Very often, novice artists neglect the study of the human skeleton and muscles, mistakenly believing that “it will work out just fine”. But ignorance of human anatomy leads to the fact that the drawn person turns out to be unconvincing, and his facial expressions and movements look unnatural.
Therefore, today we will look at the basic principles that you should be guided by if you want to draw a good and high-quality portrait.
1. Proportions of the face
The skull and jaw are a slightly flattened sphere, so looking at a human face from the front, we see something like an egg turned upside down with its narrow side down. Two perpendicular lines passing through the middle divide this egg into four parts. Let's look at the details:
- Mark the midpoints of the right and left halves of the horizontal line. The eyes will be located exactly at these points.
- Divide the bottom half of the vertical line into five sections. The lower part of the nose will be located on the second mark from the top, and the line where the lips meet will be located one point lower.
- Divide the top half of the vertical line into four parts. The hairline will be located at the second or third mark, this feature varies. The ears are between the upper eyelid and the tip of the nose, but this rule is only true when the face is not down or up.
Helpful hint: the width of the face is usually five eyes wide or slightly less. The size of the distance between the eyes is equal to the width of one eye. Very rarely in humans, this distance is very different from the standard, but this feature will be easy enough to notice. The distance between the lower lip and chin is also equal to the length of one eye.
Another way to measure is to use the distance between the tip of your thumb and forefinger. The figure below shows what distances can be measured in this way: ear height, distance from the hairline to the eyebrows, from the eyebrow to the nose, from the nose to the chin and from the pupil to the pupil.
Profile
In profile, we still see the shape of an egg, but the sharp side of it looks into a corner. Lines now separate the head into a face and skull.
On the skull:
- The ear is just behind the vertical line. In size and location, it is still located between the upper eyelid and the tip of the nose.
- The depth of the skull varies within the limits indicated in the picture below in paragraph 4 with dotted lines.
- Everything is located as mentioned above.
- The root of the nose coincides with the horizontal line or is slightly higher
- The most prominent part is the first point above the horizontal line that marks the brow line.
2. Features
Eyes and eyebrows
The eye is simply two arcs connected in an almond shape. There is no definite rule in drawing eyes, because the shape of the eyes can be different, and there are a lot of such forms, but we can notice the following trends:
- The outer corner of the eye may be higher than the inner, but not vice versa.
- If the shape of the eye is almond, then the rounded part of the eye will be closer to the inner corner, and the elongated part will be closer to the outer.
Eye details
- The iris is partially hidden under the outer eyelid. It touches the lower eyelid only if the person looks down, or if the eye is built so that the lower eyelid is higher than usual.
- Eyelashes grow from the inside out, not the other way around, and this is very important when drawing to make them look natural. Eyelashes on the lower eyelid are shorter.
- When trying to draw all the little things (tear ducts, lower eyelid, etc.), remember that drawing in detail does not always mean that the result will be beautiful.
In profile, the eye takes the form of an arrowhead (with convex or concave sides), with a slight hint of the upper and possibly lower eyelids. In real life, you will not see the iris from the side, you will only see the white of the eye. But an eye without an iris looks weird, so draw at least a hint of it.
As for the eyebrows, the easiest way to draw them is to follow the arch of the upper eyelid. Often the widest part of the eyebrow is closer to the inside, and the “tail”, tending to the outer part of the eye, gradually becomes thinner.
If you look in profile, the shape of the eyebrows changes dramatically and becomes more like a comma. The eyebrow, as it were, begins where the tips of the eyelashes are.
The nose of a person is approximately wedge-shaped, it is enough just to imagine and draw it in three-dimensional form before drawing the details.
The back and wings of the nose are flat surfaces that are only outlined at the end, but it is still very important to take these surfaces into account when sketching in order to correctly calculate the proportions. The lower flat part of our wedge in the form of a truncated triangle is connected to the wings and the tip of the nose. The wings fold inward against the septum to form the nostrils - note that the bottom view shows how the septum begins before the wings and connects to the face. It protrudes lower than the wings when we look at the nose in profile, which means that in 3/4 view the distal nostril is hidden by a septum.
