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Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book. Books Video icon An illustration of two cells of a film strip. Video Audio icon An illustration of an audio speaker.

Audio Software icon An illustration of a 3. Software Images icon An illustration of two photographs. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. Sign in. Forgot your password? Get help. Privacy Policy. Password recovery. Drawing an entire object before adding any draw the eyelid around it, as shown.

In a profile view, the below to see how these different elements overlapping elements is called "drawing through. Then add the eyelashes and the side corner of the eye and make quick, curved lines, always shadow being cast on the eyeball from the upper lid and stroking in the direction of growth.

The longest lashes are eyelashes, working around the highlight on the iris. J Step Three Continue shading the iris, stroking outward Step Three When shading the eyelid, make light lines from the pupil.

Then shade the eyelid and the white of the that follow the curve of the eyelid. Step 1 Step 2 Step 3 Step 4 Rendering a Pair of Eyes After becoming comfortable with drawing the eye itself, start developing the features around the eye, including the eyebrows and the nose.

Then I study the way each plane is lit before adding the dark and light values. The nostrils should be shaded lightly; if they're too dark, they'll draw attention away from the rest of the face. Generally men's nostrils are more angular, whereas women's are more gently cuved.

Next I start shading the darkest areas, defining the ridges and folds. Then I the bowl, and the lobe. The top lip slightly protrudes over the bottom lip; the bottom lip is also usually fuller than the top lip. C 0 Step Two Next I begin shading in the direction of the planes of the lips.

The shading on the top lip cuves upward, and the shading on the bottom lip curves downward. E F Step Three I continue shading, making the darkest value at the line where the lips meet. Then I pull out some highlights to give the lips shine and form. Highlights also enhance the lips' fullness, so it's often best Detailing the Lips Determine how much detail you'd like to add to your renderings of to include larger highlights on the fuller lips.

You can add smile lines and dimples A, B, and D , you can draw clearly defined teeth bottom lip. I roundness. Then I draw between the nose and lips. For nect the base of the nose by the arrows in step 1.

This helps tip of the nose, and on the shade them. Use your understanding of the basics of proportion to block in the head and place the features. Then I place the facial guidelines ness of the facial features. Notice that tograph often, making sure that I've captured the things Try turning both the photo and your drawing upside down the mouth takes up about one-fourth of the face. I also that make this individual unique, like the turned-up nose, as you work; you'll find that you can represent many block in the shape of her hair, including the bangs.

Step Three I erase my guidelines and then begin shading, following the form of the face with the 2B pencil and softly blending to create the smoothness of the skin. Next I create the teeth, lightly indicating the separations with incomplete lines. Then I switch to a 3B pencil to Step Four To render the smooth, shiny hair, I use a 4B to lay in darker lay in more dark streaks of hair. I vary the length of the strokes, pulling some strokes into the areas at the top of her head that have been left white for highlights to produce a gradual transition from light to dark.

Then I refine the eyes and mouth by adding darker layers of shading. If you're indoors, you can position the light source to your liking; if aving models pose for you as you draw-or life drawing-is an excellent way to practice rendering faces. When drawing from life , you're outdoors, you can reposition your model until you're satisfied.

My subject's head is tilted at a three-quarter subject's left eye, making it a little smaller than the right hold for a while. Schedule short breaks every 30 minutes angle, so I shift the vertical centerline to the right a bit.

See "Distorting the Features" on page 99 for more so that both you and your models can take a "breather. Then I shade the neck using light, horizontal strokes.

Because parts of the face appear more prominent in profile, be careful not to allow any one feature to dominate the entire drawing. Take your time working out the proportions before drawing the complete portrait. I Drawing in Profile When drawing a subject in profile, Step One After lightly drawing a circle for the cranial be careful with proportions, as your facial guidelines will mass, I use an HB pencil to block in the general shapes of differ slightly.

In a profile view, you see more of the back the face, chin, and jaw line. Then I add guidelines for the of the head than you do of the face, so be sure to draw the eyes, nose, mouth, and ear. See page 99 for general rules shape of the skull accordingly. Step Two Following the guidelines, I rough in the shapes I closely observe my subject to see how the positions of the features, including my subject's slightly protruding and angles of his features differ from the "average.

