuitively. Ty imagining simple form that would fit inside the face under the surace that you see. The forms ‘wll hep guide you—although the farms may look robot, the human quality will emerge as you refine their shepes an toes. Using an underband -rip (hold the peril wth your hand aver it, with the pencil between the thumb and index finger) or lose, light stokes, start wth the largest forms -and draw the smaller ones into them. Represent ‘the forms with basic wolumes—spheres for eyes, -4q35 for cheethones, and so on. Imagine that you are overlapping transparent forms, building up from larger ta smaller forms. This stage should take ony afew minutes. The forms I chose don’t have ‘to be your farms, Also, every models diferent and “suggests a different set of volumes Sphere a for torced spheres foreyes tops tor deakbones sphere for ‘mouth STAGE 4 Tonal Pattern This stage cen come ater stage 5, depending on what wars best for you. you think you'reat the point at which you can create an ‘cutate outline, skin aliead tostage S and then return to this stage, However, find that frst cstabising a shadow pattern sometimes helps me find hereto place the outline, To begin this stage, look at your model and squint your ayes to see the face as a pattern of fght and dark. The exteme highlights and darkest accents wil blend into the rnin patter. Now begin blacking inthis pattern of tones on yaur paper, turning your pel we the side and shading diagonally for quick coverage. ep your strokes close together, and shade ail the dark areas in the same direction to keep the. drawing fom appeating chaotic. (However, In ‘ore develoned stages, one may shade in diferent ditections when adling core shadows and dark accents.) 3738 STAGE 6 Finishing Now work within the nen outlines 10 continue developing your shading, Caress your pencil over the core shadows to pull halftone ‘across them, diminishing the tone as it reaches the highlight, Notice how the helftones softly ‘and gradually emerge ftom the core. They aren't isolated islands of tone; they mass against the core, As you shade, squint your eyes aften to compare the relafionships of tone on the model with those of your drawing, To make sure you're shading thoroughly, ty holding 2 piece of white paper up-to the model's face, With the exception of afew small white highlight, the entice face should have tone. Now switch toa harder pend, such as 258 or 28, and develop and darken details com the face, STAGES Edges and Outlines. Every form on this model's face has a side plane, front plane, and Sometimes clear bottom plane, The softened comer where the planes meet s the core shadow. Tum your pencl tothe side and shade a thick bar cf tone—not a line—from her hair ther temple, around her cheekbone, and all the way ta her chin, The core shadows overlap and soften where the forms soften. Don’t ignore core shadows en the sides of the eyes or tp ofthe nase. As you add the core shacaws, abo add the subtle outlines The outlines work tke 2 parenthesis for each form. Try to-ourline one side ofthe form, then the ther: then add the ¢ore and go back tothe sides. 2gain—alin one operation, Now sharpen the eigas of the cast shadows, keeping them sharpest ‘where they ave closest to the forms casting ther,. zs Eheabeth Gert one day, este STAGE 7 Polishing This is the longest stage; within it, the pievious stages usually have to be repeated to some degree. Begin stumping the cre shadows, and rub & make-up applicator over the dark details to often and blend them. Burish the entta dang by caressie itwith a powder puff, and then pull out the highlights with your kneaded eraser. ifthe highlights are too sharp, soften the edges with a clean stump. If the highlights won't easily erase, @ battery-operated eraser should do the trick. After burnishing, your drawing nay lose abit of vale, In this case, simply go back in and re-inraduce the darkest darks of the face, chose black for this mod background because it creates 2 wonderful contrast with her blend hair. (To determine the best value for the background, it of helps to place a white, gray, or blak sheet af paper beh the model, which allows you ta sea the different balances of tones) To -veate a dark background quickly, dump out a pile of graphite ponder anc use your powder put to rub it across the paper, repeating if necessary. (Remember that faces are never perfectly symm ‘examale, your model's nose may vee slightly 10 one side.) 39STAGE 4 Edges and Outlines With tis particular head, it’s better to find the -oulines before filing inthe tonal pater, Use soft cutlnes in most areas, but note ‘hat the outine can be daik if bordering ca dark area (A), (Remember notto grind in the pencil unt stage 5.) Now dare ‘the core shasions with sft edges so they easily wil