Just like in the case of the eyes, detailing does not always give a good result. Therefore, it is more important to work out the proportions than to pore over the details, which in the end can disfigure the drawing. When drawing from the front, the nose looks better if you draw only the lower part of it. If you are drawing a 3/4 view, then most likely it will be better for you to draw the line of the back of the nose. You will have to examine and study a lot of noses in order to understand how and when to draw it.
Lips
- The line where the lips meet should be drawn first, as it is the longest and darkest of the three lines that form the mouth. This is not just a wavy line, but a whole series of thin curves. In the picture below, you can see an exaggerated example that will explain the movement of the mouth line to you. Note that there are different lip shapes, and that the main line can reflect the lower or upper lip. Lips can be softened in many ways. The line in the middle can be very straight to reflect a sharp look, or very blurry to loosen the lips. It all depends on the shape of the lips, how plump they are. If you want to achieve symmetry, start from the center and draw one half of the lip and then the other.
- The two upper tips of the upper lip are the most obvious parts of the mouth, but they can also be pronounced or practically run in one line.
- The lower lip is a soft arch, but can also vary from almost straight to very rounded.
- The upper lip is usually thinner than the lower one and protrudes from the general relief of the face less than the lower one. Try to shade the upper lip with strokes.
- On the sides of the lips are in the form of an arrowhead and the fact that the upper lip protrudes slightly forward in this place is very clearly visible.
- The midline of the mouth at the ends deviates downward from the lips. Even if the person smiles, it curves down before going up again. Never draw this line straight up if you are drawing a face in profile.
The most important part of the ear is the long, C-shaped outer line. The inside of the ear is like an inverted U. There is also a similar curve just above the earlobe, connected to a small C-shaped arc. In general, the shape of the ear also varies.
When we see the face in front, the ears are visible in profile:
- The rim, which was previously U-shaped, is now a separate part - as happens when we look at the plate from the side and see its bottom.
- The earlobe will look more like a drop and will stand out.
- How thin you need to draw the line of the ear depends on how close the ears are to the head.
If you look at the head from behind, the ear looks as if separated from the head: the rim is attached to the head with a funnel. Don't be afraid to draw the funnel too big, as it really isn't small.
3. Angle
Having the shape of a ball with a few changes, the head is drawn easier than expected. But, despite this, you need to study how it looks from different angles. Of course, the appearance of the nose changes first of all, but the eyebrows, cheekbones, the central part of the mouth and chin also change.
When we drew a face in full face and in profile, we practically simplified it to a two-dimensional plane. For other viewing angles, we need to think in 3D space.
look down
- All details are rounded up and the ears are also moved up.
- Since the nose protrudes forward, it protrudes from the general line of the face and its tip is closer to the mouth.
- The eyebrow curve becomes more even. In order for it to take a reverse bend, you need to turn your face in some particularly unusual way.
- The upper eyelid becomes more visible and covers most of the eyeball.
- The upper lip almost disappears, and the lower lip protrudes more.
- Note that since the mouth follows a general curve, it looks like a smile has appeared on the person's face.
look up
- All details are rounded down and the ears are also moved down.
- The upper lip becomes fully visible and the mouth appears plumper.
- The eyebrow line becomes more rounded, but the lower eyelid is rounded down, giving the effect of a sharp look.
- The lower part of the nose is clearly visible, the nostrils are also clearly visible.
Side turn
When a person is seen almost from the back, all that is visible is the protruding line of the eyebrows and cheekbones. The line of the neck protrudes and tends to the ear. Eyelashes are the next thing you see when a person turns his face.
Then part of the eyebrow appears, and the protrusion of the lower eyelid and the tip of the nose protruding from behind the cheek also become visible.
When the face is already turned almost in profile, the eyeball and lips become visible (but the midline of the mouth is still small), and the line of the neck merges with the line of the chin into one line. You can still see the part of the cheek where the nostril is hiding behind.
As a rule, the construction of the head begins with more generalized forms, this method of construction is called CUTTING. Many well-known masters began their masterpieces with this construction method. I think you will be interested to know how it's done. So let's get started.
Depicted head "cutting".
1) First we need to determine where our head will be on a piece of paper (A3 or A2 format). To do this, we outline the overall dimensions by measuring the ratio of the width and height of the depicted object. It is best to leave more space on the front side.