I sketch a small part of the eye, indicating how for more information on drawing eyes in profile. See page Step Three When I sketch the eyebrow, I pay particular attention to the space between the eye and the eyebrow; in this case, the subject's eyebrow is fairly close to his eye.

It also grows past the inside corner of his eye, very close to his nose, and tapers toward the outside corner of the Step Four In a profile view, the hairline is important to eye. Next I continue refining the profile, carefully defining achieving a likeness, as it affects the size and shape of the the shapes of the chin and the neck including the Adam's forehead. This subject has a very high forehead, so the apple.

Once I'm happy with the shapes of the face and hairline, I start refining the features, giving them form. Then I add more detail to the eye and develop the ear and the eyebrow.

Step Seven I continue shading the lips, pulling out a white highlight on the bottom lip with a kneaded eraser. Then I shade more of the ear and add even darker values to the hair, leaving highlights on the crown of the head, as it is in the direct path of the light source. I also shade the forehead, the nose, and the chin. I leave the majority of the cheek and the middle part of the forehead white. This helps indicate that the light source is coming from above, angled toward the visible side of the face.

Step Six Still using the 2B, I continue to develop the hair, eyebrows, and mustache, always stroking in the direction that the hair grows. I leave plenty of white areas in the hair to create the illusion of individual strands.

Next I begin to suggest the curves and shadows of the face by shading the eye, ear, and nose. See "The Effects of Light" on page 97 for tips on shading a profile. Lighting tranquil feeling. Lighting also can affect shadows, creating stronger contrasts between light and dark values. Remember that the ligh test highlights will be in the direct path of your light source, and the darkest shadows will be opposite the light source.

When drawing a backlit subject, try and hair with an HB pencil. My subject's head is turned in leaving some areas of paper white around the edges of the a three-q uarter view, so I curve the guidelines around the Step Two Switching to a 2B pencil, I define the features the mouth and around the eyes. This keeps the hair from looking stiff and unrealistic, face accordingly. See page Then I lightly sketch the and fill in the eyebrows.

I also sketch a few creases near and it also separates the hair from the background. Step Three Using a 2B and frequently referring to my photograph, [ shade the right side of the face: First [ apply a layer of light, short strokes; then [ go back and apply a Step Four Still using a 2B pencil, [ continue shading the face, keeping the left side a bit lighter in value to show that layer of longer strokes, still maintaining a light touch. Then [ add more definition to the hair, leaving some white space around the uneven, more realistic shape.

A background always should complement a drawing; it should never overwhelm the subject. Generally a light, neutral setting will enhance a subject with dark hair or skin , and a dark background will set off a subject with light hair or skin.

Notice that the Step Two Switching to a 2B pencil, ground by removing any extraneous center guideline is to the far left of the face I begin refining the shape of the eyes, Next I indicate the neck and the hair. Then I add a neckline ground using diagonal hatching strokes. Once the background is laid in, I use a 3B to build up the dark values of the hair.

I create the background before developing the hair so my hand doesn't smear the delicate strands of hair. H ere the subject is in profile, so the lightest values of her face stand out against the dark values of the background. To ensure that her dark hair does not become "lost," I create a gradation from dark to light, leaving the lightest areas of the background at the top and along the edge of the hair for separation.

Step Four I finish shading the face, neck, and shirt with a 2B; then I switch to a 3B to add more dark streaks to the hair. Next I use a kneaded eraser to smooth out the transitions. And essential. Then I use loose strokes to block in the general outline of the hair. Starting at the part on the Step Two Switching to a 2B pencil, I start refining the eyes, eyebrows, nose, and mouth. At this stage, I merely indicate the shape of the hair; I don't worry about the individual ringlets yet.

Then I define the neckline of her shirt with curved lines that follow the shape of her body. Returning to the hair, I lightly sketch in sections of ringlets, working from top to bottom.

I start adding dark values underneath and behind certain sections of hair, creating contrast and depth. See "Creating Ringlets" below. I make sure that the ringlets are not too similar in shape; some are thick and some are thin. Step Two To give the ringlets form, I squint my eyes to find the dark and light values. I leave the top of the ringlets the hair closest to the head lighter and add a bit more shading as I move down the strands, indicating that the light is coming from above.

