Drawing Portraits: The easy way - Part 1 [1 ed.] 9781909601093

Table of contents :
Chapter 1: Materials
Chapter 2: Drawing the outline of a portrait
Chapter 3: Portrait 1 – Baby boy
Chapter 4: Portrait 2 – Boy
Chapter 5: Portrait 3 – Teenage boy
Chapter 6: Portrait 4 – Young man
Chapter 7: Portrait 5 – Man with stubble
Chapter 8: Portrait 6 – Man with a beard
Chapter 9: Portrait 7 – Bald man with goatee
Chapter 10: Portrait 8 – Old man
Chapter 11: Final thoughts

Citation preview

Fine Art Drawing Academy Drawing Portraits: The easy way Part 1 Author: Paul Christian Brown Published by Fine Art Drawing Academic Press England First electronic edition, 2020. eBook ISBN: 978-1-909601-09-3 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, or by any information storage retrieval system without permission from Fine Art Drawing Academic Press. Copyright © Fine Art Drawing Academic Press

Introduction This book does not bother with lengthy explanations regarding techniques and materials. Instead, it utilises a well refined technique and limited materials. In doing so, an aspiring artist can get straight to drawing effective and professional quality portraits as quickly as possible. In this short series of four portrait books, part 1 focuses on learning how to draw 8 different kinds of portrait, starting from a baby boy up to an old man. Owing to the simplicity of the materials and technique, by the end of part 1, each student should be able to draw a well-balanced and good quality portrait. The focus of The Fine Art Drawing Academy for drawing portraits is to make sure future artists and hobbyists understand scale, light and shade as well as harmony. There is no reason why anyone who has the desire cannot master portrait drawing. Moreover, it is believed that this technique can remove any unnecessary hassle from what is considered to be the hardest skill to master in drawing. If you require any further information about current or future products, please contact us: [email protected]

Example of how one of the portraits is drawn:

Portraits 1 – 4

Portraits 5 - 8

Table of contents Chapter 1: Materials Chapter 2: Drawing the outline of a portrait Chapter 3: Portrait 1 – Baby boy Chapter 4: Portrait 2 – Boy Chapter 5: Portrait 3 – Teenage boy Chapter 6: Portrait 4 – Young man Chapter 7: Portrait 5 – Man with stubble Chapter 8: Portrait 6 – Man with a beard Chapter 9: Portrait 7 – Bald man with goatee Chapter 10: Portrait 8 – Old man Chapter 11: Final thoughts

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

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

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

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

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

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

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

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

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

It is important to note that for this method, the 2B carbon pencil or black coloured pencil is used sparingly. That is because it is a truly dark and potent

shade; too much usage could spoil the final outcome.

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

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

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

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

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

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

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

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

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

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

important.

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

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

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

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

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

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

Chapter 4: Portrait 2 – Boy In the following 7 portraits, brief explanations are provided since the methodology is the same. There may be fewer or more steps in the following portraits, but this is due to fewer or additional complexities. Step 1: Draw outline of face with F graphite pencil and then carefully erase it to soften the lines.

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

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

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

Step 5: Use 2B carbon pencil or black coloured pencil for nostrils, ears and mouth, and F graphite for entire face. Remember to blend in F graphite afterwards with tissue paper.

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

Step 7: Add 2B graphite to entire face except lightest areas. Also start applying 4B graphite for darkest areas. Use tissue paper to blend as much as possible.

Step 8: Start shading the chest and shoulder areas in the same way as the face.

Step 9: For this portrait, no graphite pencils are used for the hair. Instead, only the 2B carbon pencil or black coloured pencil is used. At this stage, make gentle circular motions to indicate texture.

Step 10: In this final stage, a darker and heavier use of 2B carbon pencil or black coloured pencil is applied to finish the hair. Just be careful to keep the texture the same.

Chapter 5: Portrait 3 – Teenage boy Step 1: Use F graphite for outline of face.

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

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

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

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

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

Step 7: Use 2B graphite for entire face except lightest areas. Also start applying 4B graphite for darkest areas. A layer of F graphite and 2B are used for the cap.

Step 8: Use 2B graphite for the entire cap. For the few strands of hair, just use 2B graphite and make the appropriate lines.

