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Drawing. Faces & Features PDF

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Daiane Rolim
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2K views34 pages

Drawing. Faces & Features PDF

Uploaded by

Daiane Rolim
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
  • Introduction
  • Selecting Tools and Materials
  • Mastering Shading Techniques
  • Understanding Anatomy
  • Learning the Planes of the Face
  • Studying Adult Proportions
  • Exploring Other Views
  • Depicting Adult Features
  • Capturing a Likeness
  • Drawing from Life
  • Approaching a Profile View
  • Working with Lighting
  • Including a Background
  • Developing Hair
  • Depicting Age
  • Creating Facial Hair
  • Understanding Children's Proportions
  • Portraying Children's Features
  • Rendering a Baby
  • Choosing a Photo Reference
  • Indicating Fair Features
  • Replicating Dark Skin Tones
  • About the Artist
Por | HOW TO - DRAW & Learn to draw step by step Faces & Features roe Capturing a likeness = Developing hair textures Depicting age = Drawing from life BY DEBRA KAUFFMAN YAUN Ire C4 33618 “the en ie ad he pin a aoe ht sy a spent hccepomeyep in sheon rcmmes ‘vs tn wen mn hei a Fenn ( Faces & Features Drawing faces is a challenge, butitsa challenge wel worth aking on! From fica expressions ‘and lighting to the unique characteristics that make us who we are, there are countless clements that make faces so exciting to dra. And wit the bilions of individuals inthe world, youl never runout of subject mater! But before you get stared, you'll want to lar the simple techniques that canbe employed to create rai, beau- fl portatsin pencil In this book oul ind nt only plenty of hl tips on tols and materi shang, and other fundamental drawing techniques, youll aso discover the information you need to re- STEP 1 Mate cic for he fit tho dre he oe {id oer te Drawing a ee abet fore aig ay ‘overlapping omen calle "drain through) Note {Spat of thr alaye cer by the pel hs STEP Drow thong ciclo the ye fit tho dae the eyed acund ia sown, Iv a profi ve, the bis ‘and pap are elites: th top and baton ofthe i re ‘tera by he upper and lor ple STEP 2 Stat shading theirs roving es Ha ade ‘ut from the pp. The ad the eeases and the Shadow bn aston the epbal rom h wper ‘ae plane, song acu the gli ote i Prunes ing outward fro bef he oe ine sing the is ‘the pupil Thon shade the eyed and to 48d tre mons orm <> sep STEP2 To dae eases in profiler athe cube core ofthe ey and at ick red es ays String nthe recon of grout, The longest bs teat he ent of te oe STEP 3 Who sing te ee mae igh lines thar fall he curse of te eel Ae withthe fot ew, the hating the itso fom th ul stp? Sa, = stp ENDERING A PAIR OF EYES Afe ex comfort th dang thee il stat devin th faut ard Ihe ay, ncdng the eens andthe mone. Be sare 0 wae al eyes abate eyeaith apa from ach eer, ‘aed kop or mind that year ly ny the hgligie el dt thi Is tt shade around the ih Inf cdl ade ver the ee, yo can al et The igh kneaded eer, 8 VARYING QUALITIES ‘Tere are several characteristics that influence the final impression that 2 par of eyes sve: The shape of the ee, position of the eyebrows, length. and thickness of the eyelashes, ond number of creases ang wrinkles can denote tccnthing fen age and gender to tod and ethnicity. Study the examples below to see how these aitferent elements work together. Noses ENDER NOSES To do noi lak In the ow planet fo the bree forth cdr fe “Comm eager” bl). The 1 sty he way each ae i before ding the dark and igh ales. The nostls Shoe shaded by they're to dark, ‘herlf daw ate oy rm hero of the {ose Gens mw’ sti ae ar au Ishereas women's ae more gen caved. Ears VIOING THE EAR The or i she ie Ak rh ied ito tne pars: the inthe oad the fe ste ‘2 sep 3 SRMGTHE EAR Ti car mana conmets_DEVELPING THE EARN PROFLE It lok nthe sera shape, vial didi roth bead at asigh angle eed ln ts he ars. Net I stat shading th dares areas, dining erie and lds fesneraly aba om the ongth, The shade enti ur, ering ihlihtso ey area 0 erat he in of fon Lips — : : ee , mimanetenae * orn Coe : . . 