By Remi Engels, guest blogger
Once you have hatched the primary value masses of your portrait it is time to blend and “remove” the lights with a kneaded eraser.
A stump is a cylindrical tool tapered at the ends and generally made of rolled paper. Stumping then is to smear or blend your hatchings with a stump. [...]
Pencil Portrait Drawing—Stumping and the Kneaded Eraser
January 19th, 2009 · No Comments
Tags: Art Tools · Drawing · Pencils · Portraits · Sketching
Pencil Portrait Drawing—Blocking-in Large Masses of Tone
January 18th, 2009 · No Comments
Tone is generally thought of as shadow. Beginners generally first draw an outline of the shadow and then fill in the shadows little by little. They usually begin with an eye and then grow out the shadows. Inevitably, the outcome is a chaos of disconnected darks and lights.
Applying, or more correctly, constructing tone should be approached with a sculptural sensibility. That is, think of your sketch as a block of clay that is to be carved.
Tags: Drawing · Pencils · Portraits
Pencil Portrait Drawing—Planes in Portrait Drawing
October 31st, 2008 · 1 Comment
By Remi Engles, guest blogger
Most people have the fixed idea that the head is more or less formed like an oval. Actually, the head is much rectangular than we suppose. The oval ideas is one of those simplified preconceived symbols the mind uses as a means for quick identification.
Most beginning students will usually sketch [...]
Tags: Drawing · Pencils · Portraits · Sketching
Pencil Portrait Rendering—The Total Arabesque
October 1st, 2008 · No Comments
By Remi Engels, guest blogger
Presuppose that we have a profile where the head, arm, and fingers are visible and are in contact. Very often, the starting artist will endeavor to sketch each of these elements independently. The approach will invariably lead to frustration and in the end often to failure.
Instead of drawing each element independently, [...]
Tags: Drawing · Pencils · Portraits
Pencil Portrait Sketching—Arabesque
September 16th, 2008 · No Comments
In this article we imagine that you draw directly from life or from a suitable photo. In other words, we imagine that you do not use the so-called grid method. This technique relies on a grid drawn both on the photo of your subject as well as your sketching paper.













