Drawing a Face Tutorial - Part 1 (Face outline)

Welcome to my insane attempt at an Art Tutorial, (cos I was nagged to

do one god knows why).
OK Im going to sketch a face, Ill be scanning every little stage of
progression right up to the finished result, try and follow the same steps
as I do. Try not to go to far ahead otherwise youll be giving yourselves
arm aches from rubbing out!
Materials:

One piece of A4 Zerox paper or

Photo Quality Inkjet paper
(or if you really rich and recently been paid an A4 piece of cartridge
paper!)
A ruler (no not HRH Queen Elizabeth II)
Lead Pencils B, 2B, 4B, 5B, 9B, 5H, 10H, F
Eraser (better still a kneadable putty rubber if you can get your hands on
one)
Cup of tea (Earl Grey, white with one sugar make sure it stands for two
minutes in the teapot first)
BASIC OUTLINE GRID

I always start off with a Basic Outline Grid; reason being is that it keeps
me consistent (plus it great for plotting the head onto the paper). First off
using the 5B, I draw a vertical centre line down the entire length with the
ruler (just hard enough so you can see it (youll be rubbing it out later).
Now about 2" from the top draw a horizontal line, 3.5" from that draw a
second horizontal line and 3.5" down from that draw a third horizontal
line. These three horizontals will define the top of the skull, eye line and
jaw line. Then I draw two wee circles 5/16" width (or No.9 on an old
green plastic Linex circle template I kept from my schooldays). These
two circles are approximately 34" from the centre line (thats from each
edge of the circle to the centre line. Then add a couple of horizontal lines
for the nose and mouth, dont worry about accuracy at this stage, simple
lines will suffice. Now if youve followed me you should have a weird
looking thing like this OK?

BASIC OUTLINE (Skull top)

I now divide the widths of the eyes with slight marks, I use Platos golden
rule (width of head is five eyes widths). I then draw two vertical lines to
gauge the width of my head (not too long only a couple of inches). Now I
need to define the top of the skull, starting from the top left left (as Im
right handed reverse to top right if your left handed) I draw a rough
quarter circle from the centre vertical to the second horizontal (notice
that the quarter circle intersects the width of head line coming in slightly.
Repeat for the other side and you should have drawn this:

BASIC OUTLINE (Jaw line)

I now need to add the jaw line. This is dead easy, just pick up either of
the vertical width of head lines and draw a longer sweeping arc to the
base horizontal line and repeat for the other side. Try not to make your
jaw line too pointed or too flat (we can alter this later when doing
portraits, member stick to simple (bit like me really). OK you still keeping
up with me?

BASIC OUTLINE (Eyes, nose and mouth)

Now I need to define the Eyes, nose and mouth a little. First I start with
the eyes, I draw two arcs just below the tops of the eyes and thru each
eye and then beyond the centre horizontal (this is where lots of folks lose
the eye shape so be careful TRY NOT TO DRAW EGYPTIAN EYES).
Now I draw a very simple (theres that word again) nose nothing exciting,
Im still plotting it all out OK) For the mouth I use three lines, top of the lip
(the fulcrum?) I draw a bird in flight (remember when you did that at
school, easiest way to draw birds!). The middle of the lips is an inverted
bowl or cup line and finished with a squiggle for the width of the bottom
lip. Then mark the width of the mouth on the with two marks
approximately in line with the centre of the eyes. Ive seen people spend
eons trying to draw the lips trying to get them accurate, dont bother, at
this stage keep it simple (theres that S word again). Finally I define the
height of the ears with two small horizontals. Tops of ears just above the
eyes (some would say in line with brows, thats fine except I dont draw
the brows yet), the base of the ears approximately in line with the base
nose line. Wow its starting to look like something better than a rag doll
now, yippee!

BASIC OUTLINE (Ears)

This is what stumps loads of folks, they either cover them up or try and
show as little as possible. Ears are wonderful, why without ears we
couldnt wear glasses or fancy hats!. Im going to show you how to draw
generic ears (generic means simple they arent perfect but they look
OK). First off I draw two small mountains (Alps, Andes whatever just
dont draw those flat top pillars what you see in the wild west), one
bigger than the other (biggest is the top of ear, smaller is the first fold
ring of your ear). At the base ear horizontal mark, I draw a ladle or cup
shape and join this ladle/cup shape to the big mountain (bet you never
thought youd be going hiking this early in the day, did you!). Now from
the smaller mountains draw a squiggly path coming down from near the
top (squiggly the inner edge of the path whilst leaving the outer edge
relative curved.
This is looking so good now; you deserve a pat on the back if youve
reached this stage. Now sit back and have a sip of your tea and admire
your fine handiwork. Do not tamper with it; FRED put that pencil down
NOW! Do not rub out either, cos I want to see your efforts OK. One last
thing I do not allow smudging OK, in my class we cross hatch and shade
only.