2) Next, we outline the total volume of the head, determine the angle, the location of the front part in your perspective.
3) divide the face into proportional parts of the face (in this perspective, the middle line of the eyes is located in the middle), outline the tip of the nose, the bridge of the nose, the superciliary arches, the middle line of the mouth, and the chin.
4) Find the tilt of the head itself, and the lines of the front parts in perspective (there is a reduction)
What is closer to us, it seems more, what is further - less, that is, it is reduced.
5) Let's find at what angle the nose, build an axial one for the front part. We start by building the nose.
It all depends on our perspective, if we are below the depicted object, we see the lower edge of the nose, if to the right of the object - the right side of the nose, and the frontal, in perspective. (As in our case. Here are examples of building a nose by chopping.
6) in the same way we will build other parts of the face:
Eyes
Lips and chin
The whole face and head should be built along the edges. And as a result we get this:
WORK ON HATCHING
1) Determine from which side the light falls.
In our case, top right.
In this case, the edges on which the direct light hits are the lightest, on which the gliding light is a little darker, the darkest edges are turned away from the light. you should not forget about reflexes, but they are not brighter than light. If you are drawing a gibbs head (as in my case) don't forget about the materiality of the gibs. Border contrasts should be enhanced, and reflexes and light should be made brighter.
In the end, this is what happens:
P.S. Thanks to everyone who liked my lesson, I tried. I will be glad to see your robots. And good luck in your endeavors and talents. If you have questions about the lesson. I will listen and help in any way I can. Sorry for the image quality (taken on a mobile phone). The author of the first trimming is Art_Yana. Source
Arrange the image on the sheet. Knowing that the front part has a lot of small details, it is necessary to create a larger background field in front of it. The image of the head is slightly shifted upwards, since the lower part of the sheet should have a greater weight. Outlining the general proportions, it is necessary to pay attention to the ratio of the total width to the total height of the head, to find out in which proportions the rectangle fits the plaster head.
Having determined the inclination, rotation and plastic characteristic of the total volume, outline the general dimensions of the image and the outlines of the total mass of the head.
Drawing of a human head (gypsum anatomical head). Second phase
Considering perspective reductions, generalization, outline the average profile section. Mark a line through the middle of the eye section. This line will divide the head into two equal parts vertically. The main task at this stage is to correctly identify perspective abbreviations and express them when drawing these lines. This will help in future work. You will need to check yourself each time, based on the directions previously set in the figure.
Often, when designing a profile section, the draftsman is faced with the problem of determining the slope. The tilt of the head should be found on the basis of an imaginary line connecting the bridge of the nose with the middle of the chin, and the vertical. Of great importance is the definition of the facial angle. Outlining two generalized lines of sections, the so-called cross, the painter must firmly establish the line of his horizon.
Drawing of a human head (gypsum anatomical head). Third stage
Based on the anatomical points, highlight the general proportions of the front part. Anatomical points should be primarily the temporal lines, protrusions of the zygomatic bones and the angles of the lower jaw. It is necessary to determine the proportions of the front part by comparing it with the general shape.
Drawing of a human head (gypsum anatomical head). Fourth stage
Examine the profile of the head and strictly outline the profile longitudinal section. It is necessary to start drawing the section from the midpoint of the transfer. Moving up to the back of the head, down to the chin and jugular cavity, view the entire head. Outlining the profile section, one should check the proportionality of individual small parts of the head and correctly determine the protruding points, comparing them with each other along the verticals.
Drawing of a human head (gypsum anatomical head). Fifth stage
Mark the width of the large forms of each part of the head, building from the profile section and taking into account the perspective cuts and pairing of the forms. Perform a volumetric-constructive construction of the shape of the head.
Drawing of a human head (gypsum anatomical head). Sixth stage
Draw small details, checking the construction with the help of sections. Follow the turns of the form, conveying the complex plastic base of the human head, complete the linear-constructive drawing.
Remembering the canons that came to us from the depths of centuries, and comparing them with what is in nature, students more accurately determine the nature of the shape and proportion of a particular head. Some general patterns can be traced in the sculptural images of heads made by ancient sculptors.
