How to Draw a Plane Video

The Step-by-Step Guide on How to Describe a Portrait

By Vladimir London

In this book, you will discover the step past pace procedure of how to describe a head in the three-quarters view.

It is written and illustrated past Vladimir London, internationally published author and the founder of Drawing Academy.

Preface

In the Drawing Academy course, students often enquire me how to draw a portrait so it looks realistic. I also regularly receive portrait drawings for critique that have common mistakes like misplaced facial features, wrong proportions, incorrect perspective, and and then on. Such mistakes happen because of:

• Not knowing or not following constructive drawing principles
• Ignoring human head proportions
• Noesis gaps in a human being anatomy.

The biggest challenge in drawing portraits arrives from the misconception of how art is created – students draw non what they know, but copy what they see. This leads to inevitable mistakes.

To explain why the principle "Describe What You Know, not What Y'all See" is important, I'll give you an example. When drawing from life, art students are doing their best to depict eyes, olfactory organ and mouth as they encounter it on a model, forgetting, however, the overall construction of the caput. It is like decorating walls earlier building a house.

To "build" a head in portrait drawing requires much more than just copying what you see. And the necessary know-how only comes with crucial knowledge. Y'all but won't see the correctness of proportions if y'all don't know what those proportions are.

So, in this series of manufactures, I will share with you the in-depth footstep-by-step know-how of portrait drawing every bit it's taught in one of the World's best art institutions – Repin University in St. Petersburg, Russian federation. This process is likewise described in my book "How to Draw a Portrait in the Three Quarters View" available on Amazon.

Hither's how the finishes sketch looks. You will be able to draw similar portraits by the end of this practise should you follow closely my instructions.

This quick cartoon was done in red pastel pencil; nonetheless, feel costless to use any drawing medium of your choice. It is not nearly color, but constructive cartoon principles, rules of perspective, head proportions and anatomy, which won't change whether yous draw in graphite pencil, charcoal or with your finger on sand.

How to Draw a Portrait in the Three Quarters View

Before cartoon begins

I would propose getting a model or drawing a cocky-portrait looking in a mirror.

First, analyze the head, chose the view angle, and decide on the artwork size and layout. Prepare paper to a drawing board and get your pencil sharpened.

ane. First stride

Begin with measuring the main proportion of the model's head – its width-to-height ratio using a pencil or by eye. Many art students inquire me how to measure with a pencil; to answer, I created this commodity – //drawingacademy.com/how-to-measure-with-a-pencil

This proportion varies depending on the view angle. Make certain to go it as accurate as you can.

When you lot have this ratio measured, decide on a composition of your future portrait – how big the caput would be and where on paper it will be located.

Marking four strokes – the elevation, bottom also as the left and right edges of the head. Make sure at that place is plenty space in front of the head – "olfactory organ room" and the head is non likewise close to the top edge of paper. Information technology is too good to accept more than space below the head than above.

Train your eyes by marking those edges freehand and, if necessary, double-check the main proportion using a pencil.

2. Dividing the confront into three parts

The adjacent stride requires a know-how of the universal proportion of the confront. All adult faces regardless of individual appearances share the same proportion – the altitude between the hair-root line and the bottom edge of the mentum can be divided in three equal parts:

1. From the hair-root line to the eyebrow line
2. From the eyebrow line to the base of operations of the nose
3. From the base of the nose to the bottom of the chin.

Discover on the model where the hair-root line is intended by nature and marker this line on the cartoon. Dissever the distance from that line to the lesser of the head into three equal parts by eye or using a pencil as a measuring stick. Do it as accurate as you can; precise location of these 3 parts will help you in placing facial features correctly.

If the model's head is on the same level as yours, you would see those three lines horizontal. When the model is located higher than a viewer, lines will be curved upward. The opposite is also true – lines volition be curved downwards when a model's head is located lower. The curvature depends on the view bending.

To keep things simple for this exercise, nosotros draw a portrait at our center-level.

three. Placing the eye-line

The post-obit step comes from the know-how – this proportion is not measured on a model's head, it is universal for all portraits – the eye-line divides the superlative of the head in one-half.

