|
|
| I
always begin with the eyes, nose then mouth. Getting these
correct is essential, if I don't draw Matt's eyes, Matt's
nose and Matt's mouth correctly then I won't have a drawing
of Matt... Once happy with these three features I will
then go on to "blocking in". So I'm going to draw in the
eyes first... almost to completion. I'll start by "blocking
in" the shades, although there isn't actually much detail
in this particular photograph due to the deep shadows.Remember
to keep your shading as tight as possible. |
|
|
|
Using
the tortillon, I blend together the penciled area around
the eyes pulling the colour into the surrounding white
area. I prefer to use small circular strokes when doing
this.
As the graphite is pulled out, it becomes thinner and
gives the required graduation. To build up the tones,
apply more colour to the darker areas and repeat the
blending and pulling. If your shading is tight enough,
all pencil strokes will completely disappear.
Referring constantly to the photograph I determine the
growth direction of the eyebrows and using light, short
pencil strokes I try to give the impression of hairs.
This will be the first of several layers with alternate
blending and lifting out of highlights. Even within
the shadows, I can see slightly lighter tones, these
I will very carefully lift out with the putty rubber
using a mixture of dabbing and soft, stroking movements. |
|
|
|
| I've
now blocked in the 3 main features of the face and I'm
fairly confident that I've captured the likeness, although
at this stage, it tends to look a little untidy. I can
now proceed to block in the rest of the face, using the
photograph as reference. |
|
|
|
|