The front part of the head can be divided into three equal parts. The line delimiting the upper third of the middle part runs at the level of the eye. The height of the ear is equal to the height of the middle third of the face. It is necessary to start the construction, based on the knowledge about the features of the structural structure of the plastic shape of the head, obtained while working on the cutting pattern.
Drawing of a human head (gypsum anatomical head). seventh stage
Given the direction of the light, in a light tone outline the main volume of the head and the main details. Strictly follow the light divisions in the drawing. Show lighting.
Drawing of a human head (gypsum anatomical head). Eighth stage
Introduce halftones, moving on to a more detailed revealing of the form, while maintaining a constructive, proportional and perspective basis of construction. Analyze the form by tonal gradations, subordinating them to the tonal scale. Subordinate all the elements of chiaroscuro to their relationship, achieving the integrity of the picture.
Drawing of a human head (gypsum anatomical head). Ninth stage
Define more precise chiaroscuro gradations by accumulating details and subordinating them to a general shape. Given the tone, at the same time refine the constructive basis of the plastic form. Generalize and complete the drawing of the anatomical head.
Similarly to the drawing of a plaster anatomical head, a drawing of any other nature is carried out.
The portrait conveys not only the external characteristics of the face, but also reflects the inner world of a person, his attitude to reality and emotional state at a certain point in time. In fact, a portrait, like any other genre painting, is an arrangement of lines, shapes and colors on canvas or paper so that their final combination repeats the shape of a human face.
Sounds almost like magic? In order to correctly place those very lines, shapes and shades on paper, you must first of all study the proportions of a person’s face (when drawing a portrait, they must be observed without fail) and their dependence on the movements, direction and shape of the head.
What is a portrait?
Regardless of the level of skill, working on it intimidates any artist. The remarkable painter John Singer Sargent gave the portrait two characteristics that every artist would agree on:
- “Every time I paint a portrait, especially on commission, I lose a friend.”
- "A portrait is a painting in which the lips end up looking somehow wrong."
Portrait - one of the most difficult genres of drawing and painting. The reason is that the artist often works to order, and pressure from outside interferes with the creative process. The portrait in the view of the customer often differs from what the artist creates. In addition, working on the image of a human face requires special knowledge and a fair amount of patience.
Why study proportions
Proportions are needed in order to understand how objects are located relative to each other in a dimensional, planar and intermediate ratio. If even a small amount of realism is important for a portrait, this cannot be achieved without knowing the proportions. On the other hand, nobody canceled abstract portraits.
Knowledge of proportions helps to convey not only facial features, but also emotions and facial expressions of a person. Knowing the dependence of the change in appearance on the position of the head, the emotional state of the model and lighting, the artist can transfer the character and mood of a person to the canvas, thereby creating an object of art. But for this you need to know the correct proportions of the face and be able to build a composition in accordance with the rules.
Ideal Proportions
During the High Renaissance, Raphael created paintings that were considered the standard of perfection. In fact, all of today's ideal proportions originate in the oval faces of Raphael's Madonnas.
If you draw a vertical line in the very center of the face and divide it into three parts - from the hairline to the eyebrows, from the eyebrows to the tip of the nose and from the tip of the nose to the chin, then these parts will be equal in an ideal face. The figure below shows the ideal proportions of a human face, a scheme for drawing and building an ideal face oval, as well as the ratio of the main features. It is worth considering that the ideal male face is characterized by more angular features, but, despite this, their main location corresponds to the presented scheme.
Based on this scheme, the ideal proportions of the face when drawing a portrait correspond to the following formula:
- BC=CE=EF.
- AD=DF.
- OR=KL=PK.
face shape
Correctly constructed proportions of a person's face when drawing a portrait depend largely on the shape of this face. Raphael created a perfect oval, and nature does not limit perfection to just one geometric shape.
Probably, it is most convenient to study the construction of proportions and their change during movement on a perfectly oval face, for this there are many ways and techniques that will be discussed below, but the essence of the portrait is not in creating an ideal, but in depicting a person with all his features and imperfections. That is why it is important to know what the shape of the face can be and how it affects the construction of proportions when drawing portraits.
Rounded faces
elongated face has rounded hairline and chin. The vertical midline of the face is much longer than the horizontal. Elongated faces are usually characterized by a high forehead and a large distance between the upper lip and the base of the nose. Usually the width of the forehead is approximately equal to the width of the cheekbones.