10 2 Nt bp sane ron of te prof te eT er ett ‘tae atop i rs rd Mclaaaee" ‘ed the sadn othe aro ip ‘aves demand STEP {contin shading, making te ‘ ‘ave sue their he pe M, ‘met. Tho pl at sme ipbliht the ips sine and form Highlight ‘Sho ence ep fulness, 08 TAU THE UPS Determine och dt odie toad to our onder fi ‘fon eat to nde ler aight Yo a seis apis (Baad), oa con das cay defo eth (A (th le Bot ‘prs ofthe ath (Ean oy ca dr coed ps (Band. STE i simplify the so by dtg bo fo pies—ps a cile fhe ip totes townie Tho dae thee efi. F (hd vam icf co tet he bs ofthe mse {the rp ofthe “The roe cn the is Irate he ici ‘Sc wl shade tom COMBINING FEATURES ome oor : sane ea he momen ey era i Bias ae hier Re Fear walkmrbe tips and ves them form, ‘Tht separae tee aah STEP 2 continne Shading to create te forms of the nse and month Where appro rate, ier fre for ihe ad 0 Shoe rete ig or ‘xmpe, ae a breaded ‘reser pall. ‘out highs on the top ip ct the ip of {Be nae, ado te lade of the nose. Capturing a Likeness Once you've Practiced écawing te individual features, you'r ready to combine them in a fll portrait. Use your understanding of the hasics of proportion to block i the head and place the features. Study your subject carefully to sce how his oF her facial proportions differ from the “averago"; capturing these subtle differences will help you achieve a better likeness to your subject. a mas WHAT YOU SEE Working fom apo ee dea what you realy sees opposed to what You ‘xpetose—brcaure yo conchae ou soap Ty ening both the pov ad yu dang pie Areas york: youl ind ha you cae epee ‘nay shies more ace SEP 3 Tease ey gielines and thn eps, leaving the foro he face wth he 2 pence fy bedi to cate the aetna the skin [Next Fret the ch igh ncating the separations ‘eth incomplete lines. Then fst 3B pent yn more dark streaks of ba STEP 1 ing pl shih the gene of the subjects fe Thor I pace the fal gains bar lacking nh ees, mse, and ath tht te moth aes wp about om fourth oft fce) 1 ‘bo boc tesa of ber ha, nang the as. STEP To eer the soa leary the emf he strokes, pling some rok int th res tthe top of her head hat have be wht fo ight fo Produce gradual wanton fom light 0 dark. The I fe he ees iy bi se Bt ey in darker on mot adding darter aero sha ol cutine STEP 2 Suatchig to 428 pence the rode ofthe faa features compare toxraph oft aking ar that se epee the tings ‘hat make is idl ike the hep oe, ‘ghastly nt wide ee ch othe pe FOCUSING ON FEATURES This drawing shows the same young lady with a diferent hair SIyle, expression, and pose. [though she's in costume, she is stil recognizable asthe same Subject because 1 was faithful to the facial characteristics that are specific to this inci, © 4 Drawing from Life Having models pose toryouasyoudraw—or drawing from life—is an excellent way to practice rendering faces. When drawing from life, you usualy have contol over the way your models are li. If you're indoors, you can posiion the ight source to your liking; if you're outdoors, you can reposition your model until you're satisfied T= (CREATING A COMFORTABLE SETUP Yow sng ine mde, STEP Fat pce he bs My ube ofthe bd witha eather gurer ea) Ie my goes fac tx the oath alr on de ef ies Making ser the eye ms ad math Th dite the mech demons Lge crs th the face i aged tir STEP et my monet sh be oak ‘el nd etch ebe | \ Get te \ the das cet, SEPA I str shading the face in the darker aren clip the Ina suring heen light horizon ato STEPS Ato anche shore bre Iasi the ignore ects fom oes, nae a Red eraser te dark oocthig cat he ki Approaching a Profile View A profile view canve very éeamatc, Seeing only one side ofthe face can bring out a subject’ distinctive features, such as 2 protruding brow, an upcurned nose, ora strong chin, Recause parts ofthe face appear more prominent