Then, nosotros tin can place the eye-line with confidence, marking it either freehand or using a pencil to measure where the middle of the head is.

This horizontal line, of grade, will exist located beneath the countenance line that we marked in the previous step.

I accept to make a disclaimer that the eye-line can be tilted or curved depending on a view angle. In such example, you need to keep in mind that distances of this proportion could be foreshortened in perspective and the top edge of the head in your drawing might not represent to the actual acme point of the model's head. And then, if we see a caput from above, the middle-line would exist curved downwardly and appear lower than the bodily middle point between the height and bottom marks of the head.

If the paragraph above sounds a bit disruptive, recollect of a cylinder seen from above in perspective and imagine how its eye line curves down and where it is located in relation to the cylinder's top and lesser edges. To guide you through the challenging topic of how to draw in perspective, I created this costless video lesson – //drawingacademy.com/cartoon-in-perspective

4. Base of the skull and edge of the cheekbone

Location the plane of the skull base will help us to connect the head, neck and shoulders correctly. This aeroplane is on the same level as the base of the nose, which as well corresponds to the bottom edge of the cheekbone. This level is marked in cerise line.

5. Lower office of the cranium

In this step nosotros mark the location of the lower part of the cranium. Although it might be hidden by long hairs or a tall collar we do it using 1 of the effective drawing principles – drawing objects equally if they are transparent.

6. Locating the eyebrow

The eyebrow'southward edge is an important mark of the head. This virtual line marks the head's planes, separating the confront from the side of the head. This edge also serves as a border between tonal values of light and shade.

The eyebrow's border location depends on the angle of view. It has to be measured on the model by comparing distances "A" and "B".

Later on, this edge will also help usa to determine the position of the ear.

7. Defining contours of the confront

Contours of the face are very important virtual lines that assist to ascertain portrait'due south likeness.

A contour should not exist confused with an outline. In the drawing beneath, contours of cheekbones and jawlines are marked as contours. These lines are individual; angles of which have to exist measured on the model. Contours hither describe the shape of the model'due south face up.

viii. Indicating the elevation edge of the ear

Unlike in previous step, where contours of the face up are individual, location of the top edge of the ear is universal for all portraits. This border is on the aforementioned level as the eyebrows line. To marking the top of the ear, we extend the eyebrows line horizontally towards behind of the head.

ix. How to identify the ear correctly

Every bit the Cartoon University tutor, I often receive for critique portrait drawings that have one common mistake – a miss-located ear. To avoid such a junior mistake you need to know the following rules:

• The pinnacle of an ear is on the same level as the line of eyebrows.
• The bottom border of an ear is on the same level every bit the base of the nose.
• The distances from the border of the eyebrows to the ear and to the middle of the face up are equal (marked by "C" in green). In perspective, these distances will be foreshortened. This is the same altitude equally between the hair-roots and the eyebrows line, the eyebrows and the base of the nose, and the base of the olfactory organ and the mentum (marked by "C" in carmine).
• The line where an ear connects to the caput is not vertical merely tilted backward (blue line).

x. Placing the pit of the neck

Another common mistake art students make is forgetting most the neck and drawing it as an afterthought when the head is fully drawn. It is almost incommunicable to draw believable looking portraits from life or imagination without the knowledge of a head and shoulders anatomy.

Let's indicate an important landmark of the portrait – the pit of the cervix. It is located between two collarbones just above the breastbone.

The distance from the chin to the pit of the neck is equal to the i-third proportion of the face (marked by "C" in red).

11. Why sternocleidomastoid musculus is of import in portrait drawing

The muscle with a very long name, sternocleidomastoid, is an important landmark when it comes to drawing a neck. Information technology connects the elevation part of sternum (breastbone) and clavicle (collarbone) with the base of the skull called mastoid – the process of the skull positioned just behind the ear.

Nosotros draw this muscle diagonally. In cartoon, this muscle not only defines the shape of the neck but likewise separates its frontal part from the side plane.

12. Trapezium

The trapezium is another important muscle that defines the shape of the behind of the cervix.

There is 1 signal you need to define when cartoon a neck in the three quarters view – the place where the neck changes into the angle of trapezium. This point is on the same level as the bottom edge of the mentum; see the dotted line on the cartoon below.