Oval face similar in shape to an egg turned upside down. The cheekbones are the widest part of it, followed by a slightly less wide forehead and a relatively narrow jaw. The length of an oval face is slightly greater than its width.
Round face characterized by almost equal midlines of the vertical and horizontal sections of the face. Wide cheekbones are smoothed out by a smooth rounded chin line.
Angular face shapes
Rectangular face characterized by a wide jaw, accentuated by an angular chin and a straight hairline. The median line of the vertical section is much longer than the horizontal one. The width of the forehead of a person with a rectangular face is approximately equal to the width of the cheekbones.
triangular differs from the heart-shaped only by the hairline, in the triangular it is straight. A characteristic feature of this face shape is high cheekbones and a very narrow, pointed chin, while the cheekbones are almost as wide as the forehead. The vertical section line of a triangular face is usually slightly longer than the horizontal line.
Square shape characteristic of persons with low, wide cheekbones and an angular chin. The length of a square face is equal to its width.
Trapezoidal defined by a wide jaw, low cheekbones and a narrow forehead. Usually on such a face, the chin is angular and wide, and the cheekbones are much wider than the forehead.
diamond shape the face is given a proportionally narrow forehead and chin, the latter usually pointed. The high cheekbones are the widest part of the diamond-shaped face, and its horizontal section is much smaller than the vertical one.
Correct facial structure
The correct construction when drawing a portrait is based on measuring the facial features of the model and the distance between them. Each portrait is individual, just as no two faces are exactly the same, with the exception of twins. The formulas for calculating proportions give only basic tips, following which you can make the drawing process much easier.
To create your own characters or draw faces from memory, it is extremely important to know the correct rendering of proportions. It is important to remember here that the shape of the head is much more complicated than an inverted egg or an oval, and therefore it is worth following the rules to avoid eyes on the forehead or a mouth that is too small.
face outline
First, draw a circle - this will be the widest part of the skull. As you know, the main features of the face take place under the circle. To approximately determine their place, we divide the circle in half vertically and continue the line down so that the lower outline of the circle divides it exactly in half. The bottom of the line will be the chin. From the sides of the circle to the "chin" you need to draw lines that will become the preliminary outlines of the cheekbones and cheeks.
If the portrait is drawn from the model's face or from memory, then you can correct the shape with a few light lines, determine the approximate width of the chin and the hairline. It is worth noting that the hair in the portrait will occupy some part of the circle that was drawn at the very beginning.
Eyes and eyebrows
Draw a horizontal line at the base of the circle, perpendicular to the first. The eyes are on this line. It is on it, not higher, no matter how much you want! The horizontal line must be divided into five equal parts - each of them is equal to the width of the eye. The central part may be slightly wider. The eyes are located on the sides of her. For further calculation of proportions, it is best to indicate where the pupils will be located.
To determine how high above the eyes the eyebrows should be, divide the circle into four equal parts, from bottom to top. Eyebrows will be located along a horizontal line passing directly above the eyes.
Nose and lips
The vertical line of the lower part of the face must be divided in half. Mark the middle where the base of the nose should be. The width of the nose is easy to determine by drawing parallel lines down from the inner corners of the eyes.
The rest - from the nose to the chin - must be divided in half again. The middle line coincides with the line of the mouth, that is, the upper lip is located directly above it, and the lower lip is located below it. The width of the mouth can be calculated by drawing parallel lines down from the middle of the pupils. The width of the chin is usually equal to the width of the nose.
Building the proportions of the human face, described above, is a simplified method and is suitable for ideal faces, which are not so many in nature.
In order to learn how to draw a human head with a pencil, you need to learn the necessary proportions.
Male head: determining proportions
Using a grid to properly build the head and refine proportions is especially helpful for beginners. Despite the variety of faces, the basic proportions are applicable to almost any race.
Full face head - 5 cells horizontally by 7 cells vertically. Central vertical line of symmetry.
