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Start by pressing the button below! Author: David Lewis. Drawing Realistic Textures in Pencil. Read more. Pencil Factory. Techniques for Drawing Female Manga Characters. Sketching: Drawing Techniques for Product Designers. Fun with a Pencil. Pencil Sketching, 2nd Edition. Games with Pencil and Paper. Three-pencil lattices on triangulations. Drawing Conclusions. Successful Drawing. Machine Drawing. Drawing Blood. Master Drawing. Engineering Drawing. Figure Drawing. Colored Pencil Step by Step.

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By using our twchniques, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. To browse Academia. Drawing Media. Each stcp-by-step portrait demonstration presents a different method of rendering form, texture, and light and shade in pencil, chalk, and charcoal. You’ll see how form is rendered entirely with lines and strokes; how tone can be created by blending, so that pencil, chalk, and charcoal handle like paint; and finally, how lines, strokes, and blending can techniqjes combined.

The demonstrations are executed on a variety of drawing papers to show you how the drawing surface influences the lone ссылка на подробности texture of the portrait. These various techniques, drawing tools, and papers are dramatically illustrated by close-ups of sections of finished drawings, reproduced actual size. David Lozada. Anis Zamir. Julio Cesar.

Maude Dupeuble. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and pencil drawing techniques books free download email you a reset link. Need an account? Click here to sign up. Download Free PDF. Pencil drawing. Niwewe David. Related Papers. The Fundamentals of Drawing pencil drawing techniques books free download Colour.

Edwards B. Advance Drawing Skills. Art of caricaturin. The artist’s painting library Originally published as pt. Portrait drawing–Technique. Lawn, John. Drawing book. Series: Blake, Wendon. Artist’s painting library. B57 ‘. Rfee in U. First Printing. Blond Woman 36 Demonstration 2. Dark-Haired Man 54 Demonstration 6.

Blond Man 58 Demonstration 7. Oriental Woman 62 Charcoal Drawing 66 Demonstration 8. Brown-Haired Woman 68 Demonstration 9. Black Woman 72 Demonstration The human luce is so endlessly tures, you’ll then watch John Lawn pencil drawing techniques books free download all this informa- fascinating, so infinitely diverse, so expressive of the tion download netcut support 10 into demonstration drawings of complete most delicate emotional nuances that many artists have downloa and female heads.

You’ll watch him build the devoted their lives to portraiture. Every sitter is differ- overall form of the head and the forms of the individual ent, presenting a new and fascinating challenge to rrawing features, from the lirst sketchy guidelines to the final artist who must capture not only the form and detail of drawing, fully realized in light and shade.

The step-by- the sitter’s face, but also приведенная ссылка unique flavor of the sitter’s step demonstrations of the features and the complete personality. The same face can change radically with a head all show four fundamental stages in executing a slight turn of the head or a slight difference in the direc- successful drawing: blocking in the forms with simple tion of the bopks. And us the sitter’s mood changes, the guidelines: refining the contours: blocking in the tones emotional content of the portrait changes ton.

Thus, the in broad masses; and completing the drawing by refin- expressive possibilities of portraiture are so great that ing the lines and tones and then adding the last touches drawing the human head can become an obsession— of detail. After demon- strating the fundamentals. Lawn goes on to demon- tame. Like so many artists throughout the centuries, strate, step by step, how to draw ten complete portraits you may discover that there’s nothing more exciting of different types of sitters, dkwnload various hair and than watching a real human being come to life on pa- pencil drawing techniques books free download tones, ages, racial and ethnic types.

The demon- посетить страницу. For the artist who’s fascinated by people, the strations also show how to render diverse lighting human face is the ultimate subject. In the drawings of the great pressiveness of the dgawing head. The demonstra- Renaissance masters, the complex form of the human tions are grouped according to drawing medium. There head is often visualized very simply—as an egg shape are pencil drawings of a blond woman, a brown-haired with guidelines that wrap around the egg to define the man, a black man, and a dark-haired woman.

Chaik placement of the features. In the first few pages of Por- drawings include a dark-haired man, a blond man. Finally, there are charcoal rdawing diagram of the head to work. You’ll learn to draw the of a brown-haired woman, a black woman, and a gray- egg shape in line and then make it three-dimensional by haiied man. Each of these step-by-step demonstrations adding light and shade. You’ll learn how to convert that shows every druwing operation, from the first stroke on “Renaissance egg” into a variety of male and female the paper to the last, The demonstration section con- heads, seen from various angles: front view, gechniques view, cludes with a brief review of four different types of three-quarter view, and finally, a view of the head tilted lighting that are particularly effective in drawing por- downward.

It’s important to memorize this egg shape— traits: each type is illustrated with pencil drawing techniques books free download drawing that ex- and pencil drawing techniques books free download placement of its guidelines—so that you can plains how the specific method of lighting affects the then adapt it. Each stcp-by-step portrait demon- Drawing the Features. One of the best ways to learn stration presents a different method techniquues rendering form, to draw is to look over the shoulder of a skilled profes- texture, and light and shade in pencil, chalk, and char- sional as he draws, then try it yourself.

You’ll watch coal. You’ll see how form is rendered entirely with noted artist John Pencil drawing techniques books free download draw each facial feature, step by lines and strokes; how tone can be created by blending, step, from a variety of doqnload. You’ll see him draw so that pencil, chalk, and charcoal handle like paint; male and female eyes—front, three-quarter, and side and finally, how lines, strokes, and blending can be views, as well as tilted downward.

In the same way, combined. The demonstrations are executed on a vari- you’ll learn to draw the male and female nose and ety of drawing papers to show you how the drawing mouth a. And finally, surface influences the lone and texture of the portrait. Drawing the Complete Head. Business game free download full version for pc mastered the basic form of the head and learned how to draw the fea- ARN.

The best way to start drawing is to ette” of charcoal pencils, get just three of them, marked get yourself just two things: a pencil and a pad of white “hard,” “medium,” pencil drawing techniques books free download “soft. An ordinary office pencil will do—but pencils; HB is the hardest and 6B is the softest. You test it to make sure that you can make a pale gray line should also buy a few http://replace.me/25893.txt of natural charcoal.

You pencil drawing techniques books free download gliding it lightly over the paper, and a rich black line ссылка на подробности get charcoal “leads” to fit into metal or plastic by pressing a bit harder.

If you’d like to buy something holders like those used for graphite and chalk. You could easily spend your life doing wonder- pencil for bolder work, usually marked 4B, 5B, or 6B. Charcoal paper has pencil drawing techniques books free download delicate, with a very slight texture—not as smooth as typing pa- посмотреть еще texture and a very hard surface that makes your per.

Ask for cartridge paper in Britain. To get started stroke look rough and allows you to blend your strokes with chalk drawing, all you need is a black pastel pencil to create velvety tones.

And you should try some really or a Conte pencil. And just two charcoal pencils will rough paper идея windows 10 live usb iso download мысль a ragged, irregular “tooth” that makes give you a good taste of charcoal drawing: get one your strokes look bold and granular.

Ask your art- pencil drawing techniques books free download “medium” and another marked “soft”. Pencil drawing techniques books free download supply dealer to show you his roughest drawing papers. Erasers Rubbers. Ссылка на подробности pencil drawing, the usual Pencils. When we talk about pencil drawing, we usu- eraser is soft rubber, generally pink or white, which ally mean graphite pencil.

This is usually a cylindrical you can buy in a rectangular shape about the size of stick of black, slightly slippery graphite surrounded by your thumb or in the form of a pencil, surrounded by a a thicker cylinder of wood.

Artists’ pencils are divided peel-off paper cylinder like a charcoal pencil. For chalk roughly into two groupings: soft and http://replace.me/14037.txt. A soft pencil and charcoal drawing, the best eraser is kneaded rubber will make a darker line than a hard gechniques.

Soft pencils or putty rubbera gray square of pencil drawing techniques books free download soft rubber that are usually marked B, plus a number to indicate the de- you can squeeze like clay to make any shape that’s con- gree of softness—3B is softer and blacker than 2B.

A thick, blocky soap eraser is useful for clean- Pencip pencils arc marked H and the numbers work the ing up the white areas of the drawing. You also need a wooden drawing 2H. HB is considered an all-purpose pencil because it board to support your drawing pad—or perhaps a sheet falls midway between hard and soft. Most artists use of soft fiberboard to which you can tack loose sheets of more soft pencils than hard pencils.

When you’re ready paper. Get some single-edge razor blades or a sharp to experiment with a variety of pencils, buy a full oboks knife preferably with a safe, retractable blade for of soft ones from HB to 6B.

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Metropolitan Museum Cleveland Museum of Art. Internet Arcade Console Living Room. Books to Borrow Open Library. The sitter’s collar curves beyond the edges of the egg. He draws the lines of the eye- around the cylinder of the neck. Switching from the point of the pencil to the side of suggestion of tone to each eye socket, iris, and pupil, and the lead, the artist begins to darken his tones with broad par- then moves downward to add broad, simple tones to the allel strokes.

The light comes from the left, and so most of nose and lips. As usual, the upper lip is darker than the the tones are on the right sides of the shapes. He carries the lower, and there’s a shadow beneath the lower lip. Touches tone downward over the side of. The hair is visualized as a big, and chin, adding the shadow on the neck. He adds the first simple mass, lighter on one side than on the other.

The artist completes the drawing by darkening the eye sockets, the underside of the nose and nostrils, the lips, tones with the side of the pencil and sharpening contours the tones within the ears, and the shadow beneath the chin.