13. Outlines of the neck and collarbones

Post-obit the constructive drawing principles, we depict not what we see, just what we know. This fully applies to collarbones, which can be covered past model's dress.

In perspective, the axes of collarbones appear foreshortened and tilted. The pair of collarbones is curved like a cupid's bow or a stretched double "Due south". It connects the breastbone with the shoulder blades.

Outlines of the neck are individual and you have to observe its shape on the model.

It is a proficient approach to draw shoulders as one continuous line from one shoulder to another, making sure they are on the aforementioned level and look natural.

fourteen. Cartoon the base of the neck

When primary outlines and contours of the cervix in place, we can marking the base of the neck. Information technology has a round shape and in perspective appears equally a tilted oval. This oval goes through the acme pair of ribs and defines the width of the neck at its base of operations. This oval too marks the size of the summit of the ribcage.

The base of operations of the neck is an important contour because information technology separates vertical planes of the cervix from more horizontal surfaces of the shoulders. Equally such, information technology serves equally a border between light and shaded areas of those surfaces.

15. Rendering the main shades of the portrait

And then far, we do non depict any facial features or pocket-sized details. Instead, nosotros build a solid construction of the head in drawing. This will help us to avoid mistakes and misplacements when it comes to drawing facial features. Drawing eyes, mouth, olfactory organ, etc. at this stage is similar decorating the walls before building a house.

Although this is a very general outline of the caput, information technology is a time to block-in the main shades of the portrait.

Use very calorie-free pencil pressure to render shaded areas of the caput and neck.

16. Cartoon outlines of the countenance

Bank check model'due south forehead and eyebrow outline – it will exist individual to every person.

Notice how this outline is protruding in front of the forehead – this altitude is indicated in blue lines on the drawing below.

The countenance outline has its characteristic angle (marked in carmine lines).

17. Outlines of the cheekbone

We movement downwardly along the contour of the face, this time paying attention to the private contour of the cheekbone.

Once once again, check this outline on the model; pay attention how far it bends and compare to the outline of the eyebrow. Usually, the eyebrow would be extended forrard a bit more than the outline of the cheekbone.

The centre socket outline depicted in the previous step continues downwards with the cheekbone outline.

You can also need to check the direction of the line that goes towards the jawbone (indicated in dark-green on the drawing beneath).

xviii. Parallel contours of the chin

Usually, female person mentum is less pronounced than a male one; nevertheless, both male and female jaws have characteristic direction of outlines that can be marked in 2 parallel lines, which are also parallel to the line of the back of the head (marked in red).

xix. Drawing the eyebrow bend

In a human head, the border between the cranial function of the skull, which protects the brain, and the facial role of the skull can exist indicated by a curved virtual line that goes through the eyebrows and so sloped towards the ear channel.

This virtual curved line helps to build properly the bridge of eyebrows, which is not straight, simply bent downward.

xx. Indicating the plane under the eyebrows

With the curved line of eyebrows divers, we can caw block shaded area below information technology. In about cases, the source of light is above a model'due south caput, therefore it will be a shade nether eyebrows. So, nosotros mark this shade in low-cal tone applying very light pencil pressure level.

As you encounter, we are still defining big masses without any attention to facial features like optics, olfactory organ and oral cavity. Drawing such facial features before the main shape of the head is build proficiently is like decorating walls of a house that yet to be constructed. This sequence will help you to ensure correct proportions of the portrait and volition result in greater likeness when we practice the rest of the portrait.

21. Defining the cheekbones bend

The cheekbones bend defines some other important contour of the face. It bends downward from i cheekbone to another, with its everyman betoken at the base of the nose.

This virtual line is the border between the frontal part of the cheekbones and the upper jaw section.

A portrait artist can simply continue this line in mind rather than actually draw it. Yet, as a office of the head construction, this line helps to "build" the portrait geometrically right and proportionate.

22. Blocking the shade beneath the cheekbones' curve

As mentioned before, the cheekbones bend separates two surfaces of the confront. The surface of cheekbones above that line is facing the source of light and therefore volition appear lighter than the surface below.

