![]() With the blunt end of the stick of chalk, you can draw the same subject with broad strokes. The sharp point of the drawing tool picks out the precise details of the eyes.īroad Strokes. ![]() The tones of the cheek and eyelid are rendered with clusters of short, curving parallel strokes. The artist presses harder on the chalk and places the strokes closer together in the darker areas. The precise strokes of the drawing tool follow the curve of the hair. With a sharpened stick or pencil, you can build up the tones of a portrait with slender strokes like those you see in this close-up. Slender Strokes* A hard stick of chalk can be sharpened to a surprisingly line tip. Touches of the kneaded rubber eraser brighten the lighted areas of the face and pick out streaks of light in the hair. The tones of the drawing bccome richer and deeper, The sharp tip of the pencil adds the details of the eyelids, irises, and pupils draws the nostrils more exactly strengthens the contours of the lips and suggests individual strands of hair. Step 7- The artist presses a fingertip against the sandpaper pad to pick up accumulated graphite dust, which he carefully spreads over the shadowy ureas of the facc and hair. The fingertip carries some tone downward to the pit of the neck, over one shoulder, and beneath the collar. A few deft touches of the kneaded rubber eraser pick out reflected lights within the shadows on ihe cheek, jaw, neck, and ear- notice how the edges of these shapes become slightly lighter. The sharp point of the pencil heightens the darks within the eyes, accentuates the nostrils, and sharpens the corners of the mouth. The side of the pencil scribbles broad strokes over the hair then these strokes are blended with a fingertip. Then he blends these tones with the sharp tip of the stomp. He uses the pencil to define the eyebrows to darken the eyes and the underside of the nose and to strengthen the tones of the lips. Step 6, At this stage, the artist alternates between working with the pencil and the stomp. The artist softens the right edge of the hair with a few touches of a fingertip. The pencil darkens the eyes and lips a bit more-then the strokes are blended with the stomp once again. He uses his finger to blend the broad tonal areas on the forehead, cheek, jaw, and neck, Then he picks up the pointed stomp to get into tighter spots like the eyes, the side and bottom of the ntisc, the lips, and the chin. The artist begins to blend the lories of the fate with a lingenip and with a stomp. The main purpose of Step 4 is to establish a dear distinction between the lights (which are just bare paper), the darks, and the middletones (or halftones). Most of the original lines have disappeared under the tones. the artist moves the drawing tool lightly over the paper, pressing harder and piling up additional strokes for the darker areas-such as the eye sockets, the checks, the shadow cast hy the nose, and the hair. The lines of Steps 1, 2, and 3 rapidly disappear under the ragged masses of tone. The paper is so rough that you can hardly see the individual strokes-the texture of the paper dominates the tones. Now the artist turns the thick lead on its side and moves it swiftly back and forth over the rough surface of the paper to indicate the big tonal areas. The outline of the hair is strengthened with quick, casual lines. He traces the bridge of the nose and constructs the tip of the nose and the nostril wrings, He indicates the groove from the base of the nose 10 the upper lip, As he defines the lips, lie darkens the corners of the mouth and indicates the concavity beneath the lower lip with a dark scrib-blc. He draws the ear more precisely and adds the inner contours of the eyes, with a hint of darkness on the irises. He strengthens the lines of the jaw and the chin. The artist completes his preliminary line drawing of the outer contours of the head and the shapes of the features. As you can see, the roughness of the paper breaks up the pencil stroke and produces a ragged line. The one visible ear is aligned with the eye and nose. He draws the first few lines of the features over the guidelines of Step 1: the curves of the eyebrows and the upper lids: the side and underside of the nose and the upper and lower lips. Swift, curving iines capture the sweep of the hair around the head and over the forehead. The artist draws the outer contours of the face over the egg shape, capturing the curves of the checks, jaw, and chin.
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