He builds up the modeling on the With the point of the pencil, he sharpens the contours of the shadow side of the face, where you can now see a distinct ears, emphasizes the detail of the eyes and eyebrows, draws gradation of light, halftone, shadow, and reflected light. On the nostrils more precisely, and suggests the detail of the the lighted side of the face, he adds touches of tone where collar.

He completes the hair with broad strokes made with the cheek and jaw turn away from the light. He darkens the the side of the lead.

The procedure is essentially the same in a three- locates the eyes with tiny touches of the pencil point. Mov- quarter view. But now the guidelines are a vertical egg ing down to the line at the base of the nose, he locates the overlapped by a horizontal egg.

The center line moves as outer edges of the nostrils in the same way. The neck is a the head turns to the side. The horizontal guidelines are still slightly slanted cylinder once again. Notice that the back of in the same places, of course. Across the eye line, the artist the head protrudes well beyond the line of the neck.

The artist reshapes the contours of the head over the nose and he nostrils are visualized us distinct forms. The features appear in their the eyes. The upper lip has the distinctive wing shape, while correct places on the horizontal guidelines. Although the the lower lip looks blocky and masculine. The hair starts head is turned to a three-quarter view, the cur still aligns just below the crown and extends beyond the guidelines of roughly with the eyebrow and nose.

Notice how the tip of the upper egg shapes. The artist blocks in the tones with rough strokes. First her places the biggest tonal shapes on the side of the brow, cheek, jaw, and chin. Then he moves to the features, adding tone to the eye sockets, eyelids, nose, and lips.

The nose casts a slanted shadow downward toward the right. As usual, the upper lip is in shadow, the lower tip catches the light, and there’s a deep shadow beneath the lower lip. The artist finishes the drawing by building up the darks throughout the face and features, and so now you can see the lights, halftones, shadow, and reflected light distinctly. The point of the pencil sharpens the lines and adds the details. Is this four-step process becoming famil- iar? Working with the sharp point of the Broad Strokes- Here’s the same subject executed with pencil, you can build up the tones of your drawing with much broader strokes.

The artist holds his pencil at an angle groups of slender parallel strokes. The halftones and so the side of the lead touches the paper. He presses harder reflected lights are clusters of fairly pale strokes; the artist on the pencil to make the darker strokes, which are closer has applied only moderate pressure to the pencil. The darker together than the paler strokes. The pencil moves diagonally shadows consist of heavier strokes; the artist has pressed with a slight curve to suggest the roundness of the cheek.

The strokes are closer together in the Then the pencil moves vertically downward to suggest the shadow areas, while there are more spaces between the squarish shape of the jaw.

And the strokes become slanted strokes in the halftones and reflected lights. Observe how again as the pencil follows the angle of the jaw down to the the strokes change direction to suggest the curve of the chin. Strokes on Charcoal Paper.

Charcoal paper isn’t just Strokes on Rough Paper It’s worthwhile to try a vari- for charcoal drawing. Its subtle, ribbed surface is equally ety of textured papers, many of which are rougher and more good for pencil drawing, The delicate tooth as it’s called irregular than charcoal paper.

In this portrait of the same of the sheet combines with the pencil strokes to produce a woman you see on the left, the artist has used a thick stick lively texture.

In this close-up of a woman’s portrait, the of graphite in a plastic holder and drawn on extremely rough thick-and-thin pencil strokes in the hair are softened by the paper.

The thickness of the drawing tool and the irregular textured surface of the paper: tiny flecks of bare paper pop surface of the drawing paper combine to make the strokes through even the darkest tones, making the strokes vibrate look bold and ragged. The marks of the graphite stick look with a kind of inner light.

These tiny flecks of bare paper granular, with big flecks of bare paper showing through. This woman’s face is modeled Modeling by Blending. Another way to render tone is by with delicate strokes that travel carefully over the forms. Look carefully at eye socket; each consists of slanted strokes that are carefully this drawing of the same sitter and you’ll see that the artist angled to express the roundness of the form. Now follow has started with broad, rather casual strokes—not as neat or the route of the strokes that model the cheek on the shadow careful as the ones in the drawing at your left—and side of the face.

In the pale halftone area under the eye, the smudged them to create soft, velvety tones. The blending lines are delicate diagonals. As the cheek turns away from doesn’t obliterate the strokes completely, but they melt the light, the strokes curve and darken. The entire face is away into smoky areas that look more like patches of paint. The softer grades of pencil are easiest to blend. Continuous Tone on Charcoal Paper. Still another Continuous Tone on Rough Paper.

You can do the way to build up tone on charcoal paper is to rub the side of same thing on rough paper, which shaves away the granules the lead gently back and forth as if you were sharpening the of graphite more rapidly—like rough sandpaper—and lead on a piece of sandpaper.

The tooth of the paper gradu- builds up more ragged, irregular tones. Once again, the art- ally shaves away microscopic granules of graphite, which ist presses harder and moves his pencil back and forth sev- slowly pile up to create the tones of the drawing. The more eral times for the dark tones, while he just skims the surface you rub—and the harder—the darker the tones get. For the of the paper once or twice for the paler tones.

He works delicate tones of the eyes, the artist passes his pencil lightly with a thick, soft pencil—or a graphite stick in a holder. To create the darker tones of the eyebrows and hair, the artist presses harder and moves his pencil back and forth several times. For your first pencil portrait, see what you can do with a combination of slender lines and broad strokes on an ordinary piece of draw- ing paper.

Use the sharp point of the pencil to draw the contours with slender lines. Then use the side of the pencil to build up the tones with strokes of various thicknesses.

The artist begins this demonstration by drawing the usual egg shape of the head. Within the egg shape, he draws a vertical center line and four horizontal lines to help him locate the features. Over these guidelines, he draws the eyebrows, eyes, nose, and mouth. The neck is a. A few more lines define the curving contours of the hair, which extends above the egg shape and beyond it on either side.

At this stage, the artist works en- tirely with a sharpened HB pencil. The artist switches to a 2B pencil and holds it so that the side of the lead strikes the paper and makes broad strokes. Moving swiftly over the paper, the artist blocks in the major areas of tone with scribbty parallel strokes. The light comes from the right, and so the artist in- dicates areas of lone on the left side of the brow, cheek, jaw, and neck.

He also places a lone on the left side of the nose and suggests the darkness of the eyes and lips. He models the hair as just a few big shapes, blocking in big tonal areas and paying no attention to individual strands or curls. Finally, he scribbles in a band of shadow along the underside of the collar and a triangle of tone inside the collar. In this step, the artist’s purpose is simply to divide the por- trait into zones of light and shadow. So far, there’s no gradation of tone—no distinction be- tween halftone, shadow, and reflected light.

Still working with the side of the 2B pencil, the artist begins o darken his tones se- lectively. He strengthens the shadows on the brow and cheek; around the eyes. Now, as usual, the up- per lip is in shadow and there’s a hint of shadow beneath the lower lip.

The tip of the nose casts a small shadow downward toward the corner of the mouth. The artist also darkens some of the tones on the hair and strengthens the tones of the collar. At this point, the artist starts to de- velop gradations within the tones, and so you begin to see areas of light, halftone, shadow, and reflected light. For example, notice the pale tone at the edge of the jaw, where the shadow gets lighter.

The artist still pays very little atten- tion to details, although he docs sharpen the corners of the eyelids, nostrils, and mouth. Having established the broad distribu- tions of tones in steps 2 and.

Working with the 2B pencil, he darkens the eyebrows and the eyes, sharpening the lines of the eyelids with the point of the pencil. Moving downward from the eyes, he strengthens the shadow on the side of the nose and the tones around the tip of the nose. He darkens the upper lip and the shadow beneath the lower lip. He uses an eraser to pick out a small strip of bare paper to suggest the teeth and the lighted patch at the center of the lower lip.

He draws the darkened center of the ear and shapes the contour of the ear more pre- cisely. With the point of the pencil, ho sharpens the edge of the face at the right and clears away excess lines with an eraser. He draws the con- tours of the hair more distinctly—particularly where the hair overlaps the brow-—and bright- ens the top of the hair by erasing a whole cluster of lines that existed in Step 3. And he builds up the shadows on the collar and shoulder. With the tip of the pencil, he draws the eyebrows and eyelids more distinctly, adding the pupils and a suggestion of lashes, With clusters of short, slender strokes, he builds up ihc tones in the eye sockets and along the side of the nose, sharpening the contours of the nose and darkening the nostrils.

He defines the shape of the lips more clearly and darkens them with short, slender, curving strokes. With the same type of strokes, he goes over the shad- ows on the side of the face to make the grada- tions more distinct; darkens the tone along the chin; and strengthens the shadow on the neck.

It’s interesting to see how the character of the pencil strokes has changed. In Steps 2, 3, and 4, the artist worked with broad strokes.

Now, in Step 5, he goes back over these broad strokes with more delicate, slender touches to refmc the tones. Step 6. At this point, the artist concentrates mainly on detail, He continues to sharpen and darken ihe contours of the eyes, strengthening the irises and pupils, picking out tiny highlights with a touch of a pointed eraser, and suggesting more lashes. The few additional strokes suggest individual hairs within the eyebrows. Traveling down the side of the nose, ho darkens the shadow with delicate strokes and then strength- ens the tones around the tip of the nose, where the nostrils and the cast shadow are even more distinct.

He darkens the lips and sharpens the contours, paying particular attention to the slender strips of darkness between the lips. With slim, curving strokes, he carries the half- tone of the jaw farther upward toward the cheek. Switching back to the sharply pointed HB pencil, he goes over the hair to suggest indi- vidual strands with crisp strokes. The side of the 2B pencil deepens the tones with broad, bold strokes. Clusters of broad strokes move down over the hair to darken the shadow; the strokes are distinct enough to suggest the texture of the hair.

