Learn Pencil Shading Portraits 1 Pdf

Drawing Pencil Set Value and Shading Worksheet $ 1.50 Drawing Pencil Set Value & Shading Worksheet (2 Page PDF) Students Will Learn: Value & Value Scale Definitions, Explanation of Drawing Pencil Numbers (B & H), Drawing Pencil Value Scale Example, Practice Shading with 16 Different Drawing Pencils 9B-9H, Practice Shading Forms with Drawing.

Shading
<ul><li><p>Pencil Portrait Drawing Tutorial</p><p>Portrait drawing can be one of the most difficult challenges a beginning artist can face. Even artists who draw other subjects well can find drawing human features difficult. Some beginning artists avoid portrait drawing altogether, under the mistaken conception that no amount of practice will help. Drawing portraits in pencil doesn't need to be difficult. Using many of the same techniques used in other types of drawings, you can sketch a portrait in pencil you'll be proud to hang on your wall.</p><p> Sketch the outline of your subject's face. Note whether it is more rounded or if you will be working with an oval or squared shape. Once you've gotten the shape of the face the way you want it, you'll have a good jumping-off point to place the features.</p><p> Lightly divide the face into four sections. Do this by drawing a centered vertical line and crossing it with a centered horizontal line. Sketch the nose first, based around where the two lines intersect. This will help you proportion and center the features of the subject of your portrait.</p></li><li><p> Sketch the left eye in the left quadrant and the right eye in the right quadrant, ensuring that each corner of the eye comes down to meets the vertical line. Don't detail the eyes yet. Pay attention to shape. Are the eyes oval, round, almond shape, or squinty? You want the outline to be correct before you draw anything else.</p><p> Draw the mouth, with one half of the upper and lower lip on either side of the vertical line. Draw the entire mouth below the horizontal line. Again, aim for the basic shape of the mouth, focusing on whether the lips are thin or plump. Turn the lips up slightly if your portrait subject will be smiling, and leave space between the lips for teeth.</p><p> Erase the guidelines you sketched. You have the basic face laid out and won't need them anymore. Draw pupils inside the basic eye shapes, then add eyebrows by coloring them in. You can apply the eyebrows with short, angled strokes to give them a stiff appearance or by holding your pencil at an angle and coloring back and forth to give the eyebrows a fuller look. Add light shading to the pupils, then smudge the center to give them a reflective look.</p></li><li><p> Add shading around one corner of the nose to bring it away from the face. The shading helps relieve some of the flatness of the portrait. Sketch a few small lines around the eyes (smile lines) and around the corners of the mouth. Add a little shading to give a cleft. It's all in the shading at this stage for the facial features. The more lines you add, the older you can make the person in your drawing. Smudging with your finger or the edge of an eraser can help blend your pencils lines and shading to soften the overall effect and make it look more natural.</p><p> Finish your portrait with hair. Begin at the top of the face and sketch in the hairline the way you want it. To add specific texture to your portrait's hair, color it in with tight overlapping circles to create a curly effect, long pencil strokes for straight hair or wavy lines for wavy hair. Sketch in the ears last. How much of them you draw depends upon the hair and how it will cover the ears.</p><p>Pencil Portrait Drawing Tutorial Click herePortrait Drawing Tutorial </p><p>Pencil Portrait Drawing Tutorial</p></li></ul>
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Shading Pencils Set

  • Point and Flat Shading

    The first step to successful pencil shading is to control the movement of your pencil, making sure that every mark you make on the paper works towards creating the shading or modeling effect that you want. The following pages offer a few tips to get you started. To begin with, decide whether you want to use the point or side of the pencil to shade with.

    The example at left is shaded with the point, at right, with the side. The difference doesn't show up clearly in the scan, but you can see that the side shading has a grainier, softer look and covers a large area quickly (a chisel-point pencil will also give this effect). Using a sharp point to shade allows you more control, you can do much finer work, and get a greater range of tone out of the pencil.

    Experiment with both to see how they look on your paper. Try shading with hard and soft pencils, too.

    This article is copyright of Helen South. If you see this content elsewhere, they are in breach of copyright law. This material is NOT open source or public domain.

  • Pencil Shading Problems

    When pencil shading, the first thing most people do is to move the pencil back and forth in a regular pattern, with the 'turn' at the end of each movement roughly parallel, as in the first example. The trouble is, when you use this technique to shade a large area, that even edge gives you a dark line through your area of tone. Sometimes it is only subtle, but often it looks very obvious and spoils the illusion that you are trying to create with your pencil shading. Let's look at some ways to fix this.

  • Irregular Shading

    To prevent unwanted banding through a shaded area, change the pencil direction at irregular intervals, making one stroke long, then next short, overlapping where needed. The example at left shows an exaggerated example of how this effect is begun; at right the finished result.

  • Circular Shading

    An alternative to regular 'sideways' pencil shading is to use small, overlapping circles. This is similar to 'scumbling' or the 'brillo pad' technique, except that the object here is to minimize texture, rather than create one. To do this, you need to use a light touch with the pencil and work an area in an irregular, overlapping pattern to gradually build up the graphite on the page. A particularly light touch is required for lighter areas to avoid a 'steel wool' texture developing.

  • Directional Shading

    Direction - don't underestimate it! Here's a really rough change of direction: with two coarsely shaded areas side by side - there's no missing the difference! Drawn like this, it is screamingly obvious: one has a big horizontal movement, the other vertical, and the edge between the two is very clear.

    Now, if you are shading an object, even if your shading is more even and the pencil marks less obvious, this effect is still there - just more subtly. You can use it, to create a suggestion of an edge or a change of plane. But it will also suggest a change of plane even if you don't intend it to. You don't want to randomly change direction in the middle of an area. The eye will read it as 'meaning' something. Control the direction of your shading.

    Try shading an object in various ways: using no visible direction (circular shading), one continuous direction, few big changes, and many subtle changes.

  • Using Lineweight in Shading

    When using directional shading, you can vary the pressure on the pencil to create light and dark tones. Controlling it very precisely can allow you to model smooth forms. A more relaxed approach to lifting and re-weighting the pencil for a fairly continuous line is useful for creating highlights across textures like hair or grass.

  • Contour Shading

    Contour pencil shading uses directional shading which follows the contours of a form. In this example, contour shading is used in combination with line weight, adjusting the pressure to create light and shade. This allows you to create strong dimensional effects in your pencil drawing. You can control these factors precisely or use a relaxed and expressive approach. Be sure to take perspective into account, so that the direction of shading changes correctly along a form drawn in perspective.

  • Shading in Perspective

    If you are doing a quick sketch or roughly shading an area, the direction of the pencil marks can be very obvious, and even a quite dense shading can still reveal directional marks. A common mistake that beginners make is to begin shading along one edge of an object in perspective and to continue that direction all the way down so that by the time they reach the bottom, the direction of shading is working against the perspective, as in the panel at top left. Beside it is a panel shaded horizontally: again the shading fights against the perspective and flattens the drawing.

    In the second example, the direction of shading follows the perspective correctly, with the angle changing gradually so that it is always along an orthogonal (vanishing line). With a practiced eye, you can do this by instinct, or, as you see in the example, you can draw subtle guidelines back to the vanishing point first. The right panel of this box is shaded vertically. This doesn't accentuate the foreshortening as perspective shading does, but it also doesn't fight against it. Another good option is to use circular shading and avoid creating any directional movement at all.