transition to the alton (8). f ‘the cores are drawn sharply, you'l have ‘o-work veryhard to achieve a gradual ‘tun af the form, Remember that cast shad edges als stait sharply and ‘end sat (C). STAGE3 Volumes Using the quides you've ‘ceated for the features, indicate the forms of her face with basic volumes, These symbolic forms will become ‘guides for outlining and shading in the subsequent steps Fortis model see the basa semare oF phere shan an ev. eS ee ee Note thesmall bulges under the mouth,a2 STAGE 6 Finishing Add palttone, which should tee its way out from the shadow pattem, up to the highlights. Add all the dat, Keeping in mind that nothing in the shadowed areas can be as light a anything inthe direct light. Darken vigorously within the shadowed areas. STAGE 5 Tonal Pattern Viten a copy machine makes a copy of e copy of @ copy, even- ‘tally all that's left is a shadow pattern, That's all you have to draw now. Try to shade over several forms with the same strokes to avoid a “pieced together” duality. And remember that the shadow isn't smart enough to know that ithas to stop when it gets to the hair. Indentally, the shadow pattems al that Andy Warhol did, so if you get good at this, you may achieve a dubious success! haterSTAGE 7 Polishing To finish, go through the usual bunishing end picking out wih the eraser. You can sharpen the battery- aperated eraser for fine detall. Try to fish the hai in ene sitting before the model needs to mave because it will change, Add the feces last, They should eppear irregular and sofly shaded with the side ofthe pencil—not as dots. ‘elete Dy ome day, lesen Altering the Expression People lave happy cen, 3 f waited unt he end ofthe drawing session to make the appropriate adjstments to Celeste’s expression, But just at that point on TV, a unicom died! So | seitled fora ue expression, not a happy ane, If] wanted ta mate her look hoppy, could gently ac the lips upward, raise the lower eyelids, and relax the faner comers ofthe eyebrows. A slight bulge in the cheeks might be called for at the nasolabial fold (the fines that tun from the nostis to the comers ofthe south) and above the cheekbone, 434a PROJECT 4: YOUNG BOY Very often in a partraitist’s career, he or she is forced to se photos exclusively. Sometimes it makes everyone's life easier, and sometimes there's simply no choice. For example, I've quite often been presented with an ‘ald, weathered, blurry photo of someone whe has died. | find that my knowledge of the head allows me to greatly improve on the photo. Regardless of why you may need to work from photos, you should trace them instead of copying them freehand. The client has sent you a reference, and you might as well give ‘them back the exact cutlines they've given you, Any creative alterations can come after the photo has been traced > Selecting a Reference | alviys choose 3 good photo thatthe cient has approved {then it’s the cients faut ifhe ors doesn't ike it). There's a saying commercial atsts have about bad references: “Garbage goes in, garbage comes out STAGE 1 Transferring Outlines fegin by making black-and-white photocopies ofthe reference that are abit lighter than the actual photo, which helps avoid losing detail in the dark areas. The copy can, of couse, bea bigger or smaller size than the photo, Using artist's tape (A), secure the Bhotocony to apiece of graphite wansfer paper (8 then place this over your drawing paper (C). Tape only at the top so you can lift the transfer paper toe how t's turning aut as you draw. Then ‘race the important outines over the copy using a colored penal, which makes it easy to see where i you've been (D). The lines then transfer to the clawing paper () This process seems more practical than using a piojector. You also can tape the copy ta a window, pputyour paper over i and trace. The sun coming through the window creates a free lightbox.STAGE 3 Building Tone Now develop the forms using tone and detail. To prepare forthe final look of polished realism, you need to have the shaded areas in their final locations. The surface must have enough graphite for you to begin stumping and blending inthe next stag. Addressing Mistakes or me, the most frustrating thing is seeing a student erase an entire drawing ard start over. By doing this, he or she makes the raving 100 percent wrong, whereas before he or she may only have been 15 percent wrong here and there. So instead of erasing, {resolv to stump, darken, and generally “mother” each form until dt has a convincing three-dimensional qual. 46 LUrheberrochtich gesehitetes Katara!SAG (One ong dar, drawn froma phatouraph Finishing and Polishing My d-avings have polish because | polish them. Ta go fom the previous step to this one, reach for the powder puf, the stump, and the