The pencil point darkens the contours of the eyes, the tones on the side of the nose, and the tones of the lips; then it picks out more hairs within the eyebrows and more eyelashes.

The pupils grow darker, as do the shadows beneath the upper lids. Finally, a kneaded rubber eraser cleans the lighted areas. Now try drawing a pencil portrait that consists mainly of broad, bold strokes. Use a thick, soft pencil or a thick, soft stick of graph- ite in a holder. In this first step, the artist begins by drawing the side view of the head with the usual overlapping egg shapes, one vertical and one horizontal.

Just two lines define the neck as a slanted cylinder, Horizontal guidelines locate the features. The artist works with the sharp- ened tip of the thick lead. Continuing to work with the point of the thick lead, the artist draws the contours of the face over the guidelines of Step I.

He begins by drawing the prolile; the brow. Then he steps inside the profile to place the eyebrow, eye, nostril wing, lips, ear, and corner of the jaw. Just two lines suggest the Adam’s apple on the front of the neck. The pen- cil sweeps around the lop and back of the hori- zontal egg to indicate the shape of the hair. Notice how the ear aligns with the eye and nose, while the sharp corner of the jaw aligns with the mouth. Moving more carefully over the lines of Step 2, the artist refines the contours with the tip of the pencil.

The sitter has an angular, bony face, which the artist records faithfully. He draws the bulge of the forehead, the sharp brow, the precise S-curve of the nose, the crisp detail of the lips, and the squarish chin. Moving inside the outer edge of the profile, the artist draws the eyebrow, eye, nostril, mouth, and cur with great care.

Just a few lines indicate the sideburn and the dividing line between skin and hair on the side of the forehead. Note the inter- nal detail of the ear.

With a pink rubber eraser, the artist re- moves most of the guidelines that appeared in Steps 1,2, and 3. Now he can see the lines of the profile and features more clearly and begin to block in the tone. Turning the thick pencil on its side, the artist begins to render the tones sur- rounding the eyes and nose, the cast shadow be- neath the nose, the dark tone of the upper lip.

Broad, free strokes fill the underside of the jaw with shadow, indicating the interlocking patches of shadow that move from the under- side of the cheek down to the jaw.

Patches of shadow are placed on the hair, within the ear. All the tones are still quite pale, but the purpose of this fourih step is simply to establish the major areas of light and shade.

The artist begins to build up the grada- tions within the tones. He darkens the eyebrow and the tones within the eye socket, then moves downward to build up the tones of the nose and lips. He sharpens the nostril and the shadow be- neath the nose, and then he strengthens the shadow of the upper lip. He also darkens the tones within and around the ear. Focusing on the larger areas of the face, he strengthens the shadows on the cheek, jaw, neck, and hair.

The tip of the pencil defines the contours of the ear more precisely and draws the squarish shape of the sideburn. Gradually, the strokes of the side of the thick pencil become more distinct as the artist continues to build up the tones. Observe the short, decisive strokes hat model the eye sock- ets, the side of the nose, the corner of the mouth, and the lone that travels downward from the cheek to the jaw.

The artist darkens the un- derside of the jaw with broad, distinct strokes that accentuate the squarish, bony shape. The hair is darkened with thick strokes that suggest texture and detail. With the sharp tip of the pen- cil, the artist begins to emphasize the features. He darkens the eyebrow and sharpens the lines of the eyelids. He adds crisp touches to define the contours of the nostril, lips, and car more precisely.

Notice the tiny accents of darkness within the nostril, at the corner of the mouth, between he lips, and within the rim of the car. The pencil moves over the face, adding clusters of the eyelids, nostril, lips, and ear. The side of the pencil parallel strokes that enrich the tones of the brow, cheek, darkens the hair with thick strokes and adds a hint of tone on jaw, and neck. More strokes darken and model the eye the bare paper along the edge of the brow—accentuating the socket, nose, lips, and ear.

The sharpened point of the pen- light on the sitter’s bony forehead. For this technique, a sheet of charcoal paper is particularly suitable, since the delicately ribbed surface softens the strokes and also lends itself beautifully to blended tones executed with a fin- gertip or a stomp.

The artist begins his demon- stration with the standard egg shape divided by a vertical center line, plus horizontal lines for the eyes, nose, and mouth. Notice that there’s just one horizontal line for the eyes, above which the artist will place the eyebrows. The lowest hori- zontal line locates the bottom edge of the lower lip. The artist visualizes the neck as a slightly tilted cylinder.

Notice that he doesn’t hesitate to go over these guidelines several times until he gets the shape exactly right. Because this demonstra- tion requires so much blending, the artist selects a soft, thick 4B pencil. Working with the sharpened tip of the pencil, the artist locates the eyes on the horizon- tal guideline that crosses the midpoint of the head, and then he places the brows above this line.

On either side of the vertical center line, he establishes the outer contours of the nose, and then he moves down to locate the tip of the nose and the nostrils on the next horizontal guideline. He places the ears between the guidelines of the eyes and nose. On the lowest horizontal guideline, he makes a dark stroke to indicate the deep valley beneath the lower lip. Then he places the dividing line of the lips roughly one-third of the way down from the nose to the chin.

He squares up the corners of the jaw, indicates the curves of the cheeks, and swings the line of the collar around the cylindri- cal shape of the neck.

Moving outward from the top and sides of the egg, the artist indicates the shape of the hair, ARN. With the point of the thick pencil, the artist now defines the shapes of the head and fea- tures more exactly.

He redraws the contours of the cheeks, jaw, chin, and neck directly over the original guidelines of Steps 1 and 2. The pencil point carefully traces the hairline. Then the artist focuses on the features: he sharpens the contours of the eyebrows and draws the upper and lower lids; defines the shapes of the nostrils and the tip of the nose; constructs the planes of the lips; and emphasizes small, significant details such as the corners of the eyes, the corners of the lips, and the cleft in the chin.

Finally, he draws the irregu- lar curves of the collar. Turning the thick pencil on its side, the artist begins to block in the tones with broad strokes.

The light comes from the left, placing most of the head in shadow. This head is an ex- ample of what artists call rim lighting. There’s a strip or rim of light along one edge of the face, neck. There’s a dark edge where the light and shadow planes meet; the artist accentuates this by pressing his pencil harder at the edges of the lighted areas on the forehead, cheek, jaw, neck, and nose.

He cov- ers the shadowy areas of the face with broad horizontal strokes and then emphasizes the strong darks within the shadow areas: the brows, eye sockets, and eyes; the bridge of the nose and the nostrils; the upper lip and the dark tones beneath the lower lip; the chin; and the shadow beneath the neck. The artist also begins to darken the hair and the shadow side of the collar.

By the end of this step, there’s a clear distinction between the light and shadow areas. The artist begins to deepen the tones by moving the flat side of the pencil back and forth over the face. The broad strokes are most appar- ent in the forehead and cheek, where you often see big gaps between the strokes—although these gaps will disappear when the artist begins to blend the tones. He strengthens the dark areas where the light and shadow planes meet on the side of the face, nose, and upper lip.

He darkens the hair, ihe shadow on the neck, and the shadow side of the collar. Then he moves inside the face to strengthen the contours and to darken the tones of the eyebrows, eyes, nose, and lips.

With the point of the pencil, he em- phasizes the dark edges of the eyelids, nostrils, and lips. Pressing still harder and moving the side of the pencil hack and forth over the tex- tured paper, the artist strengthens all the darks within the shadow planes of the face. He darkens the tones within the eye sockets, along the bridge of the nose, beneath the nose and cheeks, within the lips, around the chin, and on ihe neck. With short, curving, scribbly strokes, he darkens the lone of the hair to suggest its curly texture.

And with the tip of the pencil he sharpens all the features, indicating such details as the pupils of the eyes, the shadow lines around the nostrils, and the dark line between the lips. The artist moves over the shadow areas with a fin- strengthens the darks of the eye sockets and lids, the lips, gertip, blending the strokes into smooth, glowing tones. The The blending is done selectively: the artist concentrates tip of the pencil accentuates the contours of the eyelids, mainly on the forehead, cheeks, nose, upper lip, and chin.

The pencil ARN. Having discovered how easy it is to blend graphite on the hard surface of a sheet of textured paper, you know that a pencil drawing can actually begin to look like a “painting” in black and white. Now you might like to try a pencil portrait in which nearly all the tones are softly blended, so that the strokes of the pencil virtually disappear.

For this drawing, the right tool is a thick, soft pencil—or perhaps a stick of graphite in a holder—that might be 4B, 5B, or even 6B. The artist chooses a 5B graphite lead in ti plastic holder and works on a sheet of very rough paper with a much more pronounced tooth than the charcoal paper used in the pre- ceding demonstration.

He begins by drawing the usual compound egg shape and a tilted cyl- inder for the neck. The head is turned to a three- quarter view, and so the vertical center line is actually off center. Horizontal guidelines locate the features: ihe artist divides these lines with tiny touches to locate the eyes and the corners of the nose and mouth. The artist draws the outer contours of the face over the egg shape, capturing the curves of the checks, jaw, and chin. Swift, curving lines capture the sweep of the hair around the head and over the forehead.

He draws the first few lines of the features over the guidelines of Step 1: the curves of the eyebrows and the upper lids: the side and underside of the nose; and the upper and lower lips. The one vis- ible car is aligned with the eye and nose. As you can see, the roughness of the paper breaks up the pencil stroke and produces a ragged line.

The artist completes his preliminary line drawing of the outer contours of the head and the shapes of the features.