BASIC OUTLINE (Tidy up)

As you can see I have erased the construction grid (no longer needed)
and have strengthened the general outline, including defining the eyes,
upper lids, brows (still rough), nose left as is and tidied up the mouth, I
also redrew the right ear as I felt it was thinner than the left one. This is
still a very simple face; it has no sexuality yet (WILLIAM stop sniggering
or youll be asked to leave the classroom!). At this stage any changes
are easily made, any adjustments are quickly redrawn without upsetting
the sketch to much, in reality we havent started any in-depth shading,
only drafting up the outline.

BASIC OUTLINE (Adding Hair)

Hair is always the last feature I tend to draft out, as you can get trapped
in getting the hair done first, and then finding it is either too long or too
short for the face, this way you can easily judge the thickness of the hair
as the top of the head is still visible, and it is so much easier to decide
where the hairline rests on the forehead. Today, Ive decided to stay with
a short slightly wavy style (well attempt more styles as you progress I
promise).

BASIC OUTLINE (Tidy up hair)

Once your hair is happily seated were you want it, only then do I remove
the top of head line, as it is now surplus to requirements. This small step
really does make the difference between a good proportionate hair style
and those hairstyles you sometimes sketch which are physically
impossible, i.e., the top of the hair is below the top head line, (I can only
recall one instance where this is permissible, it was in the film Hannibal

starring Anthony Hopkins where he cut off the top of the victims head
and made him eat his own brains, so you see, not too nice).

BASIC OUTLINE (Alternative Hair)

Here are a few examples of alternative hairstyles on this same simple

face. As you can see it really is easy to sketch whatever hairstyle you
wish upon this generic face.

BASIC OUTLINE (Alternative face shapes)

Here are a few examples of alternative face shapes, again using the
same generic face we have drawn, only in these instances we have
either re-drawn beyond the generic shape to produce a fatter face or
drawn within the generic shape to create a thinner older face (not too
much, remember there is a skull inside that face you cannot easily cut
into that!)

The beauty of this technique, which I used on a daily basis, is that it

really does help me achieve consistency in my drawing skills, even when
Im in a hurry, trying to meet deadlines or even when Im not really in the
mood to sketch! Another reason I developed this technique was that it

assists in me in quickly drafting out whatever face I wish to draw, with

the minimum of effort. I really do find that if you need to draw faces in the
full front pose, this is the only tried and tested technique Ive come up
with, well anyway it works for me.
Next lesson we will begin in earnest on forming up and shading the
features, so thanks for coming in today and remember after each class I
expect you all to keep up with me through you home study assignments
before turning up for the next lesson.
HAIR (creating flow lines)

This is simply a lines that I sketch into the hair to show the direction the
hair is flowing (or brushed) all hairstyles follow certain basic paths of
directions. Adding these lines makes sure that your hair doesnt look to
unruly (unless of course that is the effect you are seeking) and aids you
in filling in and shading in later on. Here in figure 002A I have begun to
draw the flow lines, starting from the left hand side corner.

Figure 002A (planning the flow lines)

HAIR (creating flow lines continued)

This hairstyle Im sketching has a centre crown in the front radiating out
up and to the sides, so Im making sure that the flow lines follow this
pattern, see Figure 002B (completing the flow lines) below.

Figure 002B (completing the flow lines).

HAIR (flow lines forming up)

Now I need to form up theses flow lines, this I simply (got to stop using
that word) do by sketching in-between the flow lines using a 2B or 4B,
making sure I follow the general flow of the hairstyle (hope this is making
sense?). See Figure 002C (forming up the flow lines) below.

Figure 002C (forming up the flow lines)

HAIR (finishing off forming up flow lines)

Here you can see Ive completed forming up the flow lines, dont worry if
it looks icky, this is just the first undercoat so to speak well make it look
nice and neat real soon. See Figure 002D (finished forming up the flow
lines) below.