make-up applicator. Don't ust rub the whole thing. i's good to start by stumping the shadows, ‘darkening them and dragging the graphite across the forms. Then tub the powder puff everywhere, and pull out the lights and highlights with 2 kneaded eraser. Be careful to soften the edges of the highlights so they don’t lok ike lightning bolts. Repeat all ‘oF these steps until you're happy. Blacken the background with Design® Ebony Sketching Pencl (Matte Jet Black) powder and the pull. You could go darker by grinding in a Staeitler® 88 perl, but this may not ba necessary. Note that | always alter my relerence photos in some way because they're never perfact in this case, the ony thing I did was lighten the stripes of the shirt so they ‘wouldn't compete with the face. a748 IMPROVING YOUR WORK Because | can’t be with you in person, |’ve included this section to show you how to carrect yourself. In my 25 years of teaching, I've seen four basic categories of mistakes that prevent a drawing trom appearing realistic: negative space inaccuracies, avermodeling, outline issues, and tenal problems. This section will show four versions of our model Karolina (drawn accurately below), demonstrating each mistake, Refer to the accurate drawing below as you examine the mistakes on the following pages. \arolingRosinaka, one day, Messe50 This poor artists trying very hard to make the portrait look three-dimensional. So every time he sees alte plane change cr depression on the surface he shades very darkly—too darkly (A) Thi scaled “avermodeling” He must understand that all the tones an the light side ofthe face must mass with the light. f they don’, they look lke bruises. Furthermore, halftones aren't lke islands that simply appear in the middle of the light side (8). They mass against the shadow side (C) and emerge from the care shadows, gradual lightening up to the highlight (C). The remedy isto squint and fook back and forth between model and draning, Ifyou don’t like squinting, then glace yaur drawing next to the model and step back far enough to freshen your eye. These habits will reveal the true tonal patter, This artist is also habitually messy. Note where he decides it’s not important to shade up to an edge (E). He leaves in diagrams— “it'sjusta study" (FA droo of grease fom the artists sandwich (G), Instead of tone in the background, the letter "M" appeats (H) He has even used his drawing a5 a notepad (\). Also, he doesn fully erase his false stats A Word to Teachers 1's more important to remain patient than to get your point across. The students must never realize how upsetting ther ‘mistakes are to you. (if you did't care, you wouldn't be upset.) Moreover, the reason | know these mistakes so well is that ve made them at‘Outline Issues A percentage of every population will become “outiness.”ifyou are trying to overcome this behavior, the fst steps are to admit to yourself that you are an outlines, that people don't have outlines, and that lines are for plane changes on robots, not people ‘The Solution isto draw the sharpest edge (A); then craw the softest ‘edge (8). All ther edges must he between the two. 4s for the silhouette it's true that the forms have to come to.a stop Somewhere, so 90 atead arid draw a ine—but shade up Toit soit becomes lost (C), or draw it dearly but ight, even fading it out (0) ‘so al tha, f yu stil cant control your outlining habit, don't punish yourself with quit. Nobody's perfec,52 Tonal Problems When ths fellow sees anything ight, he makes it too light (for example, look at the highlights in the hair and the reflected light under the jan). And when he comes tothe “white of the eyes,” guess what happens. The solution is for some wallemeaning soul to put a piece of white paper next to Karlina’s hai—the highlights in brovm hair ae light broom, aot ‘white, Reflected light isn't ight in tane—st's stil part ofthe shaxlow, Remereber: Mothing in the shadowed areas can be as fight as anything fn the direct light. f you find that the reflected light under the chin is competing with the halftone on the front ofthe cheeks, you should worry. Squint—the reflected light wil mass with the shadow. And please shade the “white” ofthe eye: “white of the eye is only an expression. Unfortunately, this student aso makes his cast shadows black | wear a black leather \watchband that | put next to the mode's cast shad in class, whereupon | anngunce in a thunderous voice, "This is black.” and it has the most marvelous effectMore on Achieving Accurate Tone Using the “Egg Rule” Crating fr Van Aken ‘would be troubling fora student because E's ‘wealth of surface detail might break up his overall form, To avoid this, shade asi his forms were simple; then add the detail on top and shade again. ‘While shading, continually remind yourself ofthe “ogg rule" —the lightest areais at the top let, darkening as ft goes down and tothe sides of the -€gq. As the light source comes from the upper left, everything should be darker onthe right. Alter decades of being an artist, | stil remind myself ofthe “egg rule” as a bass for shading ‘The whole form is darker on the battom right (A), ‘sa each smallet form is darker on its bottom right 48), The lightest area on the chin must be darker than the lightest area on the forehead. 