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The outlines of the eyelids are individual. When rendering the hair, keep symmetry in mind. Pay attention to the borders between planes where light changes to shadow. Also, remember that a hairstyle repeats the forms of the cranium. Apply pencil strokes along the hair and put as much virtuosity into the strokes as you can. Treat the hair like a unified mass that has its volume and tonal values. When it comes to drawing a hairstyle, avoid the amateur mistake of quickly filling the space with random pencil strokes in the hope that this will look like hair. This rule of aerial perspective helps to create an illusion of depth even in such a shallow object like a head. Also, keep in mind that those parts of the head that are closer to a viewer have to be rendered with more attention, with sharper contrast and in more detail than those parts that are farther away. Such places describe the geometry and construction of a head. The good approach is to use the same direction and style of pencil strokes on both sides of the head, so paired facial elements will look similar to each other.Īnother tip in portrait drawing is to pay more attention to the borders between planes. The sequence of drawing should be symmetrical-from one part of the head or face to its counterpart. One junior mistake you need to avoid is rendering one part of a drawing to completion while forgetting to touch the rest. After rendering some part of a portrait on one side, we need to repeat the process on the other side. The hairstyle can be rendered with more pronounced strokes, which also can be applied along the hair. When drawing eyebrows, it is better to use strokes along the direction of hair growth. Pencil hatching emphasizes the geometry of a face, becoming a part of constructive drawing rather than a simple tonal decoration. When working on tonal values, do not forget about constructive drawing. The forehead has a rounded shape, and therefore we apply pencil strokes that follow that shape. Every object has an indefinite number of contours, which are virtual lines of cross-sections of an object with virtual planes that intersect it. The direction of the pencil strokes has to follow the direction of the contours.
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To portray the planes of the face, we can use cross-hatching. We can use an eraser to make it lighter.Īs you see, tonal values correlate to curvature and location of outlines. The outline that marks light areas of the face shall be lighter and slimmer. Every portion of an outline when it curves inward pulls darker tonal values with it. It is very important to show in drawing how lines overlap each other. Also, the parts of the outline are not uniform in thickness they start slim, grow bolder in the middle, and end slim once again. Instead, this line is broken and has gaps. You can notice that I do not draw one continuous outline of the face. The eyebrow curve overlaps the outline of the forehead. They are parallel to the bottom edge of the lower jaw. The side surface of the neck can be rendered using lines at a different angle. Rendering the lines of the front of the neck can go parallel to the edge of the chin or the pit of the neck. It has to be measured in life and marked in drawing accordingly. This proportion can vary from model to model. The distance from the pit of the neck to the chin is equal to the distance from the chin to the nose. The two muscles of the neck are pointing to the pit of the neck. At the top, it follows the direction of the neck muscle, and the rest follows the direction of the trapezius muscle. The back outline of the neck is not straight but curved. In our case, the extended neck line goes though the bridge of the nose and the top of the forehead. The exact tilt can be measured by extending the line until it crosses other lines at some points. The front outline of the neck, as well as its back outline, is tilted diagonally. Therefore, it is important to keep the hierarchy of contrasts in the same order-the first line is strong, the next one is a bit weaker, and the last one is softer than the previous two. The line of the lower jaw overlaps the outline of the lobule of the ear, which in turn overlaps the outline of the neck. The direction of strokes helps to reveal the angles of the planes. Pencil strokes go across the forehead planes. To depict three-dimensional volumes when rendering tonal values in a portrait, it is better to apply pencil strokes across forms, not along them.