He strengthens the lines of the jaw and the chin. He draws the car more precisely and adds the inner contours of the eyes, with a hint of darkness on the irises. He traces the bridge of the nose and constructs the tip of the nose and the nostril wings. He in- dicates the groove from the base of the nose to the upper lip.

As he defines the lips, he darkens the corners of the mouth and indicates the con- cavity beneath the lower lip with a dark scrib- ble. The outline of the hair is strengthened with quick, casual lines. Now the artist turns the thick lead on its side and moves it swiftly back and forth over the rough surface of the paper to indicate the big tonal areas.

The paper is so rough that you can hardly see the individual strokes—the texture of the paper dominates the tones. The lines of Steps 1,2, and 3 rapidly disappear under the ragged masses of tone. For the paler tones, the artist moves the drawing tool lightly over the paper, pressing harder and piling up additional strokes for the darker areas—such as the eye sockets, the checks, the shadow cast by the nose, and the hair. Most of the original lines have disappeared under the tones.

The artist erases the others. The main purpose of Step 4 is to establish a clear distinction between the lights which are just bare paper , the darks, and the middletones or halftones. The artist begins to blend the tones of he face with a fingertip and with a stomp.

He uses his finger to blend the broad tonal areas on the forehead, check, jaw, and neck, Then he picks up the pointed stomp to get into tighter spots like the eyes, the side and bottom of the nose.

The pencil darkens the eyes and lips a bit more—then the strokes arc blended with the stomp once again. The art- ist softens the right edge of the hair with a few touches of a fingertip. At this stage, the artist alternates be- tween working with the pencil and the stomp. He uses the pencil to define the eyebrows: to darken the eyes and the underside of the nose; and to strengthen the tones of the lips. Then he blends these tones with the sharp lip of the stomp. The side of the pencil scribbles broad strokes over the hair; then these strokes are blended with a fingertip.

The sharp point of the pencil heightens the darks within the eyes, ac- centuates the nostrils, and sharpens the corners of the mouth. One of the most difficult problems of drawing is creating a three-dimensional form on a flat piece of paper. The best demonstration of producing three dimensions is with a drawing of a cube that has height, width, and depth.

If there is a flat overall light on a cube, it is difficult to see the light side, the middle tone side, and the shadow side. When a single light is directed on the cube you will be able to see the height, width, and depth. Three-pencil lattices on triangulations.

Drawing Conclusions. Successful Drawing. Machine Drawing. Drawing Blood. Master Drawing. Engineering Drawing.

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Manage Settings Continue with Recommended Cookies. The advantage that represents pencil drawing techniques books free download a space where you can access a collection of books for free, is invaluable. And considering this aspect, we have worked hard to offer you another selection of texts for free. In this publication we have put together a list of books about Drawing, all in PDF format. This is a topic worthy of our digital library, and today we share it with you.

The art and technique of illustrating is what we know as drawing. Through the action of drawing, an image is captured on a surface such as a canvas or paper, using various techniques.

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Drawing is often considered a hobby. Sometimes, parents give their children a sheet of paper and some crayons to entertain themselves with this activity; however, as adults, we can also draw to de-stress or simply for pleasure. Drawing can then be considered as an art or even as a profession, which is used by many in their jobs.

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Cartoon Books usually provide readers or students with a good amount of exercises to learn how to do them by themselves, from how to do the feet to each of the parts of the body. It is worth mentioning that learning this art can open the doors to success, since it is quite commercialized, both by companies and independent cartoonists.

Comic books can be made, as well as Japanese manga, among others. This type of drawings is also known as blueprints, and is usually used for construction, hence its great importance when it comes to making it, as well as the responsibility that runs on the part of the drafter.

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According to this definition, geometric drawing is considered to be that which is made following the rules of this discipline. However, geometric drawing has a wide application, since it can be found not only in mathematics, but also in graphic design, architecture and other related disciplines. In that sense, we have made a selection of Geometric Drawing Books that will help you better understand its use.

You will learn how to draw circles, triangles, ovals and rectangles, and how to make compositions with them, including logos, faces and other more complex drawings. Mechanical drawing is quite similar to architectural drawing in terms of importance and responsibility since both are used as blueprints for later construction or, in this case, manufacturing. Mechanical drawing focuses on the realization of robotic parts, machinery, automobiles, cranes, motorcycles, airplanes, helicopters and all kinds of industrial elements.

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Through technical drawing, students learn to use measuring tools, such as rulers, squares, scale rulers, compasses, etc. Learning technical drawing presents many guarantees, consequently, we recommend our selection of Technical Drawing Books that you can download for free in PDF so that you can train yourself in the subject and improve your graphic skills.

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Theater Books. Visual Arts Books. Mystery and Thriller. Vendor List Privacy Policy. Free Books! Table of contents. Basic Drawing Books Drawing is often considered a hobby. Read Download. Animated Drawing Books Cartoon Books usually provide readers or students with a good amount of exercises to learn how to do them by themselves, from how to do the feet to each of the parts of the body.

Mechanical Drawing Books Mechanical drawing is quite similar to architectural drawing in terms of importance and responsibility since both are used as blueprints for later construction or, in this case, manufacturing. Ala Hijazi. Technical Drawing Books Technical drawing can be distinguished as the basis of most of the other types of drawing, therefore, it is usually given as a subject during high school studies, even if its usefulness covers the professional field.

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Manage Settings Continue with Recommended Cookies. The advantage that represents having a space where you can access a collection of books for free, is invaluable. And considering this aspect, we have worked hard to offer you another selection of texts for free.

In this publication we have put together a list of books about Drawing, all in PDF format. This is a topic worthy of our digital library, and today we share it with you. The art and technique of illustrating is what we know as drawing. Through the action of drawing, an image is captured on a surface such as a canvas or paper, using various techniques.

On the other hand, it can also be said that drawing is a style of graphic expression on a horizontal surface, that is, in two dimensions. Moreover, it is one of the known visual arts. Drawing is a tool that allows us to express both thoughts and objects.

When something cannot be expressed in words, the best option is to draw it. The list of books about drawing that we share today is made up of more than 30 texts in PDF format in which you can consult all the relevant information about this artistic expression.

Additionally, we have integrated in our collection, books in Spanish and in Portuguese, so that you can enjoy this topic in any of these languages, if you wish.

Finally, it is important to note that each and every one of these books has been given for its publication and distribution, or are in the public domain. Drawing is often considered a hobby. Sometimes, parents give their children a sheet of paper and some crayons to entertain themselves with this activity; however, as adults, we can also draw to de-stress or simply for pleasure. Drawing can then be considered as an art or even as a profession, which is used by many in their jobs.

An example of this can be seen in painters, portrait artists, graphic designers, illustrators, etc. Therefore, if you want to learn how to draw, you can find good materials to do it through the Basic Drawing Books we have for you, so that you can learn the basics of this technique and, together with practice, become an excellent illustrator or cartoonist.

Cartoon Books usually provide readers or students with a good amount of exercises to learn how to do them by themselves, from how to do the feet to each of the parts of the body. It is worth mentioning that learning this art can open the doors to success, since it is quite commercialized, both by companies and independent cartoonists. Comic books can be made, as well as Japanese manga, among others.

This type of drawings is also known as blueprints, and is usually used for construction, hence its great importance when it comes to making it, as well as the responsibility that runs on the part of the drafter. If you are a student of architecture, or simply want to learn how to make this type of art, you can consult the Architectural Drawing Books, with which you will be able to learn and understand how to make them in a correct and practical way.

Do you know who Leonardo Da Vinci was? This type of art is one of the most striking and used by painters and illustrators today, so you can learn everything about it by consulting the Artistic Drawing Books that we have available in PDF and that will surely be very useful for you. According to this definition, geometric drawing is considered to be that which is made following the rules of this discipline.

However, geometric drawing has a wide application, since it can be found not only in mathematics, but also in graphic design, architecture and other related disciplines. In that sense, we have made a selection of Geometric Drawing Books that will help you better understand its use. You will learn how to draw circles, triangles, ovals and rectangles, and how to make compositions with them, including logos, faces and other more complex drawings.

Mechanical drawing is quite similar to architectural drawing in terms of importance and responsibility since both are used as blueprints for later construction or, in this case, manufacturing. Mechanical drawing focuses on the realization of robotic parts, machinery, automobiles, cranes, motorcycles, airplanes, helicopters and all kinds of industrial elements. It is used by professionals in the field and is usually done with specialized drawing tools or digitally.

Through the Mechanical Drawing Books, you will be able to learn all the basics of this art, as well as practice through the techniques described in the books. Therefore, if you are a student of a related career or simply want to learn, these texts will be very useful. Technical drawing can be distinguished as the basis of most of the other types of drawing, therefore, it is usually given as a subject during high school studies, even if its usefulness covers the professional field.

Through technical drawing, students learn to use measuring tools, such as rulers, squares, scale rulers, compasses, etc. Learning technical drawing presents many guarantees, consequently, we recommend our selection of Technical Drawing Books that you can download for free in PDF so that you can train yourself in the subject and improve your graphic skills. Here ends our selection of free Drawing books in PDF format.

We hope you liked it and that you already have your next book! If you found this list useful, do not forget to share it on your social networks.

Another way to render tone is by with delicate strokes that travel carefully over the forms. Look carefully at eye socket; each consists of slanted strokes that are carefully this drawing of the same sitter and you’ll see that the artist angled to express the roundness of the form.

Now follow has started with broad, rather casual strokes—not as neat or the route of the strokes that model the cheek on the shadow careful as the ones in the drawing at your left—and side of the face.

