Giovanni Civardi - Drawing Portraits Faces And aracer.mobi Diunggah oleh Janet Robson. draw portraits excellent book. Hak Cipta: Attribution Non-Commercial. Secrets to Drawing Realistic Faces. SECRETS TO DRAWING REALISTIC FACES D i a n a, S h i lo h a n d A y n s l e e S t u a r t 11" × 14" (28cm × 36cm) s. elderly people, the full figure portrait, and heads with unusual features type of drawing and, in figures and portraits, . draw because their faces, marked by.
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Front aracer.mobi #Back aracer.mobi Page jpg Page jpg Page jpg Page jpg Page jpg Page jpg Page jpg. Title Slide of study drawing drawing portraits faces and figures. Learn How To Draw Portraits In Pencil Step By Step | PDF. LD. Download Giovanni Civardi - Drawing Portraits Faces And aracer.mobi
Always start with the center line. This is the method I use to draw heads all the time. Step 3: Draw eyes in the right spot On the face, mark the center line with 4 ticks spread equally apart. The eyes will sit roughly on this line. If you want to draw more mysterious manly eyes, click here. Start with a circle, resting it anywhere between line 1 and 2. You can give your male character a more chiseled appearance by drawing the nose using very angular shapes.
These lines should be very light! Using a 4B pencil, draw the eyebrows along the brow bone. Facial features that can accentuate masculinity are thick bushy eyebrows! Step 6: Use a triangle shape to draw lips Draw a vertical line down the center of each eye. This portrait was not drawn from life but from the photograph on the left.
Look carefully at the two images to find out to what extent the photographic information has been adhered to. The height of the face can be divided into three portions of equal size. When drawing a portrait pay close attention to the overall structure of the head and evaluate its main characteristics as it is mainly from these that a good likeness depends.
Compare them with those of your model and assess whether they correspond or differ. The same figure is obtained if you join together the outer corners of the eyes and the base of the. Notice how. Details alone.
Of course. The width of the eye viewed from the front is a useful reference for measuring the distance between the eyes according to an old academic maxim 'between eye and eye there is an eye' and the width of the base of the nose level with the nostrils.
The diagrams shown here. You can then conduct a more accurate study considering the 'geometrised' head represented by two ovoids and a cylinder see diagrams on page The diagrams shown below will be enough. I think. If you imagine the head within a cube whose edges touch its most protruding points.
Try drawing surface planes on to photographs which show heads in a variety of positions. As a whole. When you first start drawing the head. Bear in mind that in portraiture it is essential. Notice how the two ovoids which represent the face and the skull can be superimposed.
A traditional and scholastic. Stage 1 Outline on the page the area you expect the head to occupy: Stage 3 Carefully work out the position of the eyes.
Stage 2 Indicate the proportions by way of four horizontal parallel lines more or less equidistant to suggest the three parts in which the face can be divided..
Stage 5 Continue to elaborate assessing also the light effects. I have illustrated the various stages of construction. Stage 4 Thoroughly study how the elements of the head relate to one another. Render it from different visual angles.
The only mobile bone is the jaw. If you get the opportunity to observe a real skull or to download a plastic one. The thickness of the section between the bone surface and the external surface of the head is determined by the layer of muscle. They become stratified on the cranial bones whose external shape they follow pretty closely. Carefully examine the position of the ear.
Also study the main neck muscles because. The diagrams below should be sufficient to show the spherical structure of the eye. The eye is. It makes sense to be able to recognise the basic morphological. Be careful to draw both eyeballs and therefore both pupils looking in the same direction as the expressiveness of the eyes depends on this. Notice that the white section of the eyeball the sclera is not pure white but actually changes colour due to the effect of its own shadow and the one cast by the eyelid.
The iris of a child looks very big compared to the eyelids. Elderly people show several deep wrinkles radiating from the corners of the eyes. The female eye usually has long and thick eyelashes. Practise drawing eyes in various positions and from different viewpoints. Although its morphological characteristics vary greatly. Ears are often partly hidden by one's hair and their expressive character depends on their precise position on the sides of the head.
In an adult. Its pyramid-like shape is partly due to two small. Observe the sketches shown on these two pages and practise drawing the nose in various positions. Try to work out the most important areas of light and shadow the maximum amount of light is usually on the dorsum and the tip. Notice that the dorsum moves away from the bridge to reach maximum projection at the tip and its sides slope towards the cheeks.
THE NOSE The nose is rather difficult to represent as it sticks out of the face and therefore its appearance varies depending on the viewpoint. The triangular base hosts the nostrils. When drawing the lips make sure that.
The simple sketches shown below indicate some of the basic characteristics of labial morphology. The pinkish colour of the lips is due to the tissue they are made of.
On this page I have drawn mouths in a range of smiling postures which typically feature in portraits. Note that the teeth are barely drawn, with little attention paid to minor details of little significance. The lips of elderly people the two drawings at the bottom are often thin, and furrowed by a number of vertical wrinkles.
There are no firm rules except, perhaps, the one concerning the 'golden section' but rather principles relating to our visual perception, i. Portrait composition dictates that we make some choices straight away: You need to get used to doing lots of little sketches to evaluate these problems, as I suggest in the following pages. In the meantime look carefully at the sketches below, which use 'tricks of the trade' to direct you when you start, but don't allow yourself to be tied down by traditional and stereotyped formulas - do experiment with original and unusual compositions.