Figure 002D (finished forming up the flow lines)

HAIR (adding texture)

Using the 5B pencil (which I keep very sharp constantly re-sharpening,

if you dont want your lines becoming too thick causing them to merge,
remember hair is basically very fine strands, this is what I want to show),
I begin adding texture to the hair. As usual I start from the left side and
add hatching stokes, but not within the entire flow sections, I leave a few
gaps for natural hi-lights or where the hair is shinier/lighter (each

hairstyle is unique and where you put these really depends on where
best they look. See Figure 002E (adding texture) below.

Figure 002E (adding texture)

HAIR (adding texture and cross hatching)

The more texture I add, the more I begin to lightly cross hatch in the
opposite direction. Near the crown or centre of the hair I really begin
cross hatching in earnest, Im trying to make small propeller blades of
cross hatching radiating out from the centre. See Figure 002F (adding

texture and cross hatching) below.

Figure 002F (adding texture and cross hatching)

HAIR (adding edge cross hatching)

I now begin cross-hatching around the inside edge of the hair, working
my way around the hair edge to only an inch or so, as I want to give the
hair more body or thickness. See Figure 002G (adding edge cross
hatching) below.

Figure 002G (adding edge cross hatching)

HAIR (adding shading)

Using a very sharp7B (remember keep it sharp!), I begin working into the
hair and defining the flow lines but now stronger, darker. Remember that
edge cross-hatching I just did? Well Im using that as an undercoat for
the darker shading Im doing now. See Figure 002H (adding shading)
below.

Figure 002H (adding shading)

HAIR (finished shading)

Ive now shaded the entire hairstyle; Ive also picked out the centre
crown and defined the few wavy locks on the front. Notice how the
shading strokes still follow those flow lines we created at the very
beginning, without them folks often loose track of the hair and the style
and direction its supposed to go in. You could if you wanted to, leave
the hairstyle as it is now, but I want to show you how with a little bit more

effort you can make shiny/greasy or matt looking hair. See Figure 002I
(finished shading) below.

Figure 002I (finished shading)

HAIR (adding hi-lights)

Using my kneadable putty rubber (ordinary erasers just cant do this bit
unless you can get your hands on a good retractable pencil eraser),
using my forefinger and thumb, I squeeze the putty rubber into a wedge
with a very thin/fine edge and simply cut hi-lights into the hair.

Remembering to keep within the flow lines (these flow lines, I keep going
on about them, but they really do help you again and again). See Figure
002J (adding hi-lights) below.

Figure 002J (adding hi-lights)

HAIR (removing hi-lights)

To remove the hi-lights, I simply cross hatch them out, this is when cross
hatching defeats finger smudging, as all you achieve in doing is create a
bigger mess. See Figure 002K (removing the hi-lights) below.

Figure 002K (removing the hi-lights)

HAIR (adding matt)

To achieve matt or dry looking hair I use a 7H flat side on against the
paper in a sweeping up and down motion disregarding all hi-lights. See
Figure 002L (adding matt) below.

Figure 002L (adding matt)

HAIR (tidying up)

To finish off the hair, Ive gone back a step to adding hi-lights, but this
time only cutting in a few hi-lights, here and there (I dont want too shiny
a hairstyle. As Im using the putty rubber Im also tidying up the edges
and cutting into the hair edge or creating small nicks. I reinforce these
cuts/nicks by using a sharp 7B to define clean cut edges all way round.
See Figure 002M (tidying up) below.

Figure 002M (tidying up)

Class dismissed, Lynda, PLEASE stop scraping the chair as you get up!
See you all tommorrow, no absenteeism, Ill only accept notes WRITTEN
by your parents.
EYES (darkening the iris)

The very first thing I do when I draw eyes (after roughing the basic
outlines out see lesson 002) is to fill in both irises. This is so simple
(hmm there thats word creeping in again!) using a 5B, 6B or even a 7B,

I colour in both irises, and this time Ive created a second hi-light, smaller
than the original and slightly lower. Im trying to get the impression of a
planet and her moon in front of a black hole!

Figure 003A (darkening the iris)

EYES (defining shadows)

OK, now I need to define the shadows on the eyes, basically the eye
opening consists of two lids, the upper and lower. The upper is generally
always in shadow and you can use a heavy line to show this. The lower
lid is more often than not at an angle and catches the light and needs not
be defined (yet!). I also draw a thick containing line around the edge of
the pupil.

Figure 003B (defining shadows)

EYES (defining pupil structure)

Now I need to define the structure or flow lines of the pupils, this I do by
using an H7 to draw lines radiating out from the black iris. Try not to
disturb the two hi-lights in either eye.