In the pale halftone area under the eye, the smudged them to create soft, velvety tones. The blending lines are delicate diagonals. As the cheek turns away from doesn’t obliterate the strokes completely, but they melt the light, the strokes curve and darken. The entire face is away into smoky areas that look more like patches of paint. The softer grades of pencil are easiest to blend. Continuous Tone on Charcoal Paper. Still another Continuous Tone on Rough Paper. You can do the way to build up tone on charcoal paper is to rub the side of same thing on rough paper, which shaves away the granules the lead gently back and forth as if you were sharpening the of graphite more rapidly—like rough sandpaper—and lead on a piece of sandpaper.

The tooth of the paper gradu- builds up more ragged, irregular tones. Once again, the art- ally shaves away microscopic granules of graphite, which ist presses harder and moves his pencil back and forth sev- slowly pile up to create the tones of the drawing. The more eral times for the dark tones, while he just skims the surface you rub—and the harder—the darker the tones get.

For the of the paper once or twice for the paler tones. He works delicate tones of the eyes, the artist passes his pencil lightly with a thick, soft pencil—or a graphite stick in a holder. To create the darker tones of the eyebrows and hair, the artist presses harder and moves his pencil back and forth several times.

For your first pencil portrait, see what you can do with a combination of slender lines and broad strokes on an ordinary piece of draw- ing paper.

Use the sharp point of the pencil to draw the contours with slender lines. Then use the side of the pencil to build up the tones with strokes of various thicknesses. The artist begins this demonstration by drawing the usual egg shape of the head. Within the egg shape, he draws a vertical center line and four horizontal lines to help him locate the features. Over these guidelines, he draws the eyebrows, eyes, nose, and mouth. The neck is a.

A few more lines define the curving contours of the hair, which extends above the egg shape and beyond it on either side. At this stage, the artist works en- tirely with a sharpened HB pencil. The artist switches to a 2B pencil and holds it so that the side of the lead strikes the paper and makes broad strokes. Moving swiftly over the paper, the artist blocks in the major areas of tone with scribbty parallel strokes.

The light comes from the right, and so the artist in- dicates areas of lone on the left side of the brow, cheek, jaw, and neck. He also places a lone on the left side of the nose and suggests the darkness of the eyes and lips.

He models the hair as just a few big shapes, blocking in big tonal areas and paying no attention to individual strands or curls. Finally, he scribbles in a band of shadow along the underside of the collar and a triangle of tone inside the collar.

In this step, the artist’s purpose is simply to divide the por- trait into zones of light and shadow. So far, there’s no gradation of tone—no distinction be- tween halftone, shadow, and reflected light. Still working with the side of the 2B pencil, the artist begins o darken his tones se- lectively. He strengthens the shadows on the brow and cheek; around the eyes. Now, as usual, the up- per lip is in shadow and there’s a hint of shadow beneath the lower lip.

The tip of the nose casts a small shadow downward toward the corner of the mouth. The artist also darkens some of the tones on the hair and strengthens the tones of the collar.

At this point, the artist starts to de- velop gradations within the tones, and so you begin to see areas of light, halftone, shadow, and reflected light.

For example, notice the pale tone at the edge of the jaw, where the shadow gets lighter. The artist still pays very little atten- tion to details, although he docs sharpen the corners of the eyelids, nostrils, and mouth.

Having established the broad distribu- tions of tones in steps 2 and. Working with the 2B pencil, he darkens the eyebrows and the eyes, sharpening the lines of the eyelids with the point of the pencil. Moving downward from the eyes, he strengthens the shadow on the side of the nose and the tones around the tip of the nose. He darkens the upper lip and the shadow beneath the lower lip.

He uses an eraser to pick out a small strip of bare paper to suggest the teeth and the lighted patch at the center of the lower lip. He draws the darkened center of the ear and shapes the contour of the ear more pre- cisely. With the point of the pencil, ho sharpens the edge of the face at the right and clears away excess lines with an eraser. He draws the con- tours of the hair more distinctly—particularly where the hair overlaps the brow-—and bright- ens the top of the hair by erasing a whole cluster of lines that existed in Step 3.

And he builds up the shadows on the collar and shoulder. With the tip of the pencil, he draws the eyebrows and eyelids more distinctly, adding the pupils and a suggestion of lashes, With clusters of short, slender strokes, he builds up ihc tones in the eye sockets and along the side of the nose, sharpening the contours of the nose and darkening the nostrils. He defines the shape of the lips more clearly and darkens them with short, slender, curving strokes.

With the same type of strokes, he goes over the shad- ows on the side of the face to make the grada- tions more distinct; darkens the tone along the chin; and strengthens the shadow on the neck. It’s interesting to see how the character of the pencil strokes has changed. In Steps 2, 3, and 4, the artist worked with broad strokes. Now, in Step 5, he goes back over these broad strokes with more delicate, slender touches to refmc the tones.

Step 6. At this point, the artist concentrates mainly on detail, He continues to sharpen and darken ihe contours of the eyes, strengthening the irises and pupils, picking out tiny highlights with a touch of a pointed eraser, and suggesting more lashes. The few additional strokes suggest individual hairs within the eyebrows.

Traveling down the side of the nose, ho darkens the shadow with delicate strokes and then strength- ens the tones around the tip of the nose, where the nostrils and the cast shadow are even more distinct.

He darkens the lips and sharpens the contours, paying particular attention to the slender strips of darkness between the lips.

With slim, curving strokes, he carries the half- tone of the jaw farther upward toward the cheek. Switching back to the sharply pointed HB pencil, he goes over the hair to suggest indi- vidual strands with crisp strokes. The side of the 2B pencil deepens the tones with broad, bold strokes.

Clusters of broad strokes move down over the hair to darken the shadow; the strokes are distinct enough to suggest the texture of the hair. The pencil point darkens the contours of the eyes, the tones on the side of the nose, and the tones of the lips; then it picks out more hairs within the eyebrows and more eyelashes.

The pupils grow darker, as do the shadows beneath the upper lids. Finally, a kneaded rubber eraser cleans the lighted areas. Now try drawing a pencil portrait that consists mainly of broad, bold strokes. Use a thick, soft pencil or a thick, soft stick of graph- ite in a holder.

In this first step, the artist begins by drawing the side view of the head with the usual overlapping egg shapes, one vertical and one horizontal. Just two lines define the neck as a slanted cylinder, Horizontal guidelines locate the features. The artist works with the sharp- ened tip of the thick lead.

Continuing to work with the point of the thick lead, the artist draws the contours of the face over the guidelines of Step I. He begins by drawing the prolile; the brow. Then he steps inside the profile to place the eyebrow, eye, nostril wing, lips, ear, and corner of the jaw. Just two lines suggest the Adam’s apple on the front of the neck.

The pen- cil sweeps around the lop and back of the hori- zontal egg to indicate the shape of the hair. Notice how the ear aligns with the eye and nose, while the sharp corner of the jaw aligns with the mouth. Moving more carefully over the lines of Step 2, the artist refines the contours with the tip of the pencil.

The sitter has an angular, bony face, which the artist records faithfully. He draws the bulge of the forehead, the sharp brow, the precise S-curve of the nose, the crisp detail of the lips, and the squarish chin. Moving inside the outer edge of the profile, the artist draws the eyebrow, eye, nostril, mouth, and cur with great care. Just a few lines indicate the sideburn and the dividing line between skin and hair on the side of the forehead.

Note the inter- nal detail of the ear. With a pink rubber eraser, the artist re- moves most of the guidelines that appeared in Steps 1,2, and 3.

Now he can see the lines of the profile and features more clearly and begin to block in the tone. Turning the thick pencil on its side, the artist begins to render the tones sur- rounding the eyes and nose, the cast shadow be- neath the nose, the dark tone of the upper lip.

Broad, free strokes fill the underside of the jaw with shadow, indicating the interlocking patches of shadow that move from the under- side of the cheek down to the jaw. Patches of shadow are placed on the hair, within the ear.

All the tones are still quite pale, but the purpose of this fourih step is simply to establish the major areas of light and shade. The artist begins to build up the grada- tions within the tones. He darkens the eyebrow and the tones within the eye socket, then moves downward to build up the tones of the nose and lips.

He sharpens the nostril and the shadow be- neath the nose, and then he strengthens the shadow of the upper lip. He also darkens the tones within and around the ear.

Focusing on the larger areas of the face, he strengthens the shadows on the cheek, jaw, neck, and hair. The tip of the pencil defines the contours of the ear more precisely and draws the squarish shape of the sideburn. Gradually, the strokes of the side of the thick pencil become more distinct as the artist continues to build up the tones. Observe the short, decisive strokes hat model the eye sock- ets, the side of the nose, the corner of the mouth, and the lone that travels downward from the cheek to the jaw.

The artist darkens the un- derside of the jaw with broad, distinct strokes that accentuate the squarish, bony shape.

The hair is darkened with thick strokes that suggest texture and detail. With the sharp tip of the pen- cil, the artist begins to emphasize the features. He darkens the eyebrow and sharpens the lines of the eyelids. He adds crisp touches to define the contours of the nostril, lips, and car more precisely. Notice the tiny accents of darkness within the nostril, at the corner of the mouth, between he lips, and within the rim of the car.

The pencil moves over the face, adding clusters of the eyelids, nostril, lips, and ear. The side of the pencil parallel strokes that enrich the tones of the brow, cheek, darkens the hair with thick strokes and adds a hint of tone on jaw, and neck. More strokes darken and model the eye the bare paper along the edge of the brow—accentuating the socket, nose, lips, and ear.

