Do you feel as though you are moving forwards or backwards with your drawings? It’s very easy for you to turn a few degrees off course when you are working alone in your studio. Not getting feedback on a weekly or bi-weekly basis could really be hurting your forward progress.
I see this a lot as owner and founder of Drawing Tutorials Online. I’ve been critiquing work on DTO since 2008. When you film weekly video critiques for roughly eight years you start to see glaring trends. The members who sign up watch the tutorials and pursue feedback through our Group Coaching Gallery constantly improve.
The members who sign up and just watch the tutorials usually get a little overwhelmed. They then proceed to loose their focus not knowing what to work on next. That is when they bounce around from online video to online video looking for that secret technique.
There is no secret drawing technique. It’s called study, apply what you learned, then get feedback to see if you are doing it right. Rinse and repeat on a consistent basis. That’s the secret sauce.
You see watching tutorials is great. Signing up for online courses is awesome, I’m in the midst of a course right now. You just have to combine the course with feedback. Call it what you want, feedback, coaching, or getting a critique it’s all the same.
If you consistently ask for feedback from a qualified instructor you will improve one hundred times faster. You won’t loose your focus, you won’t get frustrated either. Destructive negative self talk dooms so many aspiring artists. You might think your work sucks, but perhaps with one tweak it could be so much better.
I really want to encourage you to look for feedback. Whether it be from Drawing Tutorials Online or a local instructor in your home town. If you are really serious about improving your craft it’s a must for you.
Of course we would be happy to help you. We offer Group Coaching via a membership to Drawing Tutorials Online. If you are a bit shy with sharing your work we also offer One Time Coaching. It’s very private and very effective.
I hope you enjoy the example critique below taken from this weeks Group Coaching Gallery.
Diane has been a member for a few months now. Her figure drawings keep getting better and better. Mainly because of her consistent hard work and a little feedback. A little goes a long way.
– Hi, Matt!
Just wanted to say thank you for the wonderful coaching you gave me last week. As the self help gurus say, you gave MUCH more than expected! Thank you! I am now a bit more structured and clear about what I need to do, including making the time to practice art. I also have four people to help hold me accountable for the hours I work on art each week. Yes, just a start, but a great one!
Again, thank you for pointing me in the right direction. It is much appreciated!
Kelly Hatfield (and husband, Rob, too!)
What is going on in your brain while drawing a portrait? Are you stressing over your pencil paper combination? Are you concerned about not being able to draw the models likeness?
Wow that sounds really familiar to me. I’ve stressed over both of those concerns many many times. Especially when I first started drawing. What works much better is thinking about several core portrait drawing techniques.
Don’t think about what is not working in your portrait drawing, instead focus on what will help you. Take a moment to watch this short video critique below.
The question you should be asking yourself, where is the light coming from. Get a clear picture of the light shapes and shadow shapes. Of course when you start physically drawing you want to draw with angles and measurements. Specifically with portraits you want to focus on the negative space around the head.
Form is another element you should be thinking about. How are you going to draw a three dimensional portrait? Do you know the major landmarks of the skull?
How about your value set up? Having a clear goal for your value set up in huge when drawing a portrait.
Below is a list of several core drawing techniques you want to focus on. Write them down and keep them close by the next time you start a new portrait drawing.
Start with angles and measurements.
Be aware of the negative Space.
Be clear on the light direction.
Draw the shape of the hair versus the shape of the face.
Promote form, be clear with showing surface planes.
Shade the shadow shapes in a top to bottom solid way. Use a simple three value set up.
Stay loose working the whole drawing, don’t get stuck in one area.
Of course when it comes to teaching portrait drawing words can be clumsy. However rotating this short list of drawing techniques will help you tremendously.
If you would like to learn more about portrait drawing consider subscribing to Drawing Tutorials Online. We love drawing portraits, it is certainly our biggest department.
Okay I know what your thinking, candy cane stripe gesture lines, really? Yes really. This funny name came about in class one day. I was trying to explain how to draw with flowing gesture line. However there were a few students who were just not getting it.
I could tell they were starting to get a little frustrated. So the first thing that came to my mind was a candy cane stripe. Who knows it might have been right around the Holidays.
You see when we draw the portrait and the figure for that matter we tend to become too timid with our lines. We start drawing, attempting to get the likeness and we draw with short choppy lines. Sometimes drawing with a short choppy line is appropriate. Especially in the initial stages of the drawing.
You want to start integrating a looser more flowing continuous line early in the process. Almost as if your are drawing a ribbon wrapping around the features of the head.
Whether you want to call it a ribbon line or a candy can stripe, it doesn ‘t matter. What matters is that you try to draw in a state of flow keeping your pencil on the paper for two to four second intervals.
There is not one specific place I can point to start using this candy cane stripe gesture line. You’ll know it when you see it. It will be different on every portrait you draw. Perhaps it could start with a flowing stand of hair. It can start with a shadow shape shown in the critique video below.
You want to start drawing with these loose flowing lines early in the process when you are starting to flesh out the portrait. You know I’m a big proponent of using the angles and measurements technique. Adding this loose gesture drawing technique into the mix early adds balance to your process.
I challenge you to actually practice drawing cylinders with a ribbon like stripe wrapping around them. You could also think of drawing a mummy’s head. Wrapping a strand of linen around the structure of a head.