Step Four I add even darker values, making sure that my transitions in value are smooth and that Step 1 Step 2 Step 3 there are no abrupt changes in direction. Then I define strokes that reach across the the eyes, lips, and teeth, and I add her shoulder and the sleeve of her shirt. Next I continue working in darker values within the ringlets, leaving some areas of hair white to suggest blond highlights. Although the hair is much more detailed at this final stage, I am still simply indicating the general mass, allowing the viewer's eye to complete the scene.

Finally I draw some loose strands along the edges of the hair, leaving the lightest values at the top of the su bject's head. I taper the ends a bit, adding a line across the bottom of each to indicate the ties that hold the braids together. Step Two Now I start shading each section, indicating the overlapping hair in each braid.

I add some wispy hair "escaping" from the braids to add realism. Step Three I continue shading the braids using heavier strokes.

I add even more "escaped" strands of hair. Then I use a kneaded eraser to pull out highlights at the bottom of each braid, emphasizing the ties. I also pull out some highlights in the braids themselves. In addition , lips often become thinner, hair turns gray, and eyesight becomes poor which is why many elderly subjects wear glasses.

Accurately rendering these characteristics is essential to creating successful portraits of mature subjects. The lips thin out and move inward as a person ages, so I draw them accordingly.

I also sketch the Step Two I d raw the basic shape of the eyeglasses, then wavy outline of the hair. I also round out Step Three Switching to a 2B pencil, I begin shading the the jaw and chin to show where the skin has begun to sag. See "Rendering Wrinkles" below.

Indicate wrinkles with soft shading, not with hard or angular lines. You can best achieve this effect by using a dull pencil point. You also can use a cloth or a tortillon to softly blend the transitions between the light and dark values in the wrinkles. Or use a kneaded eraser to soften wrinkles that appear too deep.

When drawing a subject with glasses, as in the example below, try to magnify the wrinkle lines that are seen through the lenses. You can do this by drawing the lines of shading Step Four Still using a 2B, I shade the face and neck, a little larger and spacing them farther from adding strokes to the side of the neck for wrinkles.

I one another. I shade the area between the right side of the cheek and the jawbone to show the prominent cheekbone, and I add shading around the nose and mouth to make the skin appear puffy. Then I add darker values to the hair and earrings. Step Five As I continue shading the face, I add more definition to the wrinkles around the eyes so they don't disappear into the shaded areas. I am careful to keep them subtle, smoothing out the transitions with a tortillon.

See "Rendering Wrinkles" at right for more on blending. Finally I add a button to her collar and create the plaid pattern of her shirt. Experiment with variations of light acial hair is another characteristic that distinguishes one individual from the next.

Sh ort, dark strokes are perfect for rendering a and dark lines when drawing a "salt-and-pepper" beard, and use a series of quick, short lines when indicating stubble. Then I place the guidelines and the features. Although the draw the hat, including the band. I block in the masses of eyebrows, and teeth. I add wrinkles around the eyes and - collar, and draw the suspenders.

Just on the forehead; then I build up the hat, sketch the shirt rately so the hat sits properly. Working from top the mustache, which partially covers the mouth. Step Three After erasing my guidelines, adding the glasses, and defining the eyes, I shade the hat, crosshatching to create a pattern on the band.

I begin rendering the short, tight curls of the beard and the mustache. Then I add darker values to the curls on the left side of the face to separate them and to show the cast shadow of the hat.

Also try drawing the strokes in varying Step Four I add a layer of shading to the irises, leaving white highlights in each eye.

It's also a good idea to overlap to show the reflected light. Finally I finish the curls the hair, indicating that the skin is in the hair and beard, varying my strokes between tight, cuved lines and q u ick, straight showing through the beard. I create the shortest, most defined lines in the mustache and around the mouth, leaving most of the beard to the viewer's imagination.

Their features also are positioned a little lower on the face; for example, the eyebrows begin on the centerline , where the eyes would be on a teenager or an adult. As a child ages, the shape of the face elongates, altering the proportions. Use horizontal guidelines to divide the area from the horizontal centerline to the chin into equal sections; these lines can then be used to determine where to the place the facial features. Drawing an Infant A baby's head fits into a centerline Horizontal square shape, as shown here.