Figure 003C (defining pupil structure)

EYES (mid tone pupils)

Using the structure I created earlier, I begin shading in the pupils,

following the same direction of the structure or flow lines. This gives a
softer mid tone colorization to the eyes. This is a useful stepping off
bridge for what comes next.

Figure 003D (mid tone pupils)

EYES (light tone pupils)

I now use my kneadable putty rubber by squeezing it into a very fine

point and rubbing out the lower portion of the pupil, but trying to stay
within the outline pupil edge. Dont worry if you rub a bit of the edge out,
simply redraw it.

Figure 003E (light tone pupils)

EYES (dark tone pupils)

This is similar to creating the mid tone pupils, only difference is I press
slightly harder trying to achieve an overall dark matt colour on the pupil.

Figure 003F (dark tone pupils)

EYES (tidy up pupils)

Here Im using the same technique I did in the light tone pupils section,
but being careful not to rub out all the dark matt. Im trying to show the
pupils as being darker at the top and lighter at the bottom.

Figure 003G (tidy up pupils)

EYES (hatching the whites)

Using a sharp H7, I begin hatching strokes on the white parts of the
eyes, careful to keep inside the two lids. Im also defining those small
spheres (tear ducts) found in each inner corner of the eye, each with a
little hatching, your pencil really needs to be sharp otherwise youll end
up blurring too much. This hatching helps defying the actual sphere of
the eyeball inside the eye socket.

Figure 003H (hatching the whites)

EYES (hi-lighting the whites)

Again Im using my kneadable putty rubber by squeezing it into a very

fine point and rubbing out the sections of the whites either side of the
pupil outlines, in effect giving the whites a hi-light.

Figure 003I (hi-lighting the whites)

EYES (shading the lids)

Using a 7H, I begin shading or hatching in the lids, first I define the arch
of the lids, making the arch line stronger at each end of the lid. I then
hatch from the outside corner of the eye (inside the lid) towards the
centre but fade off, and begin on the inner corner and repeat. Ive spilled
out from each eyelid line a wee bit out from and below the corners of the
eyes. This is OK.

Figure 003J (shading the lids)

EYES (hatching the corners)

Still using the H7, I begin hatching in earnest now starting from the outer
corners of the eye, onto the lower lid, careful not to touch the lower lid
edge (see the white edge of the lower lid Ive left?). I also hatch the inner
corners of the eyes around the tear duct, again making sure I do not
touch the tear ducts (leaving another clear edge to the ducts). I then add
some basic hatching to the inner corners (up to the small nose curves I
drew earlier) going diagonally down and slight hatching on the top
corners of the lids.

Figure 003K (hatching the corners)

EYES (hatching under brows)

Still using the H7, I begin hatching under the brows near the inner
corners of the eyes, coming over each lid to the other side of the eye.

Figure 003L (hatching under brows)

EYES (brow flow lines)

Switching to a 5B, I begin sketching flow lines onto the brows, in a

similar way as I created flow lines for the hairstyle. These flow lines have
to follow the direction of the hairs on the brows.

Figure 003M (brow flow lines)

EYES (strengthening the brow flow lines)

Using a 5B, I strengthen up these same flow lines, defining the shape I
want to give these brows. At this stage its easy to define brow shapes
by either sketching thicker or rubbing out to produce thinner brows.

Figure 003N (strengthening the brow flow lines)

EYES (tidy up brows)

Still using the 5B, I begin to tidy up the brows by filling them out, trying to
give them a fairly soft not too thick appearance.

Figure 003O (tidy up brows)

EYES (adding lashes)

I re-sharpen a 7B to a fine point and add gentle curved lashes starting

from the outside corners along the top lid (stopping at the black iris) and
along the lower lid (under the white edge stopping just half-way). If you
can, try to make the tips of the eye lashes into pointed arrow heads (you
really need your pencil sharp for this bit!).

Figure 003P (adding lashes)

EYES (finishing off the eyes)

Using a sharp 6B or 7B, I finish off the eyes by picking out slight
shadows on the tear ducts, adding a few more miniscule lashes and
shading thicker on the outer corners of the whites of the eyes.

Figure 003Q (finishing off the eyes)

Hopefully, you SHOULD have a face that looks something like this!

Arh! their goes the bell! Oh! and Edwards, see me after class!
Class dismissed.
NOSE (first hatching)

Using a 7H I begin roughing out with a few strokes the preliminary

shadows of the nose. Basically forming two columns down either side of
the nose, around the nostrils and along the base of the nose.