There are many words for me to use when trying to describe how to draw in a loose manner. Drawing with candy cane stripe gesture lines is just fun playful way to help you remember to draw with continuous line that wraps around form.
We are here to help you improve your drawings. Whether you are into drawing portraits or the figure we can help learn the necessary skills to improve. Click here to start improving today.
Do you love figure drawing as much as I do? I’m certainly most passionate about drawing the figure. But when I first started my drawings looked flat. My figure drawings had hard edged outlines.
Back in the day when I first started out as an illustrator I certainly wasn’t getting a lot of work. My agents introduced me to one of their established illustrators. He was so busy they suggested that I help him out while they were trying to get me work.
I agreed and I’m glad I did. He turned me onto the whole whole convex line thing. He actually did it through painting. Specifically portraits. It was like the floodgates of form driven art had opened up for me. That old saying is pretty true, you don’t know what you don’t know. All of my drawings had that awful hard edged flat outline. I also outlined items in my paintings too.
Now through years of life drawing I almost take for granted the whole convex line thing. If you study the work of the old masters you’ll see what I mean. The line they use on the edge of the body roles into the figure creating three dimensional form. Just like I demonstrated in the video critique.
I highly recommend that you complete a copy of the old master drawing up above. You can download a copy of the original here. Then compare the copy to your own work. You will immediately notice the difference. Especially in the contour line.
Raphael is certainly a master at merging his line and tone.
Knowing where to put these form lines in and around the figure can be a bit confusing. Especially if you haven’t taken the time to study anatomy. I see this big time with my students. They are freshman, so most of them haven’t had the chance yet to study anatomy. When they draw a clothed figure I see that they use form driven convex line, but drawing the figure, no way. It just doesn’t click for them.
I suggest to my students to study one bone a week. Where you see bone close to the surface of the skin, that’s where the convex lines are. Mostly at the joints of the body. The knee, ankle, elbow etc.
So be conscious of your line. Study anatomy and use form driven convex line to create three dimension within your drawings.
Thanks for reading.
Looking to learn more about line? We have a whole mini course on how to utilize line over at Drawing Tutorials Online.
Have you ever looked at your portrait drawings and wonder why they don’t look realistic? Part of the reason they do not look realistic is because the edges within and around the portrait are too simplistic. Specifically the edges of the eyes, edges of the hair and the edges of the face in relationship to the background.
When it gets down to brass tacks, there aren’t enough angles within the drawing. There are too many macro angles and not enough micro angles. Think of Macro angles as broad strokes. Think of micro angles as detailed rendering with a fine brush.
One definitely needs to look more at the subject they are drawing. In this case a portrait of a male model drawn from life. You definitely want to get into the habit of looking at what you are drawing at least 50 to 60 percent of the time. A lot of artists have unintentionally developed the very bad habit of looking down at their pad too much.
Another contributing factor to overly simplistic edges, sitting too far away from the subject. In this case once again a male model drawn from life. When drawing someone’s portrait from life you want to be no further than six to eight feet away from the model.
Think about it, if you are trying to draw an iris which is a half an inch wide, sitting ten to fourteen feet away is not going to help you.
So the next time you analyze your drawings ask yourself the question, do I have enough angles? Are my edges too simplistic looking? Do I need to make my drawings more complicated by adding more angles to my edges?
Let us know what you think. Leave us a comment below.
If you need a helping hand analyzing your own artwork take a peek at our One Time Coaching. We can help you figure out how to take your drawings up to higher level of quality today!
Recently a member posted up a drawing to our Group Coaching Gallery over at Drawing Tutorials Online. The question this member posed was, how do I draw a likeness of Bette Davis in under an hour?
Great question! I’m guessing you have drawn a portrait or two. I guessing you didn’t get the likeness every time. I know there have been many times that I struggled with drawing the likeness of someone too.
There is a combination of drawing techniques that you can use to help solve this problem.
The first technique, draw a boarder. Draw a boarder on your paper to the exact proportions of the boarder of your portrait reference. So if the photo reference has a boarder of 8 x 10, draw an 8 x 10 boarder on your paper. Yes use an old school ruler.
Second, place your photo reference right next to your drawing. A big mistake I see, many artists keep there photo reference far away from their drawing. Keep it super close.
Third, draw the abstract negative shapes that surround the head and shoulders. If these abstract negative shapes are not correct, you guessed it, no bueno. You will never get the likeness of someone’s portrait if you do not draw these negative shapes correctly first.
Fourth technique, draw angles or use a continuous line to separate the hair from the face. Just being conscious of drawing the shape of the hair verses the shape of the face is half of the battle.
Fifth, definitely start to draw in the shadow shapes of both the hair and face. Put some tone in. Don’t make the mistake of just drawing with line alone.
In terms of the features, it totally depends on the type of light. Was the portrait reference taken in form light, rim light or front light? Each one of these light sources requires a different skill set to get the likeness.
So the next time your want to draw Bette Davis or the girl next door start with a boarder.
This techniques works. It has helped many of my coaching students. It has taken the mystery out of how to draw a likeness when drawing a portrait.
Did you need help with learning how to draw a better portrait? We have dozen’s of portrait drawing tutorials within our member area at Drawing Tutorials Online. Those tutorials combined with weekly coaching will help you improve with speed and confidence.
