![]() ![]() On the subject, using your pencil as a guide, measure the distance from the lowest point of the head to the notch of the neck. Arbitrarily draw a line near the lower third of the page. Arbitrarily draw a line towards the top of the page. These steps are based on the excellent portrait drawing course by Vitruvian Studio, which I highly recommend you purchase if you are serious about learning how to draw. Here is my “Portrait Drawing Cheat Sheet”, which features step-by-step instructions on how to draw a portrait. It’s a pretty cool trick.(If you’re going to watch, stick it out until the end). Side note: Here’s a video of Derren Brown, the subject of my portrait, when he used to have hair, experimenting with some of these alternative methods of painting. In fact, this psychological problem of misinterpreting faces is so common, there are entire drawing systems (like drawing upside down, drawing the negative space around the face, etc.) designed to combat these problems. Your brain is attempting to see a face (via your psychologically skewed, emotions-based mental model of a face), and not just tonal blobs. This sounds obvious, but again, your brain and visual system can play tricks on you. In other words, if the highlight on the forehead is angular, drawing it with rounded edges wouldn’t properly capture the form. When keying the drawing (and developing tonal values in general) it’s important that the shapes of the tonal areas are captured accurately. Continuing recursively in this way, the tonal values eventually meet in the middle, and the drawing (or the relevant part of the drawing) is complete. Again, this can be done procedurally, by identifying and shading/highlighting the areas which are slightly lighter than the darkest darks and slightly darker than the lightest lights. Once the key is established, and the lightest and darkest values are in place, the intermediate values need to be introduced. it’s easy to find the lightest lights and the darkest darks). This establishes the entire tonal range of the drawing, which is called the key of the drawing.Įstablishing the key is straightforward, and doesn’t require much visual interpretation (i.e. For the lightest areas, highlight them as light as you can/want. For the darkest areas, shade them as dark as you can/want. Start by identifying the absolute darkest and absolute lightest areas of the drawing. Thus, instead of relying on visual inferences, tonal values can be better approximated through a simple, not-so-interpretative procedure. ![]()
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