Horizontal scale
1. The width of the eye is 1/5 of the entire width of the head and equals 1 cell.
2. The distance between the eyes is 1 cell
3. The distance from the edge of the head to the outer corner of the eye is 1 cell.
4. The width of the eye is 1 cell
5. The distance from the outer corner of the right eye to the outline of the face is 1 cell.
6. The nose, as well as the line of the base of the chin, fits into one central cell in the vertical
Vertical scale: full face
1. Eyes: located in the middle of the entire height of the head.
2. Hairline: 1 cell from the top of the head.
3. Nose: 1.5 cells down from eye level.
4.Border of the lower lip: 1 cell up from the bottom of the chin
5. Ears: from the tip of the nose to the eyebrows - 2 cells.
Horizontal scale: profile
1. Head in profile: length 7 cells and width 7 cells
2. The distance between the anterior border of the eye and the tip of the nose is 1 cell.
3. The width of the ear is 1 cell. Its frontal part is located 5 squares further from the tip of the nose and 2 squares from the border of the head.
4. The nose protrudes half a cell from the basic shape of the skull, which measures approximately 6.5 cells.
Women's proportions are the same as men's.
Draw the head and facial features - exercises
Profile view:
Nose protrudes more than other facial features
The jaw protrudes no more than the forehead
The ear is located well beyond the midline of the profile
In this view, the line of the mouth is quite short.
Study the shape of the eye
Three-quarter view
The far eye has a shortened shape compared to the near one, because we do not see its inner corner.
The far half of the mouth is shorter than the near
The same observations apply to the eyebrows.
Full face view
The eyes are located relative to each other at a distance of the length of one eye.
One side of the head is a mirror image of the other.
The widest part of the head is above the ears.
The widest part of the face is at the level of the cheekbones.
From this angle, the shape of the ears is less expressive.
Close-up facial features
1. Profile view
The eyelids should be slightly larger than the eyeball - otherwise the eye would not be able to close.
2. Three-quarter view
Note the significant difference in form. The shape of the far eye resembles a profile view, while the near one appears more complete due to the fact that the inner corner is clearly visible. The far brow arch appears shorter than the near one.
3. Full face view
In this form, the eyes are mirror images of each other. The distance between them is equal to the length of one eye. Please note that, as a rule, approximately 1/8 or ¼ of the iris is hidden under the upper eyelid, and the lower border of the shell almost touches the lower eyelid.
From different angles, the nose has different shapes.
1. Profile view
Pay attention to the shape of the nostril and determine its distance in relation to the tip of the nose.
2. Three-quarter view.
The profile outline of the nose still remains obvious; however, notice how the distance from the nostril to the tip of the nose changes.
3. Full face view
Only the length of the nose and its tip are expressed here. The nostrils are also outlined and accentuated - do not forget to work out the tone ratios.
1. Profile view
In this perspective, the line of lip closure is the shortest.
2. Three-quarter view
The side of the lips closest to us resembles a full-face view of the mouth, while the remote side is shortened due to perspective contraction.
3. Full face view
We are familiar with this aspect. It is very important to accurately and correctly draw the line of closing of the lips, otherwise, you will not achieve an accurate reproduction of the shape of the mouth.
Ears - there are various configurations, only a few of them are presented here.
Definition of facial features.
The eyes are of paramount importance, because very often they determine the facial expression of a person and make him so recognizable to us. The next most important elements are the mouth and nose.
The line of closing of the lips is strictly straight.
Smile: upward curve.
Sadness: the downward bend of the line
Lips - thin or full?
Eyelids - narrow or wide?
Brow arches - curved or straight?
Proportions without grid
1. Eye level.
2. Central axis and eye level line at right angles to the central axis.
3. The tip of the nose is a little closer to the eyes, at a distance of a little more than a third, but less than half.
4. Central line of the mouth. Approximately one third of the distance from the tip of the nose to the chin.
5. The distance between the eyes is equal to the width of one eye.
6. Dropping straight lines from the inner corners of the eyes, they will touch the edges of the nostrils.
7. Lowering straight lines from the center of the eye pupils - they will touch the outer corners of the mouth.
8. Having moved the pencil along a horizontal line at eye level - determine the upper tips of the ears.
9. Drawing a line from the lower tips of the ears - you will find yourself in the space between the nose and mouth. Ears are bigger than you think.
