Step 3. Still working with the side of the 2B pencil, the artist begins to darken his tones selectively. He strengthens the shadows on the brow and cheek; around the eyes, nose, and-mouth; and on the neck. Now, us usual, the upper 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 develop gradations within the tones, and so you begin to see areas of light, halftone, shadow, and reflected light. For example, notice the pate tone at the edge of the jaw, where the shadow gets lighter. The artist still pays very little attention to details, although he does sharpen the corners of the eyelids, nostrils, and mouth.
Step 4. Having established the broad distributions of tones in steps 2 and 3, the artist begins to focus his attention on the features. 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 Up, sharpening the line between the lips. 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 tip. He draws the darkened center of the ear and shapes the contour of the ear more precisely, With the point of the pencil, he sharpens the edge of the face at the right and clears away excess lines with an eraser. He draws the contours of the hair more distinctly—particularly where the hair overlaps the brow—and brightens 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.
Step 5- The artist continues lo sharpen details and refine tones. 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 the 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 shadows on the side of the face to make the gradations 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. !n Steps 2,3, and 4, the artist worked with broad strokes. Now, in Step 5, he goes back over these broad strokes with more dclicatc, slender touches to refine the tones.
Step 6. At this point, the artist eonccntratcs maiilly on detail. He continues to sharpen and darken the 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, he darkens the shadow with dclicatc strokes and then strengthens the tones around the tip of the nose, where the nostrils and the cast shadow are even more distinct. lHc darkens the tips and sharpens the contours, paying particular attention to the slender strips of darkness between the lips. With slim, curving strokes, he carrics the halftone of the jaw farther upward toward the cheek. Switching back to the sharply pointed HB pcncil, he goes over the hair to suggest individual strands with crisp strokes.
Step 7. 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,
Step 1. Now try drawing a pencil portrait that consists mainly of broad, bold strokes. Use a thick, soft pencil or a thick, soft stick of graphite 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 sharpened tip of the thick lead.
Step 2, Continuing to work with the point of the thick lead, the artist draws the contours of the face over the guidelines of Step L He begins hy drawing the profile: the brow, nose, lips, and chin. Then he steps inside the profile to place the eyebrow, eye, nostril wing, lips, car, and corner of the jaw. Just two lines suggest the Adam's apple on the front of the neck. The pencil sweeps around the lop and back of the horizontal 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.
Step 3. Moving more carefully over the lines of Step 2. the artist reiines 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 ear 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 internal detail of the car.
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