D R AW I N G P R O G R A M

Head Drawing Phase II:

Basic Head Construction—
Drawing from Head Photo

OVERVIEW
Things you will learn: In this lesson you will learn to lay in a drawing using photo reference. I have
provided you with a very manageable photo. It is well lit with a single, powerful light source making
the forms easier to navigate. We are using bits and pieces of everything we have learned up to this
point. The goal is to begin understanding the fundamental procedure for laying in any drawing. First,
you will do the linear lay-in using primarily the abstraction while keeping the skull and planes infor-
mation as knowledge for cross-referencing. You will then start mapping the shadow pattern. After
completing this, move on to the value phase. Here you will insert a value 5 into your map.

We will only take this

drawing up to the middle
value stage. Notice how
three-dimensional the
image looks minus any
full-value range. This
reaffirms that edges are
more important than
value to achieve a three-
dimensional image on a
flat surface.

Preserving the Traditions of the Masters

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 D R AW I N G P R O G R A M
Head Drawing Phase II:
Basic Head Construction—
Drawing from Head Photo

M ATERIALS
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- TIP -
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Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 2
1
 D R AW I N G P R O G R A M
Head Drawing Phase II:
Basic Head Construction—
Drawing from Head Photo

ASSIGNMENT 8: BASIC HEAD CONSTRUCTION–DRAWING FROM HEAD PHOTO

Part 1: Watch the video demonstration as I lay in the head. Remember to look at all of the
handouts as they will help as a reminder of the essential concepts.

Part 2: Copy the process using the photo provided.

1) Make sure to have your charcoal pencil well sharpened. Sit comfortably, and set your
intention. Think back over the Asaro, skull, and abstraction.

2) As you progress, make sure your lay-in lines stay lightly committed to. Try not to grind
the tone onto the surface. Over time you will find the sweet spot.

3) As you work into the mapping and tone, commit enough to be able to easily see your
decisions but again, stay a bit on the conservative side.

Note: We will only take this drawing up to the value 5 level. At this point in the drawing we can
easily change or alter any decisions that got away from us, and there will most likely be a few. I
would encourage you to start incorporating this procedure using photos you find in magazines or
ones you stage and photograph yourself. Head reference is usually quite easy to come by.

Preserving the Traditions of the Masters

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 D R AW I N G P R O G R A M
Head Drawing Phase II:
Basic Head Construction—
Drawing from Head Photo

S TA G E 1 : L AY- I N a n d M A P P I N G

- TIP -
When laying in the head, look for
the abstraction lines that seem to
represent the person’s character.
Not every line is meant to be used
all the time. Choose those that
make sense. You can also use
Loomis information, Hogarth and
others. The lay-in and mapping
phases have a tendency to work
hand in hand. Stick in there and
have fun.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 4
 D R AW I N G P R O G R A M
Head Drawing Phase II:
Basic Head Construction—
Drawing from Head Photo

S TA G E 2 : A D D I N G M I D D L E T O N E

- TIP -
Adding tone is a crucial stage. Be
careful not to go too dark. Keep the
tone around value 5 on a scale from
0 – 10. At this point, the drawing
should start to appear very three-
dimensional. If not, you may have
made some errors in your edges.
You can always go back and review
the video. Do many lay-ins like this
from reference you pick.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 5