Babies have larger Eyes foreheads than adults do, so their eyebrows Centerline not their eyes fall on the horizontal centerline. Their eyes are large in relation to the rest Mouth Drawing a Toddler As a child grows, the forehead shortens a bit and the chin elongates, so the bottoms of the Centerline eyebrows now meet the horizontal centerline. The eyes are still more than one eye-width apart, but they are bit closer together than an infant's eyes are.

The eyebrows are now well I Centerline , above the horizontal centerline and the eyes l I are a little closer to the centerline. The ears line up with the bottom of the nose. The face has elongated enough to shift the face and eyes are still brow line so that it lines up with the tops of the ears, showing that the child is no longer a slightly more rounded baby.

But the eyes are spaced farther apart, indicating youth. The mouth is still relatively and full. The tops of the close to the chin, which also emphasizes his young age. See the diagrams at right for more -. I ears are about even with on the shifting of the features with age. Youngsters generally have bigger, more protruding foreheads than adults do. And children's noses tend to be smaller and more rounded, as well.

The shape of a baby's head in profile also fits into a square. Block in the large cranial mass with a circle; then sketch the features. Study where each feature falls in relation to the dividing lines. In addition, light eyebrows and wispy hair help indicate a baby's age; as children get older, their hair grows in thicker. Although a baby's features are placed differently on the head than an older child's are, their facial guidelines shift similarly, following the direction in which the head turns.

Place the features according to the guidelines. I t's important to get the right proportions for the particular age see pages 1 1 13 for more on children's proportions and to correctly render their features: Their eyes tend to be bigger and more rounded than those of adults, their nostrils are barely visible, and their hair is usually fine and wispy.

Using my knowledge of children's proportions as a guide, ' lightly draw the guidelines, which curve slightly because of the viewpoint. Prominent highlights give where the eyebrows begin. Then ' develop the ear and fill out the lips. Then ' sketch the round nose and small mouth and add some wispy hair , draw a curved line from the tip of the girl's left nostril up to her left eye to build up the to frame the face. Switching back to the 2B pencil, , shade the it shine.

Then ' shade the neck using light strokes that follow the shape of the neck. With a inside of the ear and the underside of the shirt collar, helping to show the direction of the few short lines, , draw the eyebrows; , also add light shading to the lower half of the face, light source. Then ' define the lines around the eyes and the mouth. Then I add eyelashes using curved pencil strokes. To keep the subject looking young, I draw very light, almost nonexistent eyebrows.

I shade a small area between the areas around it. Then I draw a flower pattern on the shirt collar. Adding youthful to the creases around the mouth.

I create more dark strokes in the back of the hair to show in areas for a shiny look. The ears appear a bit lower on the head, and you see more of the bottom parts of her eyes.

You can even see the underside of the upper eyelid beneath the eyelashes. And although the nostrils are a little more prominent in this view, they still retain their soft, sm ooth shape. Using the 3B pencil, I create texture on the jumper and shirt by spacing the lines of the corduroy slightly apart from one another. Then I develop the floral pattern on the sleeves of her shirt.

Finally I draw a small button, then stand back from my portrait and make sure the transitions from light to dark values are smooth and that there are no harsh or angular lines that might make the subject appear older than she is. In addition, babies' eyes are disproportionately large in comparison to the rest of their bodies-so draw them this way! See page for more information on placing a baby's features. The head is tilted downward and turned slightly to its left, so I adjust the guidelines accordingly.

I place the eyebrows at Step Two Now I create the fine hair using soft, short strokes and a B pencil. I draw the the horizontal centerline and the eyes in the lower half of the face. Then I add large irises that take up most of the eyes and suggest the small nose. I draw a curved line under the chin to suggest chubbiness; then I indicate the shoulders, omitting the neck.

I lightly sketch more of the hair and eyebrows, then shade under the chin to give it form. I also shade inside the ears. I shade the inside of the mouth, showing that there lights with a kneaded eraser. I draw more soft strokes in the hair and eyebrows and shade aren't any teeth; then I further define the neckline of the shirt. I emphasize the pudgy mouth by softly shading the smile lines, then finally add curving lines to the neckline of the shirt.

I use the end of a kneaded eraser to pull out a highlight on the bottom lip. Then I d raw some very light eyelashes. I create darker values in the hair and eyebrows and round out the outline of the face. I also lightly shade the shirt. Then I take a step back from the portrait to assess whether I've properly built up the roundness in the cheeks, chin, eyes, nose, and mouth. I use a tortillon to softly blend transitions in my shading to make the complexion baby smooth.