53‘esd width head width ‘A. Don't forget to check the negative ‘space around the figure. romaine ‘hur slghty | Inger feta ten emer ot ned nieve armel Ene dec in ‘he with thumb {Swit ot hana 1 fave be ee fetes eaten! u eyebrows: Mapping Out Proportions follow the steps below to achieve accurate proportions in your figure drawings. Meesuring -earefuly is especially important in a drawing with foreshortening—the size ofthis model's lef fists larger in proportion tothe head than you may expect. Reflect these counterintuitive measurements in your drawings to ensure accuracy 1. To determine the nicth ofthe shoulders, compare them with the width of the head. Also look atthe shape ofthe negative space. 2. Check verticals dovn fiom the shoulders and head to determine the rest of the body's locations, 3. Measure head lengths down for proportions. In 25 years, Ihave never drawn a single hand (or foot) without comparing it with the sizeof the head -4, Ask yourself questions along the way. For example, which is longer—the distance from the shoulder tothe neck ar the distance ‘rom the neck tothe top ofthe head? 55DRAWING OLDER PEOPLE Seniors are excellent subjects for exploring texture and character. Notice how the side lighting on the model below brings out his craggy good looks. Handling Wrinkles When drawing wrinkles, never draw ‘them a lines. Alays dra ‘three dimensional forms. Draw the sharp edge first; ‘then shade aviay fear it. Addressing the Tilt Because of the roticeable tilt ofthe heed, hold your pencil ‘vartcally on the farthest point to the right and ‘gauge the negative space. Itis important that ‘700 nail down the tit during the layin stage, Graham Oats, si-and-a-hal hours, Mesze 5960 DRAWING DIFFERENT RACES Let's explore drawing different ethnicities. Drawing people of different races is neither more nor less challenging; this is because a portraitist can't rely on a formula, Each individual needs to be viewed as a new combination of shapes and forms. For example, if | drew sisters, I'd stil have to carefully study each woman with a fresh eye, looking for her unique characteristics, Portraiture is a game of fractions of an inch. Familiarity isn’t much help. Don't worry, though—eventually it becomes second nature to squint, check negative space, and measure the features against one ancther. The portraitist daes this periodically throughout the drawing until the end, He or she delights in finding errors because every found error whittles down the portrait to a greater likeness, Asian The ticky pat about drawing Adrian was replicating his inky black hair For a small head, you ean Get away with grinding ina Staectler® 88 for a quick black. But for a life-size head, lay the drawing flat, pour ‘onthe Design® Ebony Sketching Pencil (Matte Jet Black} power, and rubitin-with 2 powder putf and make-up applicator Even then you stil may have to grind in the pencil hete and therefor the darkest darks. Fortunately, the Stoedtler® BB stays matte while providing dark tones. ‘Adrian Gonzalez ight hour, e-size¢ Because Anthony hhas such prominent cheekbones, | turned his head to an angle that emphasizes them, Arony Ram, seven hours. fee ‘African. Anthony was fun to craw. The features of people of Arcan descent tend tobe large and clear, and they seem to have a ‘design that gives the drawing order. Shading is simplet too—just dark, very dark, and a few brilliant highlights. The danger for the student arts subbing too soon ot shading chaotical, These mistakes il lead toa datk mess, Therefore, shade methodical, fist ‘addressing the whole head with halftone. Emphasize the ediges af the core shadows and cast shadows. Then, when the structure is nailed down, you may rub and darken. Remember to shade either along the core or across it—multiple directions will result ina mess. 61© 2008 Walter Foster Publishing, Inc. Artwork @ 2008 Lance Richlin, All rights reserved. Walter Foster is a registered trademark. This book ho cen cued toad the spring art Reprodocion of work fr sty nished ais pri, ‘uy art produced or photomeshanicaly egroduced fom ths publication for commencal purposes is febicen without writen consent fom the pulser, Wolter Foster ublshing, In Digital edition: 978-1-61059-857-6 Softcover euilion: $78-1-60058-056-6 s579mae42