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Step by step drawing. Draw a portrait.

   A2 format
   Materials: pencils USLON H, HB, B, 2B, 3B, 4B; Eraser Faber-Castell, drawing paper, klyachka or formoplast as needed (I did not use it, but it can be useful).
   Advice: it is better to pull half of a sheet of drawing paper on a tablet so that the paper does not give waves and is tight and evenly fixed

1. We compose the whole image in the sheet - head, shoulders, hands. Immediately try to catch the slope of the head and the nature of the facial and occipital parts. Measure and correlate the proportions of the shoulders, arms and head in relation to each other. Find the right proportion of width and height of the head. Use a pencil H, so as not to cross the sheet at the initial stage. Line apply light, barely visible, the main (head) from emphasizing a broader and more contrasting lines.

2. We plan the lines of the "cross" - the vertical axis of symmetry of the face and the eye line. Particular attention is paid to the slope of the middle vertical line of the face.
   Light lines separate the front part from the side (the angle of the cheekbone, temple and hall line in the eye area. Draw the line of the mouth, the corner of the nose and the line of the base of the nose, the line of the eyebrows, the hairline. All the lines that outline the paired forms and lying conditionally parallel to each other in the face, in our case, will be reduced - to strive at one point on the horizon line, like all the lines that are not parallel to the horizon line, but parallel to each other.
We find the trapezoidal shape of the transfer. From it draw the front plane of the nose and outline the lateral plane of the nose. Precisely constructed, these elements will help determine the size of the eyes and the distance between the eyes. Check the location of the angle of the lower jaw in relation to the lower plane of the nose. Draw the silhouette of the ear.
Determine the thickness of the neck and the place of its attachment to the torso. Draw a thin line of hair growth. At this stage, it is desirable to use rough, obrubovochnye forms and straight or slightly curved lines, do not try to immediately draw all the curves and irregularities, this still pay attention, but later.

3. We plan the shape of the upper edge of the upper lip, the nature and position of the eyeballs.

Sliding sketch lines draw the collar of the shirt, sleeve and silhouette of the raised hand. Be sure to check and compare the width and length of the palm, accentuate the little finger and thumb.

4. We detail the nose: we analyze the large shape of the nose into smaller planes: the place of the bone and cartilage in the bridge of the nose, the lower plane of the nose, the nature and width of the nostrils, the thickness of the nostrils and its lateral part. We separate the nasolabial filter from the lateral parts of the volume of the upper jaw - they form the okat of the upper lip. Determine the height of the chin and its shape, in the form of a reclining eight shows the muscles between the lower lip and chin (do not forget to reduce the parts of the face when turning). Set the contour of the lower lip and the corners of the lips outline a little contrast. 
   Allocated sharper zygomatic bone and the planned masticatory muscle (at the angle of the mandible) and the nasolabial folds and the muscle above it.
   Draw the shape of the eyes, the character of the age and thickness of the lacrimal gland. Only then can you draw the iris and pupils. Pay attention to the direction of view - the pupils should look in one direction, and the iris is a lens lying on the eyeball. 
Above the eyes, determine the nature and thickness of the eyebrows, carefully observe how the slope and thickness of the eyebrows in accordance with the head tilt and shape reduction. Detachable the frontal bone from the frontal tubercles by a zigzag line.

Bigger than the main building. The far eye should "wrap", that is, it will look like the plane of the eyelids, put on a spherical shape, not"fish"))). The outer corner of the left eye will not be visible. Note that the upper eyelids should cover the lower ones, otherwise the person will not be able to blink))).

5. A light grey tone to determine what plane will be dimmed. Shade the shadows all over your face.Set the character hairstyles energetic wavy lines. Use a pencil HB.
In the ear, we separate the main forms-the ear hole and its shape, lobe, tragus, cartilage crests. 
Tone begin to model the frontal bossing.
Separate the sharp dark line and more careless hatching edge of the shirt collar..

The first gasket tone closer. Strokes fall in shape, determining the direction of the planes inside the large head shape. Do not make the very sharp strokes, hold the pencil almost parallel to the plane of the sheet.

6. Strokes in the form of simulate the volume of the eyes. Lay the eye shadow on the eyeball, the tone of the iris and pupil, the lower shadow of the eyebrows. Eraser choose glare in the eyes. Seal the "loop of the eye" (from the tear to the bridge of the nose and above to the eyebrow), the ear, the shadow on the edge of the eye socket and under the cheekbone. Vertical shading combine the far part of the face: from the eyebrow and below. Also vertically generalize the right side of the face.