Step 9: This is the final stage. There are only 9 since there is only a little bit of hair. Simply clean up any ‘grainy’ areas with F graphite and pick up any parts of the drawing that look incomplete.

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

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

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

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

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

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

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

Step 8: Finish off entire face with a combination of 2B and 4B graphite. And, of course, blend together with soft tissue paper as and when required.

Step 9: Use F graphite in the hair area and then carefully blend it together. The smoother the finish, the easier it will be to finalise the hair.

Step 10: The hair area is markedly darker due to 2B and then 4B (only gently) being applied.

Step 11: Using the mechanical pencil only, make marks in the direction of the hair strands. The more that are made, the better the final outcome will be.

Step 12: Using 2B graphite, some areas of the hair can be shaded slightly darker than others. Just make sure to keep the hair strands as visible as possible.

Step 13: Using an eraser, white streaks are made in certain areas of the hair to give it a highlighted look. After this is done, check to see if it is correct. If not, a 2B graphite can be used to go over the white lines if there are too many, or if they are simply too thick.

Step 14: Finally, shade the suit using 2B and 4B graphite as desired.

Chapter 7: Portrait 5 – Man with stubble Step 1: Outline of face with F graphite

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

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

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

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

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

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

Step 8: Use 2B graphite (very sharp) to draw in small stubble hairs. They should be slightly farther apart to get the general shape and direction.

Step 9: Then finish off the stubble with more stubble hairs in between the original, and in some areas 4B graphite might be necessary. Also, use F graphite and 2B for the hair area.

Step 10: Using the mechanical pencil, apply short hair strands to get the general flow of the hair.

Step 11: More hair strands are drawn by using 2B then 4B where it is the darkest.

Step 12: Finally, all that is needed is to apply more 4B to add as much shade and body to the hair as possible.

Chapter 8: Portrait 6 – Man with a beard Step 1: Outline of face with F graphite

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

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

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

Step 5: Use F graphite for entire face and make a faint line where the beard is.

Step 6: Use 2B graphite for darker shading and eyebrows. For the beard, the 2B carbon pencil or black coloured pencil must be used, since it is very dark, and any graphite pencil will not look dark enough.

Step 7: Then, use 2B carbon pencil or black coloured pencil to draw the hairs of the beard. Some 2B carbon pencil can and should be used for the eyebrows. If not, they might look too light when compared with the beard. If you have already used a lot of graphite for the eyebrows, just erase some and then use the 2B carbon pencil.

Step 8: Using the 4B graphite, start shading the entire face, except where a 2B graphite is only required. For this portrait, no graphite pencils are used for the hair. Instead, only the 2B carbon pencil or black coloured pencil is applied. At this stage, make short, clean lines in the direction of the hair. Add further hairs to the beard to thicken it up.

Step 9: Finally, use 2B carbon pencil or black coloured pencil to darken the beard and the hair as required.

Chapter 9: Portrait 7 – Bald man with goatee Step 1: Outline of face with F graphite

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

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

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

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

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

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

Step 8: Keep using a combination of 2B and 4B graphite pencils to get the best skin tone possible.

Step 9: For this portrait, his goatee is just a smaller version of hair, so a layer of F graphite then a 2B graphite layer are applied. The initial hairs are made using the mechanical pencil.

Step 10: The goatee just needs more hair strands using the 4B graphite.

Step 11: Finally, using an eraser, make some white lines indicating grey hairs in the goatee. For the final stage, the eye lashes are drawn. Not all portraits have or indeed need eye lashes. He had no eyelashes at the bottom.

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

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

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

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

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

Step 6: Use 2B graphite for darker shading and eyebrows. For the wrinkles, make faint lines using 2B graphite.

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

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

Step 9: Use F graphite and then 2B graphite for the hair area. For his moustache, use 4B graphite to darken the area, then make lines using 4B graphite.

Step 10: Using the mechanical pencil, make the usual lines in the hair area. For the moustache, make white lines to give it more depth.

Step 11: Develop the hair area by adding more lines, and make darker lines using the 2B or 4B graphite as desired.

Step 12: Finally, white lines are added to the hair area using an eraser.

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