The sharpened point of the pen- light on the sitter’s bony forehead. For this technique, a sheet of charcoal paper is particularly suitable, since the delicately ribbed surface softens the strokes and also lends itself beautifully to blended tones executed with a fin- gertip or a stomp. The artist begins his demon- stration with the standard egg shape divided by a vertical center line, plus horizontal lines for the eyes, nose, and mouth.

Notice that there’s just one horizontal line for the eyes, above which the artist will place the eyebrows. The lowest hori- zontal line locates the bottom edge of the lower lip. The artist visualizes the neck as a slightly tilted cylinder. Notice that he doesn’t hesitate to go over these guidelines several times until he gets the shape exactly right. Because this demonstra- tion requires so much blending, the artist selects a soft, thick 4B pencil.

Working with the sharpened tip of the pencil, the artist locates the eyes on the horizon- tal guideline that crosses the midpoint of the head, and then he places the brows above this line. On either side of the vertical center line, he establishes the outer contours of the nose, and then he moves down to locate the tip of the nose and the nostrils on the next horizontal guideline.

He places the ears between the guidelines of the eyes and nose. On the lowest horizontal guideline, he makes a dark stroke to indicate the deep valley beneath the lower lip. Then he places the dividing line of the lips roughly one-third of the way down from the nose to the chin.

He squares up the corners of the jaw, indicates the curves of the cheeks, and swings the line of the collar around the cylindri- cal shape of the neck. Moving outward from the top and sides of the egg, the artist indicates the shape of the hair, ARN. With the point of the thick pencil, the artist now defines the shapes of the head and fea- tures more exactly. He redraws the contours of the cheeks, jaw, chin, and neck directly over the original guidelines of Steps 1 and 2.

The pencil point carefully traces the hairline. Then the artist focuses on the features: he sharpens the contours of the eyebrows and draws the upper and lower lids; defines the shapes of the nostrils and the tip of the nose; constructs the planes of the lips; and emphasizes small, significant details such as the corners of the eyes, the corners of the lips, and the cleft in the chin.

Finally, he draws the irregu- lar curves of the collar. Turning the thick pencil on its side, the artist begins to block in the tones with broad strokes. The light comes from the left, placing most of the head in shadow. This head is an ex- ample of what artists call rim lighting. There’s a strip or rim of light along one edge of the face, neck. There’s a dark edge where the light and shadow planes meet; the artist accentuates this by pressing his pencil harder at the edges of the lighted areas on the forehead, cheek, jaw, neck, and nose.

He cov- ers the shadowy areas of the face with broad horizontal strokes and then emphasizes the strong darks within the shadow areas: the brows, eye sockets, and eyes; the bridge of the nose and the nostrils; the upper lip and the dark tones beneath the lower lip; the chin; and the shadow beneath the neck.

The artist also begins to darken the hair and the shadow side of the collar. By the end of this step, there’s a clear distinction between the light and shadow areas. The artist begins to deepen the tones by moving the flat side of the pencil back and forth over the face. The broad strokes are most appar- ent in the forehead and cheek, where you often see big gaps between the strokes—although these gaps will disappear when the artist begins to blend the tones.

He strengthens the dark areas where the light and shadow planes meet on the side of the face, nose, and upper lip. He darkens the hair, ihe shadow on the neck, and the shadow side of the collar. Then he moves inside the face to strengthen the contours and to darken the tones of the eyebrows, eyes, nose, and lips.

With the point of the pencil, he em- phasizes the dark edges of the eyelids, nostrils, and lips. Pressing still harder and moving the side of the pencil hack and forth over the tex- tured paper, the artist strengthens all the darks within the shadow planes of the face. He darkens the tones within the eye sockets, along the bridge of the nose, beneath the nose and cheeks, within the lips, around the chin, and on ihe neck.

With short, curving, scribbly strokes, he darkens the lone of the hair to suggest its curly texture. And with the tip of the pencil he sharpens all the features, indicating such details as the pupils of the eyes, the shadow lines around the nostrils, and the dark line between the lips.

The artist moves over the shadow areas with a fin- strengthens the darks of the eye sockets and lids, the lips, gertip, blending the strokes into smooth, glowing tones. The The blending is done selectively: the artist concentrates tip of the pencil accentuates the contours of the eyelids, mainly on the forehead, cheeks, nose, upper lip, and chin. The pencil ARN. Having discovered how easy it is to blend graphite on the hard surface of a sheet of textured paper, you know that a pencil drawing can actually begin to look like a “painting” in black and white.

Now you might like to try a pencil portrait in which nearly all the tones are softly blended, so that the strokes of the pencil virtually disappear. For this drawing, the right tool is a thick, soft pencil—or perhaps a stick of graphite in a holder—that might be 4B, 5B, or even 6B. The artist chooses a 5B graphite lead in ti plastic holder and works on a sheet of very rough paper with a much more pronounced tooth than the charcoal paper used in the pre- ceding demonstration.

He begins by drawing the usual compound egg shape and a tilted cyl- inder for the neck. The head is turned to a three- quarter view, and so the vertical center line is actually off center.

Horizontal guidelines locate the features: ihe artist divides these lines with tiny touches to locate the eyes and the corners of the nose and mouth. The artist draws the outer contours of the face over the egg shape, capturing the curves of the checks, jaw, and chin. Swift, curving lines capture the sweep of the hair around the head and over the forehead.

He draws the first few lines of the features over the guidelines of Step 1: the curves of the eyebrows and the upper lids: the side and underside of the nose; and the upper and lower lips. The one vis- ible car is aligned with the eye and nose. As you can see, the roughness of the paper breaks up the pencil stroke and produces a ragged line. The artist completes his preliminary line drawing of the outer contours of the head and the shapes of the features.

He strengthens the lines of the jaw and the chin. He draws the car more precisely and adds the inner contours of the eyes, with a hint of darkness on the irises. He traces the bridge of the nose and constructs the tip of the nose and the nostril wings. He in- dicates the groove from the base of the nose to the upper lip.

As he defines the lips, he darkens the corners of the mouth and indicates the con- cavity beneath the lower lip with a dark scrib- ble. The outline of the hair is strengthened with quick, casual lines. Now the artist turns the thick lead on its side and moves it swiftly back and forth over the rough surface of the paper to indicate the big tonal areas. The paper is so rough that you can hardly see the individual strokes—the texture of the paper dominates the tones.

The lines of Steps 1,2, and 3 rapidly disappear under the ragged masses of tone. For the paler tones, the artist moves the drawing tool lightly over the paper, pressing harder and piling up additional strokes for the darker areas—such as the eye sockets, the checks, the shadow cast by the nose, and the hair. Most of the original lines have disappeared under the tones. The artist erases the others. The main purpose of Step 4 is to establish a clear distinction between the lights which are just bare paper , the darks, and the middletones or halftones.

The artist begins to blend the tones of he face with a fingertip and with a stomp. He uses his finger to blend the broad tonal areas on the forehead, check, jaw, and neck, Then he picks up the pointed stomp to get into tighter spots like the eyes, the side and bottom of the nose. The pencil darkens the eyes and lips a bit more—then the strokes arc blended with the stomp once again.

The art- ist softens the right edge of the hair with a few touches of a fingertip. At this stage, the artist alternates be- tween working with the pencil and the stomp. He uses the pencil to define the eyebrows: to darken the eyes and the underside of the nose; and to strengthen the tones of the lips.

Then he blends these tones with the sharp lip of the stomp. The side of the pencil scribbles broad strokes over the hair; then these strokes are blended with a fingertip. The sharp point of the pencil heightens the darks within the eyes, ac- centuates the nostrils, and sharpens the corners of the mouth. A few deft touches of the kneaded rubber eraser pick out reflected lights within the shadows on the cheek, jaw. The fingertip carries some tone downward to the pit of the neck, over one shoulder, and beneath the collar.

The artist presses a fingertip against the sandpaper and pupils; draws the nostrils more exactly; strengthens the pad to pick up accumulated graphite dust, which he care- contours of the lips; and suggests individual strands of hair. Touches of the kneaded rubber eraser brighten the lighted The tones of the drawing become richer and deeper. The areas of the face and pick out streaks of light in the hair.

A hard stick of chalk can be sharpened Broad Strokes. Drawing Conclusions. Successful Drawing. Machine Drawing. Drawing Blood. Master Drawing.

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One of the most difficult problems of drawing is creating a three-dimensional form on a flat piece of paper. The best demonstration of producing three dimensions is with a drawing of a cube that has height, width, and depth.

If there is a flat overall light on a cube, it is difficult to see the light side, the middle tone side, and the shadow side.

When a single light is directed on the cube you will be able to see the height, width, and depth. Each surface of the cube will have a value, and the difference between these values will reflect the amount of light.

For example, if the lightest side of the cube is the 9th value and the shadow side is the 1st value, there is a stronger light effect than if the difference were a 7th value for the light and a 5th value for the shadow.

With a 2H pencil A. It is difficult to achieve a strong light effect since the darkest tone you can obtain with a 2H pencil is the 6th value. When you use an HB pencil B you can achieve a much stronger light on the cube, since the HB pencil can make a 4th or 5th value.

However, by reducing the pressure on the pencil you can create more texture in the middle tone side. A stronger light effect is obtained with a 2B pencil C because the shadow side now becomes the 3rd value. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Alternative Download. Related PDFs. Leave a Comment Cancel Reply Your email address will not be published.

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«Я отдал лучшие годы жизни своей стране и исполнению своего долга». А как же любовь. Он слишком долго обделял. И ради. Чтобы увидеть, как какой-то молодой профессор украл его мечту.

