| There are many artists who struggle with | | | | paper because your sin is made of oil and it |
| drawing a face and having it actually look | | | | will cause great ugliness to appear on your |
| like the person you are drawing. These tips | | | | drawing! Instead use a piece of paper under |
| should help you to achieve a more realistic | | | | your drawing hand to help you avoid this. |
| outcome and have your drawings come to life. | | | | Some artists use gloves made for drawing as |
| | | | well. Try and hit the shadow hard and then |
| The first tip is probably the most important. | | | | after you have gone over with a towel erase |
| When you are drawing, draw from a good source | | | | out some highlights and make the core shadow |
| or reference. For instance make sure that | | | | darker. |
| your photo is a really high quality. Make | | | | |
| sure that the photo is big and clear, and not | | | | You can start darkening shadows make sure |
| a lot of different lighting sources. Choose a | | | | that you are using your referenc to figure |
| subject that is interesting to you. If you | | | | out where these are exactly. You may have to |
| want, a good idea is to draw something of one | | | | do this several times till you establish the |
| of the masters, like Beugereau. If what you | | | | value you are after. |
| are drawing doesn't hold an interest for you, | | | | |
| you won't do as good a job on it, you'll have | | | | Not all of the shadows are going to be dark. |
| less patience, lose interest and never | | | | Never forget where your light sources are |
| finish. But again, make sure that your | | | | coming from. This is extremely important. |
| reference is high quality because if it's | | | | Look for where the shadows are falling in |
| not, you'll end up with garbage. | | | | direct relation to where the light source is |
| | | | coming from. |
| Next, begin your drawing with your outline. | | | | |
| Different artists use different methods for | | | | Start adding the finer details to your |
| this. Also, time is a consideration, so | | | | drawing. |
| whether you use a grid method or do it by | | | | |
| eye, make sure you are accurate. Of course, | | | | Blend in light spots and identify the |
| the grid is going to be more accurate but | | | | highlights in your subjects hair. A very |
| time or environment may not allow for this | | | | beginner mistake is to draw each and every |
| method. Also, as you gain more experience you | | | | strand of hair. Hair needs to be treated as a |
| may go by the eye more often as well. Block | | | | mass. Remember this and your hair will turn |
| in and remember that you don't want to add in | | | | out more realistic than ever before. |
| the fine details yet. Don't get caught up in | | | | |
| working on an eye and all of the lighting and | | | | Once you feel you are done, you are almost |
| shapes of the eye at this point. Avoid finer | | | | done. What? Well when you are working with |
| detail till later. | | | | graphite, it can be extremely messy and you |
| | | | may need to do some major clean up of |
| Then you can start to divide the light from | | | | smudges. Use a kneaded eraser to lift these. |
| the shadows, hitting the core shadow outline | | | | |
| hard making a distinct value difference | | | | Take your time with your drawings and you |
| between light and shadow. | | | | will begin to see that these techniques can |
| | | | be really beneficial. Anyone can learn to |
| Then go over it with a towel or cotton balls. | | | | draw, it takes some patience and willingness. |
| Never let your skin come in contact with the | | | | |