Sketch A Face How To Draw A
To learn how to draw a male face or a young girl, read onIn this step-by-step guide we will learn some basic guidelines that portrait, caricature, comic and anime artists all over the world have been using for many years when painting realistic faces. Of course, these are not mandatory rules and every artist can adapt and reinterpret them to their own style. Drawing a girl’s face can be tricky, even for experienced artists. Fortunately, whether you want to draw a realistic girl’s face or a cartoon face, you can use reference lines and a step-by-step approach to help you succeed. Once you can successfully draw a girl’s face with guidelines, it will be easier to draw from photos and live models.Welcome to a new Wacom sketch lesson. Today we will learn how to draw a woman’s face.
I'm also going to talk about the workflow on the computer with a graphic tablet and the advantages of digital devices. Of course, all faces look slightly different, depending on their origin, age, number of ears, etc., not to mention the style of each artist. Sometimes even the same face looks completely different in the morning than it does in the evening.See more ideas about drawing poses, figure drawing, art reference. Once youre done with the face, draw the girls hair any way youd like, whether its.Draw lines as a guide for the size of eyes and ears, then sketch the details of the features.
He starts out with the traditional egg shape and visualizes the neck as a slightly slanted cylinder. Now, to show you how to put together everything you've learned so far, the artist draws a front view of a complete head. ( Image credit: High-Quality Facial Photo-Sketch Synthesis Using.In this course we will draw a female face from our imagination and learn some essential tricks and techniques to make it look realistic. We will start by constructing the head shape, then add the features, and finally give the face some fine-tuning and color.
The hase of the nose is also 4ione eye wide." The mouth is about "two eyes wide,"Step 2* The first simple skctch of the features goes directly over the guidelines of Step 1. He divides the eye line into five different parts: two of these parts will become eyes, of course, but the space between them is also the width of one eye—and so are the spaces on either side of the eyes. Then he adds horizontal guidelines for the brow, eyes.Nose, and mouth.
He draws the characteristic wing shape of the upper lip and the fuller curve of the lower lip. He quickly sketches the bridge of the nose, the shapes of the nostrils, and the tip. He draws the lines of the eye lids and suggests the shape of the iris.
As usual, the upper lip is darker than the lower, and there's a shadow beneath the lower lip. He adds the first suggestion of tone to each eye socket, iris, and pupil, and then moves downward to add broad, simple tones to the nose and lips. He carries the tone downward over the side of,the forehead, cheek, jaw, and chin, adding the shadow on the neck. The light comes from the left, and so most of the tones are on the right sides of the shapes. Switching from the point of the pencil to the side of the lead, the artist begins to darken his tones with broad parallel strokes.
On the lighted side of the face, he adds touches of tone where the cheek and jaw turn away from the light. He builds up the modeling on the shadow side of the face, where you can now sec a distinct gradation of light, halftone, shadow, and reflected light. The artist completes the drawing by darkening the tones with the side of the pencil and sharpening contours and details with the tips. The hair is visualized as a big, simple mass, lighter on one side than on the other.Step 4.
The features appear in their correct places on the horizontal guidelines. Notice that the back of the head protrudes well beyond the line of the neck.Step 2, The artist reshapes the contours of the head over the original guidelines, adding the angular details of the brow, cheek, chin, and jaw. The neck is a slightly slanted cylinder once again. Moving down to the line at the base of the nose, he locates the outer edges of the nostrils in the same way.
First he places the biggest tonal shapes on the side of the brow, cheek, jaw, and chin. The upper lip has the distinctive wing shape, while the lower lip looks blocky and masculine, The hair starts just below the crowii and extends beyond the guidelines of the upper egg shapes.Step 3* The artist blocks in the tones with rough strokes. The eyelids are clearly drawn, as are the dark paCches within the eyes. Notice how the tip of the nose and the nostrils are visualized as distinct forms.
The halftones and reflected lights arc clusters of fairly pale strokes the artist has applied only moderate pressure to the pencil. Working with the sharp point of the pencil, you can build up the tones of your drawing with groups of slender parallel strokes. The point of the pcncil sharpens the lines and adds the details, is this four-step process becoming familiar? Good!Slender Strokes. As usual, the upper lip is in shadow, the lower lip catches the light, and there's a deep shadow beneath the lower lip.Step 4, The artist finishes the drawing by building up the darks throughout the face and features, and so now you can sec the lights, halftones, shadow, and reflected light distinctly. The nose casts a slanted shadow downward toward the right.
Here's the same subject executed with much broader strokes. Observe how the strokes change direction to suggest the curve of the cheek.Broad Strokes. The strokes are closer together in the shadow areas, while there are more spaces between the strokes in the halftones and reflected lights.
It's worthwhile to try a variety of textured papers, many of which are rougher and more irregular than charcoal paper. And the strokes become slanted again as the pencil follows the angle of the jaw down to the chin.Strokes on Rough Paper. Then the pencil moves vertically downward to suggest the squarish shape of the jaw. The pencil moves diagonally (with a slight curve) to suggest the roundness of the check. He presses harder on the pencil to make the darker strokes, which are closer together than the paler strokes.
Its subtle, ribbed surface is equally good for pencil drawing. Charcoal paper isn't just for charcoal drawing. The strokes are less precise than those on the charcoal paper, but more dynamic.Strokes on Charcoal Paper. The marks of the graphite stick look granular, with big flecks of bare paper showing through. The thickness of the drawing tool and the irregular surface of the drawing paper combine to make the strokes look bold and ragged.
As the cheek turns away from the light, the strokes curve and darken. In the pale halftone area under the eye, the lines are delicate diagonals. Now follow the route of the strokes that model the cheek on the shadow side of the face. These tiny flecks of bare paper lend softness and transparency to the tones around the eyes.Modeling with Strokes* This woman's face is modeled with delicate strokes that travel carefully over the forms, For example, there are two patches of tone above the right eye socket each consists of slanted strokes that are carefully angled to express the roundness of the form. In this close-up of a woman's portrait, the thick-and-thin pencil strokes in the hair are softened by the textured surface of the paper: tiny flecks of bare paper pop through even the darkest tones, making the strokes vibrate with a kind of inner light.
For the delicate tones of the eyes, the artist passes his pencil lightly over the paper once or twice. The more you rub—and the harder—the darker the tones get. The tooth of the paper gradually shaves away microscopic granules of graphite, which slowly pile up to create the tones of the drawing.
The softer grades of pencil arc easiest to blend.Continuous Tone on Rough Paper, You can do the same thing on rough paper, which shaves away the granules of graphite more rapidly—like rough sandpaper—and builds up more ragged, irregular tones. The blending doesn't obliterate the strokes completely, but they melt away into smoky areas that look more like patches of paint. Look carefully at this drawing of the same sitter and you'll see that the artist has started with broad, rather casual strokes—not as neaE or careful as the ones in the drawing at your left—and smudged them to create soft, velvety tones. Another way to render tone is by blending the strokes of the pencil (or the graphite stick) with the tip of your finger or a paper stomp.
Within the egg shape, he draws a vertical center line and four horizontal lines to help him locate the features. The artist begins this demonstration by drawing the usual egg shape of the head. Then use the side of the pencil to build up the tones with strokes of various thicknesses. Use the sharp point of the pencil to draw the contours with slender lines. For your first pencil portrait, see what you can do with a combination of slender lines and broad strokes on an ordinary piece of drawing paper. He works with a thick, soft pencil—or a graphite stick in a holder.Step 1.
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