Pencil Sketching, 2nd Edition. Games with Pencil and Paper. Three-pencil lattices on triangulations. Drawing Conclusions. Successful Drawing. Machine Drawing. Drawing Blood. EMBED for wordpress. Want more? Advanced embedding details, examples, and help! There are no reviews yet. Be the first one to write a review. Folkscanomy: A Library of Books. For example, if the lightest side of the cube is the 9th value and the shadow side is the 1st value, there is a stronger light effect than if the difference were a 7th value for the light and a 5th value for the shadow.

With a 2H pencil A. It is difficult to achieve a strong light effect since the darkest tone you can obtain with a 2H pencil is the 6th value. When you use an HB pencil B you can achieve a much stronger light on the cube, since the HB pencil can make a 4th or 5th value. Step 3. Having drawn the contours more accurately, the Step 4. In the final stage, the artist strengthens his tones artist now begins to block in the tones with broad, spon- and adds the final details.

He darkens the shadowy lines taneous strokes. The tones are actually clusters of parallel around the eyelids and deepens the shadow cast over the eye strokes, which you can see most clearly in the tone of the by the upper lid.

He darkens the iris and the pupil, picking iris and the shadow inside the eye socket. The artist sug- out the highlight on the iris with a quick touch of an eraser. Scribbly, erratic lines suggest the white of the eye. He indicates the shadows at the corners of eyebrow.

And using the sharp point of a pencil, he carefully the lids and on the underside of the lower lid. When the head turns from a front view to a three- Step 2. The artist goes over the lines of Step I with darker, quarter view, the eye turns too, of course, and its shape more precise lines.

The curves of the eyelids are defined changes. If the sitter is looking straight at you, the iris more carefully, the disc shape of the iris is drawn more moves to the side, as you see here.

Once again, the artist precisely, and the pupil is added. In the three-quarter view, begins with quick, casual lines. He draws the main contours the eye doesn’t seem quite as wide as it does in the front of the eyelids, iris, and eyebrow, with a slight suggestion of view. But the curving shapes of the lids are essentially the the eye socket along the side of the nose. Have you noticed same. From the outer corner, the top lid begins as a long, the straight, horizontal line that crosses the eye?

That’s the flattened curve and then turns steeply downward at the in- guideline that the artist has drawn across the egg-shaped side corner. Conversely, the lower lid starts from the inside head to locate the eyes.

The artist begins to suggest the distribution of tones Step 4. The artist blackens the pupil, darkens the iris, and with clusters of parallel strokes. These broad strokes are strengthens the shadowy edges of the eyelids. More groups made with the side of the pencil lead, rather than with the of parallel strokes—made by the side of the lead—curve sharp tip. Notice how the strokes tend to curve around the around the eye socket to darken the tones and make its contours of the eye sockets.

The shadowy edges of the lids shape look rounder. On the white of the eye, a touch of are drawn carefully. Once again, the artist indicates the shadow is added at the corner. Long, graceful lines suggest shadow that’s cast across the eye by the upper lid. The pupil the hairs of the eyebrow, while short, curving lines suggest is darkened. The eyebrow is darkened slightly, but the eyelashes.

An eraser picks out highlights on the pupil. Compare the soft, rounded character of this female eye with the more angular mate eye on the preceding page. The eye is actually a small sphere that rests in the Step 2.

Working with the pencil point, the artist carefully circular cup of the eye socket. It’s a good idea to begin by sharpens the lines of the lids, draws the iris more precisely, drawing the complete sphere, as the artist does here.

A second line is added to indicate the Around the sphere, he wraps the eyelids, like two curving top of the lower lid. Now you have an even stronger feeling bands, and places the iris on the front of the sphere.

The that the eyelids are bands of skin that wrap around the eyebrow curves around the edge of the sphere. If you vi- sphere of the eye—although the artist has erased most of the sualize the eye in this way, it looks rounder and more three- lines of the sphere that appear in Step 1.

The artist begins to dimensional. Later on, you can erase the lines of the sphere, strengthen the lines of the eybrow, which has a distinct S- of course. Compare the upper and lower lids: the upper lid has a steeper slant than the lower lid, and juts farther forward. Moving the side of the pencil lightly over the paper Step 4.

Still working with the side of the pencil, the artist with parallel strokes, the artist begins to block in the tones. He darkens the eyebrow and indicates the shadow beneath He accentuates the shadows around the eye, making the eye the brow, just above the bridge of the nose. He adds shad- sockets seem deeper. He also darkens the shadowy edges of ows to the edges of the curving eyelids and places a deep the eyelids and adds a few dark touches to suggest eye- shadow in the eye socket, just above the upper lid.

The lashes. The iris becomes a darker tone and the pupil be- upper lid casts a distinct strip of shadow over the iris and the comes darker still—highlighted with a white dot made by white of the eye.

The artist darkens the iris and the pupil. Just above the lower lid. Rhythmic, curving strokes complete the eybrow. When the head tilts downward, the eye tilts down- Step 2. The artist draws the contours of the eye and the ward too. As you can observe in this preliminary sketch, the eyelids carefully over the sketchy guidelines of Step I. Be- tilted view of the eye shows you more of the upper lid and cause we’re looking down at the eye from above, we see a less of the lower lid.

You also see less of the iris and the lot of the upper lid, and the shape of the eye itself seems white of the eye because the upper lid seems to come farther more slender than it looks in a front view.

The artist sharp- down. These first sketchy lines define the curves of the eye- ens the lines of the iris and draws the pupil. He draws the lids—wrapping around the ball of the eye—as well as the tear duct more precisely. Then he begins to suggest the in- corner of the eye socket and the typical S-curve of the eye- ner contours of the eye socket with groups of curving lines brow.

Note how the upper lid overlaps the lower lid at the outer corner. To block in the tones, the artist moves the side of Step 4. To complete the drawing, the artist builds up the the pencil lightly across the paper. Clusters of curving, par- shadow around the eye with thick strokes, using the side of allel strokes suggest the roundness of the eye socket, above the pencil lead. He strengthens the deep shadow that’s cast the eye and in the corner adjacent to the nose. The shadows by the eye socket on the upper lid and then darkens the on the lids are also executed with curving strokes.

The iris is shadow beneath the lower lid. He darkens the iris and pupil, darkened with parallel strokes, and the artist presses harder deepens the shadow that’s cast by the upper lid, and adds on the pencil to darken the pupil. Horizontal strokes suggest delicate touches of tone to the white of the eye. Most of the the shadow cast by the upper lid across the iris and the white eye is in shadow because it turns downward, away from the of the eye.

A deep shadow is placed in the inner corner of light. An eraser picks out just a few areas of fight, and the the eye, Long, curving, rhythmic strokes suggest the eye- point of the pencil adds the details of the lashes and eye- brow.

The artist begins to draw the mouth with straight, simple construction lines. Down the center of the draw- ing, you can see the vertical center line that helps him con- struct a symmetrical mouth and chin.

The dividing line between the lips is one of the horizontal guidelines that the artist draws across the egg- shaped head. Above this hori- zontal line, the artist draws four bask lines for the upper lip and three lines for the lower lip, plus a scribble to suggest a shadow beneath the lower lip. Note that he also indicates the groove that trav- els from the upper lip to the base of the nose. Step 2. The upper lip is actu- ally shaped something like a pair of wings that meet at the center line of the face.

The artist redraws the upper lip with firmer strokes to indicate this shape. The lower lip con- sists of a blocky frontal plane and two triangular side planes. The artist adds lines to indicate these planes. He also strengthens the vertical center line to suggest the slight crease that runs down the center of the lower lip. Turning the pencil to make broad strokes with the side of the lead, the artist be- gins to block in the tones with groups of parallel strokes. The upper lip is usually in shadow because it turns downward, away from the light.

Between the lips, the artist places a line of deep shadow. And there’s a pool of shadow beneath the lower lip. The light is coming from the left, so the artist places shad- ows on the side planes at the right—away from the light.

For the same reason, he be- gins to indicate a shadow on the right side of the chin and suggests a bit of shadow in the groove above the upper lip. Step 4. Having indicated the pattern of light and shade roughly in Step 3, the artist strengthens all these tones in the final step. He darkens the upper lip, which is just a bit lighter at the left—the lighter side of the face. The lower lip is divided into three tonal areas—halftone at the left, light in the center, and shadow at the right—which correspond to the three planes drawn in Step 2.

The artist strengthens the dark line be- tween the lips, builds up the shadow beneath the lower lip, strengthens the modeling on the jaw and chin, and adds more tone to the groove above the upper lip. Notice the strong touches of shadow at the corners of the mouth.

The artist draws the wing shape of the upper lip with curving lines to suggest the softness of the female mouth. He draws the full lower lip with a single curve. The horizontal line between the lips is the usual horizontal guideline that he draws across the egg shape of the head to indicate the placement of the mouth. The head turns slightly to the left and so does the mouth; therefore, the ver- tical center line is also slightly to the left, and the mouth is no longer symmetri- cal.

We see more of its right side. Going back over the sketchy lines of Step I, the artist draws the shapes of the lips more exactly.

Study the intricate contours of the wing- shaped upper lip. Note how the center of the upper lip dips downward over the lower lip. The artist doesn’t draw dividing lines for the three planes of the lower lip, but the outer contour is squared slightly to suggest those planes. He also refines the shape of the jaw and chin with additional lines. The artist begins to darken the upper lip, which is normally in shadow, as you’ve seen in the preceding demonstrations.