10. Neck width.
The distance from eye level to the chin is equal to the distance from the outer corner of the eye to the back of the ear.
Exercises
Well, now let's try to draw a portrait based on the knowledge gained. To begin with, we will make a female portrait - all the same ladies)
First outline the general shape of the head and make sure it matches the shape of the neck correctly. The shape of the head can be rounded, elongated and narrowed. But whatever it is, you must determine it at the very beginning of the work.
Imagine and decide how the hair covers the head and how it relates to its overall shape. Label only their position.
Now mark out the main shape of the head, starting with the line of the eyes. Their level and size must be adjusted, as well as the location of the eyebrows.
Then proceed to sketch the general shape of the nose due to its inclination and the degree of protrusion relative to the general surface of the face.
Determine the length and width of the mouth, make sure you position it correctly in relation to the chin.
At this stage, more clearly draw the shape of the head and facial features. Then select the tonal range and outline the areas of the shadows.
Now work on the chiaroscuro of the face, based on the position of the head relative to the light source and the selected angle. When working out, pay attention to the smooth transition of dark valers to light ones. At the end select the eyes.
Your portrait is ready! 
Now let's try to draw a male portrait.
There is also an alternative method of writing a portrait: work should begin with a central line dividing the face into two symmetrical parts. Then, relative to it, facial features are outlined up to the outer borders. This method is used by both experienced artists and beginners.
To perform the exercise, we will choose a position in three-quarters of a turn. First, draw a vertical line on a piece of paper, and then mark the total height of the head with two light serifs.
Refine proportions.
1. Draw the shape of the eyes and brow arches, making sure their proportions are correct. Please note that the eye closest to you will be slightly larger than the far one. Determine the point of intersection of the far brow arch with the contour of the face.
2. Now draw the nose. With schematic light strokes, try to convey the shadows in the unlit areas as accurately as possible.
3. Specify the height of the ear - with the frontal position of the head, it is the same size as the distance between the lines of the eyes and nose. However, when drawing a three-quarter-turn portrait, perspective reduction occurs. Therefore, do not forget to slightly shorten the ear and place it at a slight angle. Determine the position of the ear relative to the oval of the face and specify its shape.
4. Outline the shape of the mouth. Because of the same perspective contraction, the far half of the mouth should be smaller than the near one. The nasolabial fold should expand from the nostrils to the middle of the mouth. Show the pointed shape of the chin.
Define facial features
1. Draw a horizontal line for the location of the eyes - it should run exactly in the middle between the upper and lower marks. Then show on it the location and shape of the eyes.
2. Divide the upper part of the head in half again and outline the hairline.
3. Also mark the lower part of the nose - it is located exactly in the middle between the line of the eyes and the lower point of the chin. Now schematically, with a few strokes, convey the shape of the nose.
4. Determine the position of the mouth. Note that the mouth is closer to the nose than the chin, so don't make the common mistake of placing your mouth exactly halfway between them.
Show areas of shadows
1. With a few light strokes, show the shadow areas on the side of the head facing you. Then outline a light shadow contour, leading with a pencil from the forehead along the cheekbone to the lower lip and chin. Mark the neck area and the contours of the falling shadows.
2. Highlight the volume of the eyes, nose and mouth with shadows. Put a soft shadow with light shading along the hairline. Then define the outline of the face more clearly. Finish off with zigzag strokes for the shape of the head at the top.
3. Once again, work out the contour of the face on the right. Be careful: the chin area should not protrude too much in the frontal direction.
Work on light and shade
1.Start by deepening the tones of the most accentuated areas. Carefully model the forms with tonal nuances: in some areas, increase the contrast with the depth of tone, in others, soften the transitions, using an eraser if necessary.
2. The most accentuated in the drawing, as a rule, are the contours of the eyes (sometimes the eyebrows), the shadow area between the nose and the eye, as well as the area of the nostrils. The line of closing of the lips, the area under the lower lip, as well as the edge of the chin (depending on the lighting conditions) are distinguished quite sharply.
3. Clearly mark the strands of hair, work out the shape of the ear. Align the position of the head relative to the shoulders.
4. At the end, pay attention that on the unlit side, darker tones visually move the hair array deeper, and the highlights highlighted with the eraser help to bring the face to the fore.
