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40 Best Free Drawing Books - Jae Johns.Post navigation
Though the perception of drawing has changed over time. Sketching and drawing are fundamental types of art. Many artists like sculptors, digital artists, painters, etc. It is not just a precursor of visual arts, it is an art in itself. There are so many types of drawings like symbolic drawing, and realistic and expressive modes of drawing, With this, Books Benefit brings you a collection of drawing books in this section of art and imagination.
Though there are so many areas of drawing to cover, here out of many books, we bring you an amazing collection of drawing books like geometrical drawing books, architectural drawing books, and so much more. These books will help you understand how different drawing styles are different from each other.
Costume design and illustration require a specialized set of drawing techniques that focus on highly how clothing presents on the human body. Of course, anatomy is important, but so is learning various shapes and structures of clothing on the body. Drawing from the nude first is encouraged in this volume. One of the few free drawing books pdf directly about the subject of costume drawing. The book is highly technical, providing guidelines then step-by-step instructions on how to break up and paint the world.
However, it is also written to be very easy to read and talk to the reader directly about the meaning of the painting. An excellent free drawing book. An early 20th-century guide to color, it is still of practical use to learn the basics of color theory using different mediums.
Looks at different basic techniques of the fine artist, looking at the principles of drawing, painting, designing, coloring, and engraving. In specific, it has sections on oil painting, portrait painting, miniature painting, and more. One of the most robust drawing books online to the basics of the upkeep and care for painting materials and techniques. It has sections on everything from taking care of brushes, to color theory, including more specialized techniques like gilding, graining, and marbling.
The book details what we know about artistic and natural beauty based on the science of aesthetics. One of the strongest free drawing books on our list, making it a solid drawing book download. A strong and beautifully illustrated guide to a wide range of artistic materials, including moss, papier mache, wax, shells, and enamel paint. For book drawing skills together with a wide variety of less well-known art materials, this is a great choice.
In this volume, he develops his strong theory of formalism in art and how what a painting represents is completely separate from its aesthetic value. In addition, it is one of the drawing looks at painting from various cultures around the world, including Egyptian, Italian, Greek, Roman, Dutch, French, and more.
A look at American Art at the turn of the century, this work examines the turn from European Art to American Art in Art history around this time.
Americans found many things of different interest than Europeans, even as they emulated them. Their own styles of impressionism and realism ended up different than those of the Europeans.
This is one of the drawing books online entirely dedicated to the craft of learning the anatomy of the human body for the sake of drawing, with many illustrations throughout. The summary of a famous set of lectures delivered at the Ecole des beaux-arts in is considered an absolute classic for serious artists looking for how to draw books due to the technical strength of the information within.
For a long time, it was the comprehensive guide to the muscles and bones of the human body that artists have been using alongside how to draw books to improve their craft. Leonardo was not only one of the best artists in the world but also one of the best draftsmen, as his notebooks attest to. Post-humously published, it focuses on his attention to anatomy, composition, perspective, and shadows.
His particular graphic style is unique and worthy of study but overshadowed so far by his work in painting. Cezanne is one of the greatest colorists of all time, and his still lifes in watercolor are some of the most stunning uses of color. This book contextualizes his work in its historical context and brings out the brilliance in his use of color.
Whether you want books on drawing or books on perspective , books are very valuable resources. If you want to get better, it is always helpful to study the craft so that you can get the most out of it. Sometimes having the fundamental knowledge behind this process can help you to approach your work more effectively.
There is plenty of value in these pages. These helpful guides can provide amazing insight into the process that you love. 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. He moves around the with heavy strokes. Small parallel strokes strengthen the outer edge of the ear and around the lobe, adding touches of tones around the edge of the ear; then an eraser brightens the shadow thai make the shape look three-dimensional.
He lighted areas. The ear casts a shadow downward on the back suggests the hair surrounding the ear and begins to model of the neck. The artist completes the surrounding hair, mak- the cheek and jaw. Notice the tiny poo] of shadow where the ing the rounded forms of the car stand out more boldly.
When the sitter faces you, you see much less of the Step 2. Step 1 is a highly simplified version of the ear, of ear. The shape grows slender. The artist begins by drawing course. Now the artist goes back over these sketchy lines to the slanted line of the jaw and cheek, to which the ear at- define the shapes more precisely.
He draws the intricate taches, He draws the outer shape of the ear with just a few curves and angles over the guidelines—which he then straight lines and curves, and then draws the inner shape erases. He indicates the hair that surrounds the ear.
With the side of the pencil, the artist blocks in a big Step 4. The side of the pencil deepens the inner tones of the pool of shadow at the center of the ear, plus the slender ear. Then an eraser lightens the lower half of the big pool of shadow that starts at the top and travels down along the in- shadow. A few additional touches of tone appear on the rim side of the rim.
He begins to model the lobe and the portion and lobe of the ear. The tone of the hair is carried carefully of the ear that attaches to the side of the head. The tone of around the ear and helps to define its shape.
In this view, we the hair is blocked in to make the lighted edge of the ear see a minimum of detail; the ear is drawn very simply. Now, to show you how to put together everything nose, and mouth.
He divides the eye line into five different you've learned so far, the artist draws a front view of a com- parts: two of these parts will become eyes, of course, but plete head. He starts out with the traditional egg shape and the space between them is also the width of one eye—and so visualizes the neck as a slightly slanted cylinder.
For sym- are the spaces on either side of the eyes. The base of the metry, he draws a vertical guideline down the center of the nose is also "one eye wide. Then he adds horizontal guidelines for the brow, eyes. The first simple sketch of the features goes directly lids and suggests the shape of the iris. He quickly sketches over the guidelines of Step 1. The artist squares up the jaw the bridge of the nose, the shapes of the nostrils, and the tip.
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. 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.
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