He darkens the dividing line between the lips, accentuating the shad- ows at the corners of the mouth. Just above this dark line, he darkens the shadowy upper lip to emphasize its roundness. He places a light tone on the lower lip. Rough strokes darken the pool of shadow beneath the lower lip. He begins to add tone to the side of the chin and jaw.

And he adds a heavy shadow to the groove above the upper lip. The artist continues to darken the shadowy upper lip and strengthens the divid- ing line between the lips. He adds more tone to the corners of the mouth. Although the lower lip receives more light than the upper one.

He darkens the shadow plane of the lower lip at the right and strengthens the shadowy underside of the lip to make the shape look rounder. Finally, he adds more tone to the chin and jaw, as well as to the groove above the upper lip. Compare the soft, round female mouth in this demonstration with the more angular male mouth in the preceding demonstration.

Above the horizontal guideline that represents the Step 2. Working carefully over the sketchy lines of Step I, dividing line between the lips, the artist draws the upper lip the artist redefines the shapes of the lips with darker lines. In the same way, he the lower lip. The lower lip recedes slightly and is just a bit draws the lower lip with a few angular lines and then care- thicker than the upper lip. The artist also strengthens the fully draws the shape of the chin with curving strokes.

This is an important guideline be- cause it indicates the relationship between the lips: the up- per lip normally protrudes farther forward. The artist adds broad areas of tone with the side of Step 4.

The artist darkens the upper lip and accentuates the the lead. You can see clearly that the upper lip is in shadow shadow line between the lips, as well as the dark corner of because it slants downward, away from the light. The lower the mouth. He deepens the pool of shadow beneath the lip is paler because it turns upward and receives the light.

Be- sional. Finally, he darkens the forward edge of the lower neath the lower lip is a concave area that curves away from lip. The artist adds more per lip. It’s interesting to study the pattern of the pencil shadow at the corner of the mouth and begins to model the strokes, which gradually change direction to follow the tones of the chin and jaw.

When the head turns downward—or when we look Step 2. The artist redraws the lips with softer, curving lines at the head from slightly above—we get a different view of and gently erases the more angular guidelines of Step 1. We see somewhat less of the upper lip and more Now you see the protruding center of the upper lip, which of the lower lip.

In this drawing, the head is turned slightly slightly overlaps the lower lip. The corners of the mouth to the left, and so we also see more of the right side of the turn slightly upward and the wing shape of the upper lip be- mouth. As you’ve seen in previous demonstrations, the comes more graceful.

The artist also strengthens the lines of preliminary drawing captures the wing shape of the upper the chin, the jaw, and the groove between the upper lip and lip and the three planes of the lower lip—all with straight, the base of the nose. The artist darkens the upper lip selectively. The up- Step 4. As the artist darkens the tones of the lips, it’s ob- per lip actually has a kind of zigzag shape that’s sometimes vious that the light comes from the left, since the right in light and sometimes in shadow.

This is most apparent at planes are in shadow. He darkens the right sides of both lips the center, where the left plane catches the light and the and deepens the shadow line between the lips.

He also ac- right plane is in shadow; the artist accentuates the shadow centuates the dark corners of the mouth. The shadowy un- plane to make the shape jut forward. He also darkens the derside of the lower lip is darkened to make the shape look line between the lips, adds tone to the lower lip, darkens the rounder and fuller.

An eraser picks out highlights on the shadow plane at the right, and also darkens the underside of rounded lower lip. The artist darkens the shadow area be- the lower lip to make the shape look rounder. He begins to neath the lower lip and models the soft curves of the chin model the tones on the chin and jaw.

The preliminary sketch emphfisizes the proportions Step 2. Over the vertical guidelines of Step 1. The space between the draws curving lines to define the shapes of the nostrils, plus eyes is usually the width of one eye. The artist draws verti- firm, straight lines to define the tip of the nose more pre- cal guidelines down from the inner corners of the eyes to cisely. The artist doesn’t draw the nose in isolation but indicate the width of the nose—which is about “one eye works on the other features at the same time.

He begins to wide” at the base. These vertical guidelines establish the define the shapes of the eyes more precisely, since the shape outer edges of the nostrils. Now study the inner guidelines: of the nose flows into the eye sockets. He also indicates the the diagonals that connect the brow to the bridge; the verti- shape of the groove leading from the nose to the upper lip. The vertical center line aids symmetry. With the side of the lead, the artist blocks in the Step 4.

The artist now sharpens the contours and builds up tones with broad strokes. The light comes from the left, and the tones. Study the subtle gradation of tone on the shadow so the right side of the nose is in shadow.

Since the nose side of the nose, as well as the gradations on the tip of the locks into the eye sockets, the artist adds tone to the sockets nose and the nostrils. The underside of the nose is in at the same time. There’s a particularly dark patch of tone in shadow, but there’s just enough reflected light within the the eye socket at the right, just above the bridge of the nose.

Notice how the cast shadow The nose also casts a shadow downward toward the right, under the nose is paler as the tone recedes downward. There over the upper lip. The artist erases the guidelines of Step 1, are also deep shadows in the eye sockets on either side of adds tone to the underside of the nose, and darkens the the nose, plus a soft patch of shadow just above the bridge, nostrils.

When the head turns to a three-quarter view, the Step 2. Following the guidelines of Step 1. He also refines the shapes of the eyes and the eye we see more of the underside of the nose. The artist starts sockets that flow into the sides of the nose. The bridge and side plane arc indicated by vertical lines that lead down to the base of the nose, which is roughly “one eye wide. The artist draws the eyes at the same time. The side of the pencil begins to indicate the shapes Step 4.

The artist continues to build up the tones on the of the shadows with rough, scribbly strokes. The light shadow side of the nose and around its tip. The wings of the comes from the left, and so the right side of the nose is in nostrils are clearly defined by darker strokes, as well as by shadow.

So is the underside, which also casts a sainted touches of reflected light. Notice that the rounded tip of the shadow downward.

The artist also begins to model the eye nose is modeled as a separate form, very much like a little sockets, since their shapes are inseparable from the shape of ball. The artist darkens the eye sockets on either side of the the nose. You already begin to see the distinction between nose to make the bridge stand out more distinctly. He’s halftone and shadow on the tip and side of the nose. Drawing the nose in profile, the artist carefully fol- Step 2. The artist draws the contours more precisely over lows the horizontal guidelines that locate the eye and the the guidelines of Step 1—and then erases most of them.

He draws the brow and the eye at the same Now there’s a distinct S-curve from the bridge of the nose time to establish an accurate relationship between the fea- down to the tip. The underside of the nose is clearly defined tures. The eye is just above the bridge of the nose and aligns as a separate plane. The curving shape of the nostril wing is with the concave curve beneath the brow. The back end of more carefully drawn. The artist also refines the curve of the the nostril wing lines up roughly with the forward edge of brow and continues to work on the eye as he draws the nose, the upper eyelid.

The nose itself is drawn with just a few A few strokes divide the tip of the nose and the nostril into straight lines and a few curves.

The artist begins to block in the tones with broad Step 4. As the artist strengthens his dark tones, you begin strokes, using the side of the pencil lead. The light comes to see a clear distinction between light, halftone, and from the left, and so the front plane of the nose is in the shadow on the side of the nose and on its underside.

The light, while the side plane is in shadow. The underside of artist deepens the shadow on the eye socket and darkens the the nose and the back of the nostril are also in shadow, nostril.

With the sharp point of the pencil, he draws the con- while the front plane of the nostril catches the light. Notice tours of the brow, nose, and upper lip more exactly. Notice that a patch of shadow now divides the lip of the nose from a hint of shadow where the brow turns downward, away the nostril.

There’s also a patch of deep shadow in the eye from the light. And observe how the slanted strokes of the socket. In this view of the nose, the head tilts slightly Step 2, The artist continues to define the rounded shapes of downward, and so we see very little of the underside of the the nostrils more precisely.

He sees very little of the nostril nose. The head is also turned slightly to the left, and so we on the left and a great deal of the one on the right.

The tip of see more of the right side and very little of the left. In this the nose seems to hang downward, since we’re looking at it preliminary sketch, the artist visualizes the tip of the nose as from slightly above.

The artist redraws the bridge of the a kind of diamond shape. The undersides of the nostrils look nose, which widens slightly just above the eyes. He works like curves. The outer edges of the nostril wings still align on the eyes at the same time that he draws the nose. Because with the inside corners of the eyes. The light comes from the right, and so the artist Step 4. The artist continues to darken the inner curves of builds up the tones on the left sides of the forms.

The left the eye sockets; these tones make the bridge of the nose side of the nose is in shadow. So is the underside, which seem more three-dimensional.

He darkens the tone on the casts a slanted shadow downward toward the upper lip. The shadow side of the nose; now you see a clear gradation of artist carefully models the inner curves of the eye sockets, light, halftone, and shadow. He models the tip of the nose which define the top of the nose. In particular, notice the as if it’s a little ball.

He models the nostril at the right as a dark curve of the eye soeket at the left, which swings separate shape, surrounded by tone. The pencil point sharp- around the bridge of the nose. At the right of the lighted nostril wing, a hint of tone suggests the inner edge of the cheek.

The artist begins by drawing a guideline diagonally Step 2. Over the sketchy lines of Step 1. The ear attaches to this line. He draws contours of the ear with darker, more precise lines. A dark the top of the ear with two angular lines and then moves inner line defines the sinuous shape of the rim, which winds downward to draw the back of the car with a big curve and around to the deep “bowl” at the center of the ear, The artist the lobe with a smaller curve.

Carefully observing the inner draws the inner shape more exactly. The artist adds the pools of shadow within the ear, Step 4. The pools of shadow within the ear are darkened which is darkest just inside the rim.

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