in profile, he careful not ta allow ‘any one feature to dominate the entire drawing. Take your time working out the proportions before drawing the complete portrait, aN = | K ——— WHAT TO Make sre sume of he fs oer, ad ‘mae som ight ands dark by varying te presse om onthe pol 29 Replicating Dark Skin Tones When depicting dark skim sores, pay axentionto the value ofthe skin tone and how i compares with the values of the features: for example, when the skin is dark, the lipe need to be shaded even more heavily. In addition, look fr differences in features that indicate ethnicity or race, such as the nose lips, or eye shapes and the hair color or texture. / # | / / sj—) j a : \ /: uP Wh pmlc ne bcd sta spe fees ee Ti \ { dtc aes a a fl pt ‘ay loin te fea So Te ek > : a dees ae eee ) ‘ A Ns eck ond define he chin. Thon | Seveop te eyes and te bot qc inet daw te eyo: Nest sat ‘Eon he ara tt. The block the bane ‘nthe necline ofthese S10 2 Si igh Bp, hath ihe cd \ ds STEP Nest I shade thems, mock, ad op ip ying eae ei appear al shade te marry tly so they wl ado agit the dark sk Ug ‘ick crear srs | art to render he sor, carly Thr. thew I deta he een amd eyes and define the ect of the sire STEP 4 Using srs tha follow he hap of he month, ect sain the lips then I sbae the gs, care {iy working spd the teth. Ime sure the lips ond ‘unser coma too sari teh the skin beanse [obey ta dark thet ok mata NotI ble tthe care hair with more car ses. Then 1 Ione enc ng orion lines ht cae ith Thea ofthe mets Note how he nes ore an len to tesa thts applied oe A105 Ns Tony og yer of cng car the entire fe ys sarge drection of my stokes L {5 necessary fll the shapes ofthe diferent planes ‘Thesbadng staring to roundout the face cl at eked fle pt he pote add are shading eter make appar ev onder nd fuller STEP {conte shading the fice, mahi the ids of ‘he free a ht darker ed ng te mle aeg Uginor 0s arbre gt be Tho area oe, evga rte gli om the Valo refine the shi, carving the stokes es they go aon the back of te cel Net I further sae te ips to accent ‘Seth fllness then pl out ight onthe op {Soba brated eracr only go ack and fon the !monton eto ales by 7 igh bending them (aha baded ere. ESTABLISHING Vatues Every skin tone fs made up of vaity of values—ahen drawing in graphite pencil, you can accurately capture these dering tones using varying. degrees of light and shadow. Before you start crawing. be sure to study your subject to establish the rite est darks and brightest lights of thei skin tone, whether they ae fa, medium, oF davkskinned, In the examples at right, hair olor and contrasting valves work together to Suggest the medium skin fone ofthe boy to the fr lft andthe fat skin one of the boy at canter, The darkly shaded, fully formes thheks of the boy tothe far ght ghe his skin a ruddy, tanned appearance. 31 About the Artist Debra Kauffman Yaun eiscovered that she had « knack for drawing people when she ‘was a young gil growing up in Tamps, Florida. After graduating from the Ringling School of Art and Design in Sarasota, Florida, Debra worked asa fashion illustrator, She has drawn and painted ‘many commissioned portraits, several of which have been of children—her favorite subject to draw, Debra’ artwork has been published in several art magazines and books, and she has won numerous awards, including an international award, She isa signature member of the Colored. Pencil Society of Ameria, having served as president ofthe Atlanta chapter and she isa juried ‘ember of the Portrait Society of Atlanta. She also enjoys teaching classes and workshops in por- traits and colored pencil. Debra’s work is currently featured in two other Walter Foster Publishing titles: Colored Pencil Step by Step and Watercolor Pencil Step by Step, both in the Artist's Library Series. Debra and her atist-husband have two grown sons and currently reside on 11 acres of countryside in Georgia.

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