Figure 004A (first hatching)

NOSE (reinforcing hatching)

Now I simply go over the initial hatching using strokes in the opposite
direction to the first and reinforce the first hatching.

Figure 004B (reinforcing hatching)

NOSE (defining shadows)

Now using a 2B, I define where the main shadows will be on the nose. In
this example, I want shadows on each nostril, under the base and joining
up both nostrils. I also want to leave a sphere or ball of no shading on
the tip of the nose.

Figure 004C (defining shadows)

NOSE (defining trunk)

Still using the 2B, I begin to define the trunk of the nose by a few simple
angle strokes down each of the earlier columns I hatched. I also add a
few angle strokes coming from the corners of each eye, travelling down
the sides of the columns of the nose.

Figure 004D (defining trunk)

NOSE (defining wide trunk)

Still using the 2B, I draw a few long vertical strokes down each column
)including the central trunk) to the nostril and then as if Im sketching the
letter H, I add a few strokes across the open bridge but above the
sphere of no shading, in fact Im trying to it to an elliptical sphere shape.

Figure 004E (defining wide trunk)

NOSE (defining medium trunk)

Still using the 2B, I reinforce the trunk hatching and around the nostrils to
the just below the base of the nose.

Figure 004F (defining medium trunk)

NOSE (defining thin trunk)

Still using the 2B, I join the two columns with strokes and then using my
kneadable putty rubber which I squeeze to a thin wedge I rub out a thin
bridge line almost to the sphere of no shading (looks like a rough outline
of an exclamation mark).

Figure 004G (defining thin trunk)

NOSE (adding body)

Here Im simply filling in and reinforcing the body of the trunk of the nose
(using 2B 4B) making sure I retain my exclimation mark. I also
strengthen the shading on the sides of the nose (helps when I have add
the skin saves time too).
http://i722.photobucket.com/albums/ww228/szymcz...

Figure 004H (adding body)

NOSE (tidy up)

Using both the softer 2B/4B and then the harder 7H, I tidy up the nose,
feathering very gently around the sphere and ever so fine across it. I fine
shade across the entire trunk and sides of the nose blending it in
uniformly (take your time here, the effort is really worth it). Ive also
added shading below the baseline and come down slightly from the nose
as if to join the lips of the mouth. I also blend in the top cornes of the
nose where it meets the eyes.

Figure 004I (tidy up)

NOSE (face so far)

Here we have the finished nose as it should look so far, I try not to work
it too far as I still have a lot to do.

Figure 004J (face so far)

I hope you are getting something that looks familiar, I do not expect it to
be identical to my face, but a close approximation to the dominant
primate on this planet is a step in the right direction!
Class dismissed.
MOUTH (hatching shadows)

Using a 7H I begin roughing out the shadows with a few strokes across
the upper lip and under the lower, finally add a few hint strokes at each
corner of the mouth.

Figure 005A (hatching shadows)

MOUTH (reinforcing shadows)

Now switching to a softer 2B, I reinforce the initial strokes, adding a few
stich strokes on the edge of the lower lip. I also add a small hammock
shade below the lower lip.

Figure 005B (reinforcing shadows)

MOUTH (adding body)

Still using the 2B, I strengthen the shadows and texture giving the lips
more body, still rough strokes but stronger definition.

Figure 005C (adding body)

MOUTH (flow lines lower lip)

Switching to the 7H, I sketch out the lower lip flow lines fanning out from
the centro of the mouth. You can keep these lines straight or curve them
which gives a more fuller look to the lower lip.

Figure 005D (flow lines lower lip)

MOUTH (hatching lower lip)

Still using the 7H, I cross hatch along the edge opf the lower lip and
across the lower corners spilling out onto the skin around the mouth.

Figure 005E (hatching lower lip)

MOUTH (softening corners)

Switching over to the 2B, I soften the shading around the corners and
just below the corners where the lips spill into the skin.

Figure 005F (softening corners)

MOUTH (tidy up)

Using the softer 2B and then onto the harder 7H, I tidy up the lips,
feathering very gently around the edges and again as in the nose, ever
so fine across it. I fine shade across the whole of the lips blending it in
uniformly. I use a sharp 2B to pick out a few cracks coming from the top
of the lower lip. I also use the kneadable putty rubber to softly remove
shading from the top lip.

Figure 005G (tidy up)

MOUTH (face so far)

Now we have the face so far, Hair, eyes, nose and mouth. Its really
starting to take shape, but dont hurry it off just yet, there is still some
work to do on the skin and ears.

Figure 005H (face so far)