Try curving the eyebrows upward to create the appearance of childlike curiosity; pull out highlights in each eye to add life and interest to your drawing. A baby's lips have a soft, pudgy appearance, and the mouth usually is not as wide as an adult's is. Adding highlights is important to convey a smooth texture, and creating creases at the corners of the mouth will help indicate youthful chubbiness.

Not only does this give you a wider selection of poses and lighting options, it also f you're using a photograph as a reference while you draw, it's usually best to have several different photographs from varying angles allows you to combine diferent elements from each photograph. For example, if you are satisfied with the lighting in one photograph but you're drawn to the facial expression in another, you can combine the best parts from each for your portrait.

Next I draw the slightly protruding teeth. In photo B, the subject's pose seems stiff and stilted. But in photo C, his pose and expression are just right! Step Four I darken the hair by firmly shading with a 2B. I continue evenly shading the face and the neck, then add a few light freckles with the ti p of my pencil.

I darken the inside of the mouth to give the teeth form and add detail to the shirt by stroking on horizontal stripes and shading the neckband. Draw blond hair by outlining the general shape , then hen drawing a subject with fair skin and hair, keep your shading to a minimum; apply just enough medium and dark values adding a few carefully placed strokes to suggest the hair style and create some dimension.

Keep in mind that light, wispy eyebrows and freckles often accompany fair skin and hair. The head light makes the bangs, nose, and cheeks look face is slightly tilted to the subject's left, so I shift the nearly pure white, so I avoid these areas when shading vertical centerline to the left a bit as well.

Although I use the photo for a reference, I use slender neck. For example, I sketch the bangs so they fall straight onto her forehead, rather than being swept to the side as they are in the photo. I also omit the strand of hair that is blowing in the wind.

Add some short, wispy strands of hair at the forehead to frame the face. I continue building up the hair, leaving the top and sides mostly white, adding only a few dark strands Step Four I shade the face with light, soft strokes to here and there. The darkest values are around the ears depict the subject's fair skin.

Then I make short, quick where the hair is in shadow. Next I add small circles for the strokes for the eyebrows, keeping them light and soft to earrings and shade the insides of the ears. I develop the indicate blond hair. Next I shade the irises using strokes lips, then use horizontal strokes to shade the neck. I also add some hatching strokes to the neckband of the shirt. Then I create Finally I shade the shirt, using relatively dark strokes.

It's easy for a blond subject to look more dark strands of hair and further develop the eyes and eyebrows. See "Creating Realistic Freckles" below. You don't have to replicate When drawing freckles,. In addition, look for differences in features hen depicting dark skin tones, pay attention to the value of the skin tone and how it compares with the values of the features; that indicate ethnicity or race, such as the nose, lips, or eye shapes and the hair color or texture. I d raw the depicting the features as I see them.

Then I block in the teeth almond-shaped eyes, wide nose, and full lips, accurately and indicate the hairline, eyebrows, and ears. Step Two Still using the 28 pencil, I sketch in the curved use short, quick lines to draw the eyebrows. Next I start neck and define the chin. Step Three Next I shade the nose, neck, and top lip, trying to make the lip appear full. Then I detail the eyebrows and eyes and define the neckband of the shirt. Step Four Using strokes that follow the shape of the mouth, I continue shading the lips; then I shade the gums, carefully working around the teeth.

I make sure the lips and gums won't contrast too sharply with the skin, because coarse hair with more circular strokes. Then I move to the if they're too dark they'll look unnatural.

Next I build up the neck, using horizontal lines that curve with the shape of the neck. Notice how these lines overlap and blend into the shading that was applied in step 3- Step Five Now I apply a light layer of shading over the entire face, always varying the direction of my strokes as necessary to follow the shapes of the different planes. The shading is starting to round out the face, which has looked a bit flat up to this point.

I'll add more shading later to make it appear even rounder and fuller. Then I darken the nose, leaving a white highlight on the tip. I also refine the shirt, curving the strokes as they go around the back of the collar. Next I further shade the lips to accentuate their fullness, then pull out a highlight on the top lip with a kneaded eraser. In the examples at right, hair color and contrasting values work together to suggest the medium skin tone of the boy to the far left and the fair skin tone of the boy at center.

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