The infallible path to a beautiful portrait. Drawing the human face can be complicated, with all those characteristics and the need for symmetry. These actions will simplify you to create a good look, so let’s dive right in.
Find the right topic.
Unlike architectural or still life drawing, we generally don’t wholly choose which person to draw and how. For the most part, we will take subjects from our select circle of friends and family. If we look for a less familiar face, it is not so easy. Few of us have the confidence in ourselves to stop a stranger on the street and ask him to stay put and be a role model for us. We often come across good subjects by chance for our artistic attention, so it helps to constantly have a little sketchbook with you, perhaps even a compact watercolor set.
So when you sit in a cafe or wait for your train and someone seems interesting to you (and holds their position long enough), you can make a quick sketch. Extract from my article how to quickly draw people without them Check out some valuable tips.
How does this make you feel?
In portrait drawing, it is essential to remember your point of view as an artist. Ask yourself why this specific person got your notice. Was it the face itself, the signal, the light? It is beautiful to draw a beautiful face, a sleeping child, a worker doing his work. But it is essential to know why the view touched you and how to convey the feeling to the sketch.
Find out what the body did you know, rather than just cool drawing ideas what you see. Are you feeling calm, happy, sad, intrigued, and even uncomfortable? Once you understand this and understand what made this a good topic for you, the data will flow into your business and make it much more convenient and exciting to the viewer.
Calculate your composition
Once you have chosen a good theme, you need to think about its composition. It doesn’t have to be too complicated, simplicity is usually the best job, but a little thought can go a long way in drawing portraits. If you are drawing your friend or spouse, you have many more options. For example, you can decide on an exciting position for your head. Even a slight angle to the side up or down can bring a design to life.
If the subject looks directly at the viewer, there may be a stronger connection, as the viewer transforms from a neutral scene witness to a member. The viewer is still an observer if the model seems to the side or an object in his hand. How about your facial expression? Would you make them look severe, neutral, smiling, or frowning? A more dramatic look, such as a happy expression, can give a portrait a flat personality.
Make a thumbnail
You can skip this part if your final portrait is a very rough and fast sketch, such as urban sketches. But if you are planning a more elaborate piece, this step is beneficial. Before you start going on your original drawing, make a rapid miniature sketch of the subject on a piece of paper. It shouldn’t need more than a moment, but it is a precious minute. Not only will this help you confirm that the work you decided on in the past point is interesting to complete and works well on paper, but it will also help you find your objects of attention.
Points of concern are particular parts of your head that are, well, exciting to you (and hopefully the viewer), in addition to the focal spot. My article on Drawing and Painting Courses will give you more features. Still, the main distinction is that there usually is only one focal position, the central part where you work the most, but there can be several points of interest.
Draw the main structure
Now that you’ve decided on your theme and composition, it’s time to get down to business and start drawing. In a portrait, it means outlining the main shape of the head with some indications of the approximate position of the eyes, nose, and mouth. It is best to forget for a moment that your subject is a person and to think of it as a set of primary three-dimensional forms. Ahead consists of just a ball (sphere) with flattened sides and a small addition for the chin. It seems strange? Check out this article by Clayton Barton, which will explain the concept in much more detail, and check out my 12 easy warm-up exercises for more practice.
Fasten the main elements
Now that you have your basic structure defined, you can begin to position the main elements of the light, such as the eyes, nose, lips, ears, and hair. While you generally draw fast, you should take your time with this step. It is the most important. The exact position of these factors will judge how good the similarity you are creating is and if something looks “bad.” Due to this difficulty, I recommend that you start learning how to draw portraits with rough, quick sketches that don’t necessarily have to look good. It will assist you in getting utilized to the concept without the added pressure.
In search of shadows
Another point where portraits differ from other subjects, such as landscapes or still life, is that shadows are much more critical. The reason for this is that shadows are often the only boundary between the elements of the human face. So it would help if you created a nice shading to add texture and depth. Without shadows, it would not be possible to recognize the nose, for example, as a three-dimensional element, especially when viewed from the front. All you would see is two lines where the nostrils are and not much else as there is not much difference in texture or skin tone between the nose and the cheeks.
It is necessary to know where the prominent shadows are first for this design, even if the light is bright and relatively subtle. And then you have to decide which of them you want to include in your work, depending on how detailed it is at the end.
Fill in the blanks
Once you are sure that the prominent placement of the elements (see step 6) in your design is correct, you can only start adding all the details you want or have time for. If you are drawing a stranger on the street who may be standing alone for a while, this could take a few seconds. If you draw a very detailed portrait of a model that will stay for you as long as it takes, it could stay there for hours.
Either way now is the point where you must mentally go back from seeing only the basic geometric shapes to recognizing your subject as a person and remembering why you chose him as a model in the first place. Look at the face as an artist would, with all the interest and wonder, and try to make it flow into your sketch. I promise that your viewers are more likely to connect with your work if it connects with your topic.