Make sure, however, that the top of the head does not get too close to the edge of the page. Avoid, if possible, 'cutting' the head's back profile or making it fit with the edge of the page. It is therefore not recommended for a portrait. When working from life it is always useful to study the model thoroughly by sketching the head in various positions and from different viewpoints. This allows you to evaluate the overall somatic aspect and choose the pose and attitude which most faithfully and effectively represent the physiognomic features and the 'character' of the subject.
Render these studies by way of simple. To work in a more relaxed way you can. The model's pose and the final composition are summed up in the drawing on page On this page you can see two of the studies I did in pen and ink for an oil portrait.
The same advice outlined in the previous pages also applies to the full-figure portrait. In full-figure portraiture the hands. It is this latter aspect that I have tried to explore with the drawings shown on these pages. The right arm resting on the chair contrasts with the vertical direction of all the other parts of the figure and makes the composition more 'dynamic'.
Study for a portrait. Drawing in pen and black Indian ink on paper. Usually when drawing a portrait artificial light.
Therefore avoid using a light source which is too intense and close. It is better to use slightly diffused lighting.
To make the light more diffused you can place a finely frosted glass in front of the source or use one of the well known photographic devices. It can be makes the model's used.
The Sometimes it can be surface-grazing light useful to convey can exaggerate the strong relief. The Note. The most suitable lighting for a portrait has the source slightly higher than the subject and midway between the front and the side. The photographic examples on these pages are of a sculpture I moulded and show situations which are slightly unusual or extreme. Good lighting must highlight as best as possible the physiognomic- characteristics of the subject.
Top lighting Side lighting Is very effective but Is not suitable for you have to be careful portraiture as it not to create divides the face into excessively dark two contrasting shadows under the halves: Lighting from below Front lighting Is very 'dramatic' and is hardly ever used in Is simple. These two photographs vary slightly in the inclination and distance of the subject in relation to the light source.
Angled lighting from above. Use sheets of white paper at least 30 x 40cm 1 2 x 1 6 i n in size and pencils of various grades. Stage 1 Observing the model carefully. Use a fairly hard pencil H. I illustrate the stages one has to go through to draw a portrait. Once familiar with the elements which are essential to characterise a face. In this example I have drawn them level with the hairline. Sketch the oval shape and indicate. The method indicated is rather scholastic but useful to those new to portrait drawing.
My advice is to do some of these exercises using live models and photographs. I have indicated the protruding cheekbones and front bone. Also try to recognize and lightly sketch the main anatomic structures the subcutaneous bones. This stage is very important as it lays the ground for the subsequent development of the drawing. Note that the subdivision of the face into three sections is just indicative.
Stage 2 Continue to refine your sketch and carefully position the details of the face. Try to find in each individual the specific relative proportions and stick to them to achieve a likeness. Stage 3 At this stage it's better to concentrate on recognizing the 'surface planes'. Concisely outline the areas both lit and in shadow which can. Use a medium-grade pencil. Be careful not to overdo the straight strokes to avoid a 'hard'. For the simplified view needed at this stage.
Stage 4 At this stage we tackle the problem of shadows. You will notice that the shadows on a face vary greatly in intensity and are extremely complex. Again use a HB pencil lightly and rather evenly. Stage 5 At this stage and. H pencil can be used to indicate areas of very weak tone.
It is impossible and useless to try to reproduce in a drawing all the tonal shades one finds in life. Therefore don't overdo the 'finishing touches' and the insignificant detail because a good drawing is always the result of careful selection and intelligent.
The drawing. Do not erase them. Shadows can be intensified in places with a 2B pencil. The sketches above are reconstructions done 'afterwards' for the purpose of demonstration of some of the stages which I follow as a rule. Portrait study: HB pencil with some 2B added on on medium-textured paper.
The method is slightly different from that followed with a pencil: To erase or lighten tones use a kneadable putty eraser. Do not grade the shading excessively or you will 'weaken' the drawing and give it a photographic. Charcoal is suitable for portraiture because it allows you to quickly and effectively tonally draw the face.
Almost all of them are studies for oil paintings or for more elaborate drawings and 1 chose them because the intermediate stages of implementation. The portrait in profile works well with young subjects. HB and 9B pencil on 30 x 40cm 12 x I6in paper.
The hair contrasts with the features and creates interesting 'graphic' effects of composition. For the hair I used HB pencil. To draw a smiling expression effectively.
Compressed sepia charcoal on 30 x 45cm 12 x 18in paper. The lips look wider and slightly apart and this may cause you to get the proportions wrong. Notice how the contraction of the skin muscles causes little creases at the corners of the eyes and under the lower lids.
Practise drawing your mirror image and don't worry too much if. Also bear in mind the shadows cast by the frame. Lenses can distort the size and shape of the eyes.
You could. The one model you can study whenever you like and in any condition is the one you see when you look at yourself in the mirror. Above all try to get the relative proportions of the whole head and then insert the details. Posing is tiring and. HB and 2B pencil on paper.
A portrait is not necessarily limited to the face. Pay attention to the anatomic structure. Use photography to help you and get your little model to concentrate by giving them an interesting game or letting them watch TV.
H pencil on 30 x 40 12 x Win paper. The proportions of a child's head are different from an adult's e. Children are difficult to portray because they are restless and don't like being watched and therefore turn cross and diffident.
Simple linear drawing. This is a quick sketch in which I portrayed two people. HB pencil on paper. H and HB pencil on paper.