There are many modes of sketching: linear, value-wise, gestural, etc. In this article we will center on carving out form with a sculptural awareness.
This manner of drawing is very much like working with clay except that we are working on paper, of course, and using our fingers, a stump, tissue, and the kneaded eraser as our sculpture tools.
As always, begin with drawing the construct and establishing the essential sizes of the facial area.
Before hatching-in the principal light/dark patterns you should squint and look at the model or the photo. Squinting distills the lights and darks into simple patterns of one particular value because it obscures the minutia.
At this point, just concern yourself with the big masses, maybe even just two, a light one and a dark one. Do not yet attempt to break down the darks at this point.
Drawing in this way is also excellent training for painting because this is how you build up a painting particularly when using the One Stroke method of painting.
Drawing, painting, and sculpture are subtractive/additive enterprises. You first add something and then you take a bit away, all the while progressing towards the final drawing.
You also will use your kneaded eraser to carve out the lights. When doing this pay careful attention to the anatomical principles; every form indicates a muscle landmark.
We all have our individual preferences about how we work. At this stage, you may prefer to improve the arabesque and hone in on the facial features. Other artists will go on working tonally without any line work. As you gain expertise and grow as an artist you will make your own selections. That is what art making is: selections – good and bad.
Now that we have the essentials down including the overall sizes, we can begin reworking the darks and the lights. The goal is to go for the “full stretch” of values, i.e., from the darkest darks to the lightest light.
Beginning and intermediate draftspersons often fail to go for the full value interval. Quite often the reason for this is the fear of destroying their drawing and also because they have read, or been told, not to overwork the sketch.
As a student you should take a drawing as far as you possibly can, even to the point of collapse. That way you will learn precisely how far you can go. If you always stop short you will never know what lies beyond.
Use your fingers, a tissue, and a stump to blend the values. The best thing is to start dividing each tonal mass into two separate smaller forms of different tones wherever your observations tell you there is a difference in tone to be made. Keep in mind the varying planes and the anatomy of the model’s features.
The hair is kept dark and simple with only a few strokes of the kneaded eraser to suggest the disheveled locks of hair. Do not overdo these strokes or they will look blanched.
In closing, when using the sculptural mode of drawing a pencil portrait always treat your tools as if they were brushes. Imagine as much as possible that you are painting instead of drawing. Constantly keep in mind the anatomy and the changing plane bearings that you note in your subject. Always sketch from the general to the specific or from the large to the small. As you get more skill, try to remember the things that work for you and include them in your style of drawing.
Do you want to learn the secrets of pencil portrait sketching? Download my brand new free pencil portrait drawing tutorial here: portrait drawing course.
Remi Engels is a pencil portrait artist and oil painter and practiced drawing teacher. See his work at pencil portraits.
Access expert info for working with children – your personal guide.
RSS FEED
