Drawing A Small Portrait

Drawing A Small Portrait

Have you ever worked on a figure drawing where the head was really small? Did you ask yourself, how am I supposed to draw so small? The eye is the size of my pencil point.

I’ve been there too, many times. What I have learned over the years of painting smaller portraits on book covers is that shadow shapes are your best friend. 

You really do not want to start outlining little details like the bottom of the nose or say the eye lashes. You first want to block in shapes of shadow. Then you can gradually build up some softer tonal shifts to resolve the features. As you progress you can then start to use some crisper line.

Now I completely understand not every artist works with tone. If this is the case you’ll still want to draw shapes first, not features. If you work with line only you do not have to shade in these shapes.

The key takeaway from this short video, use light and shade to your advantage when drawing small. Also less is best. With a smaller portrait you have to know when to stop. Adding too much detail can take you down a road of heartache.

 

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Drawing Facial Features In An Impressionistic Way

Drawing Facial Features In An Impressionistic Way

Drawing a small head on a figure it can be pretty daunting. However when it comes to drawing facial features that are mainly on the shadow side of the head, that can be even more daunting.

The key to drawing facial features that are mainly on the shadow side of the face is to draw them in an impressionistic way. I’m a big believer of drawing shadow shapes, not facial features. Think of them as one in the same. Getting a likeness is about seeing the shadow shapes within the features, then drawing them accurately.

You also want to think and draw in layers. Start off with blocking in light tone. Feel your way through the facial features with very soft light tone. This is where you want to practice your light touch. Diving into drawing the features with heavy dark tone at first will only create a mess.

Especially if you are struggling with measurements.

There are three key takeaways from this lesson. First, work from light to dark when applying tone. Second, don’t draw facial features, draw soft accurate shadow shapes. Third, think layers, build up the dark tone and detail gradually.

These initial soft layers of tone are a foundation for the detail that will come later.

 

 

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How To Draw The Structure Of The Eye

How To Draw The Structure Of The Eye

In this screencast portrait drawing lesson I share with you how I think about the structure of the eye. Thinking about the structure of the eye is completely different than using angles, shapes and tone to map out an eye on paper.

The key element to keep in mind when drawing an eye is that you are simply drawing a sphere. You are not drawing an eye, you are drawing a sphere. That sphere has lot’s of distractions, eye lashes and highlights. However if you can wrap your mind around the light that hits that sphere this will help you.

Too many artists cling onto the eye lashes like they are gospel. Worse yet many artists outline the eye with linear looking lashes. It’s super important that you approach drawing the eye from the standpoint of, what type of light source is hitting the sphere of the eye.

Most of the time light is coming from above. This simple fact will help you to see that the lower lid is in shadow and the upper lid is catching light. Stay away from using sharp outlines when drawing the eye. Definitely break your line on the lower eyelid. 

I can go on forever in this post, but I think I’ll let the video tutorial do the talking.

 

 

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Thanks so much for taking the time to watch.

 

Shea Portrait – Shading In The Hair

Shea Portrait – Shading In The Hair

This may not be my most exciting lesson, however it is an important one. Sometimes drawing a realistic portrait takes time. In this short three minute YouTube world that we live in it’s easy to loose sight of the fact that quality takes time.

Now every artist obviously is different. Every artist has their own personal style. For my portrait drawings I really do enjoy spending long hours working on blocking in the tone.

In this particular video tutorial I’m sharing with you how I start blocking in the soft tone of the hair on the shadow side of the head. When drawing hair it’s important to build up your middle tones first before diving into pressing down super hard on your pencil.

The key takeaways from this portrait drawing lesson, hair is soft, draw it in a soft way. If hair is long, use long pencil strokes. Hair is made up of many cylindrical shapes, think of how the light is hitting those cylinders.

It’s so very important to be clear on your personal style of portrait drawing. You might decide that you really don’t want to draw every strand of hair. You might want to leave some areas of the hair void of detail. Remember, make it fun and keep it original.

If you got something from this very quiet video please leave a comment below.

 

 

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Shea Portrait – Starting With The Eyes

Shea Portrait – Starting With The Eyes

I wanted to share with you lesson one from my latest portrait drawing course titled “Shea Portrait”. A few members had asked the question, can you start a portrait drawing with the eye first? The answer is of course. Diving deeper the real answer is that you can start a portrait wherever you see fit.

Every portrait that you draw presents different obstacles. You certainly do not want to place too many rules on yourself in terms of where to start. Take a look at the portrait subject, what can you wrap your mind around? What looks easy to start with first?

I’m a big believer of utilizing the angels to start drawing the edge of the hair first, moving onto drawing the face next. Drawing the shape of hair versus the shape of the face is a logical way to go about drawing a portrait. However there will be times that branching out from drawing the eyes first is a better solution.

In the portrait drawing lesson below I share with you what to look out for when starting with the eyes. I talk to the importance of making it so both eyes work together, making sure that they are looking in the same direction.

This fifteen lesson course has so much to offer. However I thought I would share with you this very important lesson one.

 

 

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