PENCIL PORTRAITS - HOW TO DRAW AN EAR

Drawing the Ear: Step by Step

Our pencil study of an ear is broken down into three steps to help you understand each
stage of the drawing process. We start with the initial line drawing, then work through the
application of basic tones and finally refine the overall form of the ear with softly graduated
shading.
Step 1 - The Line Drawing

 The ear is a complicated arrangement of ripples and folds of flesh.

 You need to organize its irregular shape into some basic forms that are easier to outline.
 You can then use this linear framework to gradually build up its complex form with tone.
Step 2 - The Basic Tones

 Simplify the tonal structure of the ear into three areas:

 Areas that are mostly light - Leave these unshaded.
 Areas that are mostly dark - Shade these with a mid-tone.
 Areas that are extremely dark - Shade these with a dark tone.

Step 3 - The Final Tones

 Look deeply into each area of tone and try to pick up on the subtle variations that lie
within.
 You may have to darken some of the light areas and lighten some of the dark areas to
achieve a balance of tone.
 Tonal drawing is simply a balancing act between the elements of light and shade. In fact,
all drawing is a constant balance between your observation, your concentration, your
judgement and your technique.

PENCIL PORTRAITS - HOW TO DRAW AN EYE

 Drawing the Eye: Step by Step
Our pencil study of an eye is broken down into four steps to help you understand each
stage of the drawing process. We start by drawing the outline of the eyelids, followed by the iris
and surface of the eye, finishing with the eyebrows, eye lashes and the surrounding shading that
pulls everything together.
Step 1 - The Outline of the Eye

 Close observation is very important when starting the line drawing of an eye. You must
pay particular attention to the difference in shape between the upper and lower eyelids.
 Each eye is unique and the more acute your observation, the more accurate a likeness you
will achieve.

Step 2 - Drawing the Iris

  You should note how the upper eyelid covers the top of the iris.
 Most beginners draw the iris too small and try to fit it within the white of the eye.
 The bottom of the iris usually sits on or very slightly below the lower eyelid.

Step 3 - The Surface of the Eye

 There are two main elements to consider when drawing the glassy surface of the eye:
 A bright glint of reflected light should be left as unshaded paper at the start of the tonal
drawing. This will become the brightest element in the eye. This reflection is further
enhanced by its contrast with the pupil - the darkest element in the eye.
 The iris contains a variety of tones and flecks which radiate to the center of the pupil. It is
usually darker around its outside edge and lightens towards its center creating a
translucent effect.

Step 4 - The Eye Socket

  The final step is to render the solidity of the eye socket and surrounding area using
graduated tone.
 The upper eyelid casts a shadow which forms a dark curve across the top of the eyeball.
This gradually softens into the shaded areas at each corner of the eye.
 Graduated shading is used to cover the outline detail and build up the tone of the eyelids
and surrounding area.
 Eyebrows and eyelashes are formed by soft, delicate hairs, so draw these lightly and pay
particular attention to the direction of their growth.

PENCIL PORTRAITS - HOW TO DRAW A NOSE

Drawing the Nose: Step by Step

Our pencil study of a nose is broken down into three steps to help you understand each stage of
the drawing process. We start with the initial line drawing, then work through the application of
basic tones and finally refine the overall form of the nose with soft graduated shading.
Step 1 - The Line Drawing

 The nose is formed by a series of curved planes. This makes it difficult to draw from the
front as there are very few lines to help us describe its shape.
 Start by drawing what you can see, namely the inside and outside edges of the nostrils.
Then try to outline the main areas of tone that define the planes of the nose.
 Draw these lightly as you want them to disappear under your shading at a later stage in
the drawing.
Step 2 - The Basic Tones
  Next, simplify your shading into three basic tonal areas - dark, medium and light (the
white of the paper).
 Block in each plane of the nose with its appropriate tone. This should begin to render its
three-dimensional form.

Step 3 - The Final Tones

 Finally, refine the strength and subtlety of the tone, carefully softening the lines that join
each plane with graduated areas of shading.
 You must look more closely at this stage to try to discern the faint variations of shading
within each area of tone. It is this close observation that will take your drawing to the
next level.
 PENCIL PORTRAITS - HOW TO DRAW A MOUTH

Drawing the Mouth: Step by Step

Our pencil study of a mouth is broken down into three steps to help you understand each stage of
the drawing process. We start with the initial line drawing, then work through the application of
basic tones and finally refine the overall form of the mouth with soft graduated shading.
Step 1 - The Line Drawing

 The mouth is the second most expressive feature of the face. Great care should be taken
in drawing its shape as it is a key element in achieving a likeness.
 Start by drawing the subtle shape of the line that is formed as the lips meet. This will
create a natural expression for the mouth.
 The top lip has its characteristic bow shape which varies considerably from person to
person. The bottom lip is usually larger than the top and more creased with vertical
stretch lines.

Step 2 - The Basic Tones

 The upper lip slopes inwards and is normally darker in tone as it is shaded from the light.
 The lower lip is fleshier with a stronger muscular structure. It tends to catch the light and
is further distinguished by the shadow below its pouting form.
Step 3 - The Final Tones

 In the final stages of drawing the mouth, tone is used to soften the edges and refine the
detail.
 Enhanced tones are used to highlight the surface texture of the skin and make you more
aware of the muscular structure that lies beneath it
 There is a subtle softening around the edges of the lips which helps to blend them
comfortably into the face. Note how the detail at each corner of the mouth diffuses into a
small area of tone. There are no sharp lines left in the final image.

THE PROPORTIONS OF THE HEAD

Proportions of the Head - Illus. 1
 Although the proportions of a head will vary from person to person and change slightly
with age, there are some basic principles you can follow to improve your drawing. You
can use these to check the general size, shape and position of features in your drawings.
 If you view a head from the front, its width is approximately two thirds of its height.
 If you view a head from the side, its width is approximately seven eighths of its height.

Proportions of the Head - Illus. 2

 The proportions of the head can be divided horizontally into four equal quarters.
 The first quarter measures from the top of the head down to the hairline.
 The second quarter measures from the hairline down to the eyes in the middle of the
head.
 The third quarter contains most of the features. At the top of this section the eyes are
usually level with the ears, and at the bottom the nose is roughly level with the ear lobes.
 The final quarter stretches from the base of the nose to the chin with the mouth positioned
just above the halfway mark.
 These proportions will only work if we share the same eye level as the subject. They will
become distorted if we view the head from above or below.
Proportions of the Head - Illus. 3
 Many artists start a portrait with the eyes as they are the focal point of any face. The
following proportions should help you with their scale and position in relation to the
other features.
 The eyes are situated approximately half way down the head.
 If you view a head from the front, the distance across the eye is similar to the distance
between the eyes.
 The distance between the eyes is similar to the breadth of the nose.
 As you can see from the illustration above, these distances work out at approximately one
fifth of the width of the face.
 Note the position of the ear in the profile view. It sits to the left-hand side of the vertical
line which bisects the head.
Proportions of the Head - Illus. 4
 If you view a head from the front, a triangle drawn from the center of the head through
either side of the nose will establish a good proportion for the breadth of the mouth.
 If you view it from the side, note how the eyes, nose and mouth fit into a rectangle whose
diagonal creates a good line to position the corners of the nose and mouth.