The strokes are applied in the form of clipping planes, setting the movement of large tonal masses. Unnecessary lines of construction weaken, important-emphasize and bind to the tonal spot. The main emphasis is on the eyes and nose.

Eyelashes can be a little outline, but not to draw every eyelash and every hair they can destroy the overall great shape.

7. Put a hatch on the form, along with the principal amounts of and muscles, gradually picking up the tone of the face.on the border of the anterior and lateral planes of the nose and on the neck with eraser tool to select the glare, but they don't have to be the same white as the glare in his eyes. Eyebrows we shade more rigid the exact lines to simulate the hairs. Dial the tone of the hair.

The nature of the hatch better. We begin to pass the shadows and penumbra, leaving the brightest illuminated areas of the face.

8. Separate the tip of the nose from its main volume diagonally directed shading, a little more draw, modeling planes, nose wings. Laying strokes in the direction of small planes, draw the lower eyelids and the upper part of the cheekbone. Condense the falling shadows under the nose and under the cheekbone.
The movement of the hair growth of small hard hatching to create the texture of the bristles in the lower parts of the cheeks, chin and above the upper lip. We emphasize the edge of the lower jaw with energetic contrast lines.

9. In large muscles-nasolabial fold, a hole above the chin under the lip, temporal cavities, the side of the cheek-enhance the contrast between light and shadow, stroke the shadows in a flat form.

10. We add depth of tone in hair, clothes, eyebrows, eyes. Separating the strokes of light from dark, draw the tufts of hair on the temple and forehead. Combine pencils of different softness - for gray shades: range HB-2B, for dark-3B-5B. A little more detail and contrast to draw the shape of the ear. You can map out in more detail wrinkles on the forehead, corners of the mouth, eye loop and eye shadow. Please note that the front part is modeled more accurate, just planted in its place by touches of grey tone, hair and clothing are drawn more carelessly, emotionally, energetically soft stylus.

11. Straight and curved shape strokes draw the shape of the forehead, cheeks, nape, obeying the logic of lighting the face.

12. You can use loose strokes to model smooth surfaces and large volumes and a hard, sharp stroke for more textured study of individual parts of the portrait. See. photo.

13. Specify the border of the shoulders and back, find the right lines and key points. Choose the eraser reflex at the bottom of the nose tip, darken the hair at the ears, the edge of the lower eyelids, pupils, touching the nose and nasolabial filter emphasize.

14. "Comb" unidirectional strokes eyebrows, eraser small white strokes draw light hairs at the bottom of the cheekbone

15. We plan in the lines of hand movement: shoulder, forearm, the nature of the hands, the direction and thickness of the fingers, the location of the main muscle pillows on the palm. Folds of clothing draw easily, without going into details, the main thing here - to feel, to analyze how the muscles and bones under the clothes will look. The size of the palm matched with the front part of the head - the palm with the fingers must fit into the distance from the edge of the chin to the middle of the forehead, no more.

Marking line of the right hand

16. Pass shading all the shadows on the palms. Stroke flat, in one direction with a pencil HB. We place accents in the lines that draw the fingers, we outline the joints, the lines that separate the parts of the palm, the nails, the border between light and shadow on each finger. Remember that the fingers resemble cylinders in shape, so it is enough to find the border of light and shadow on the finger and easily "stretch" it from dark to light with the help of shading in the shadow part to simulate volume.

The hand closest to the viewer is drawn a little more carefully, the contrasts here will be brighter, stronger

17. With a stroke in the form we simulate the volume of large volumes of the palm itself, the joint of the thumb, emphasize the articular folds of the fingers where it is needed. Slightly planned pads, which are turned face to the audience. Generalize shading moving away or going into the shadow of the middle and ring fingers of the right hand raised up at their base, the front side of the hand holding the baton. Contrast hatching separates the head from the collar of the shirt and coming forward hand from the background.

This degree of drawing is enough. To keep hands from arguing with the front part, we will not carefully draw them, it will help to keep the freshness of the short-term drawing and correctly place the accents. Attach your drawings made on this master class in the comments, I am very interested in what you will get. Until new meetings and drawings!

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