To point this divergence in tonal values, we shade in very light pencil strokes the darker area right beneath the cheekbones curve.

There is no need to worry about verbal tonal value of this plane right now. All nosotros want from this step is to show that 2 planes on both sides of the cheekbones curve have unlike tonal values. We will fine-tune the exact tonal values after in this lesson.

23. Drawing the central line of the face up

A virtual line that goes exactly in the middle of a face from the very superlative of the brow to the bottom of the mentum is one of the most important landmarks of every homo face up. It serves as the centrality of symmetry and is used to balance all facial features at the same distances from that line.

Because the nose is located in front end of this line, we tin can break the line or mark it very thinly inside the nose area, and so it would non interfere with lines of the nose later.

Many drawing books and tutorials advise drawing a central line of the face much earlier in a portrait cartoon. The reason why nosotros exercise it at present is because it is much easier, especially for beginners, to mark this line with precision when the overall structure of the head is in place.

I want to signal one time over again that the sequence of steps is a personal preference and some artists practise not draw all virtual lines at all, keeping them in mind instead.

24. Mark contours of the eyebrows' corners

With the central facial line in identify, we can go on by cartoon smaller details making certain that facial features are symmetrical in relation to that line.

The shape of eyebrows is individual and you need to observe its character on the model first.

The bridge of the olfactory organ is bordering with the eyebrows corners, so we need to portray its width and angle.

25. Mark the upper eyelids' contours

With the inner corners of eyebrows in place we can now marker the curvature of the span of the nose. This line is a helpful landmark, which ordinarily coincides with the level of the upper eyelids contours. Because every face is individual, you need to check this level on the model and suit the drawing if required.

Symmetrical features like eyelids take to draw in pairs, making certain they are located on the same virtual horizontal line and have like curvature. This helps to avoid the fault of drawing one center higher or lower than the other.

26. Shading the area to a higher place the upper eyelids

The expanse below eyebrows has darker tones than upper eyelids. Then, nosotros could build up tonal values to block the area above the eyes.

Go light with rendering upper eyelids. We will come dorsum to darken these tonal values to required depth later on. It is a proficient technique to build tones gradually. A skillful way of applying pencil strokes is along object's contours. As well, if you lot are cartoon in graphite pencil, smudging pencil marks is a big no-no. I will explain why later on.

27. Marking the corners of the optics

Depicting eyes with precision is a critical step in portrait drawing. It is non an easy task for beginners. I often receive portrait drawings for critique with eyes that are besides close to each other or not symmetrical.

To pinpoint the exact location of eyes in a portrait drawing, you can utilize the following rules:

1. The altitude between well-positioned eyes is equal to the length of i eye.
2. Both optics must exist on the same level, which is the horizontal line that divides the height of the head in half.

These rules are easy to use when you draw a full-face direct view portrait. In our case, it is a bit more complicated because the head is turned three-quarters and, therefore, is foreshortened in perspective. The heart-line is also slightly curved in this view.

We brainstorm with marking model left eye's corners. Check the distance from the primal line of the face up to the center's inner corner. Make certain, this corner is non too shut to the nose in your cartoon.

When this inner corner of the eye is pinpointed with necessary precision, you can also mark the wing of the nose, which is slightly closer to the central line of the face up. I marked the distance betwixt the center'south corner and the olfactory organ border in ruddy lines.

Bank check the length of the eye on the model and mark it in drawing.

Repeat this step for model'southward right centre. In the three-quarter view, the nose can overlap the inner corner of another eye. Draw this center consummate as if the nose is transparent.

28. Depicting eyelids

With all 4 corners of eyes in place, nosotros can "build" eyelids with precision. I'm using the give-and-take "build" rather than "describe" because we use constructive drawing principles, drawing what we know instead of copying what we run into. This is especially critical when portraying eyes.

An eye is a ball nigh one inch in diameter and eyelids wrap around this ball. Despite an eyelid is a very thin musculus, it has certain thickness that has to be depicted.

There is one dominion yous must know to draw eyelids skillfully – upper and lower eyelids are not symmetrical. The upper eyelid has its top point 1-third distance from the inner corner while the lower eyelid has the everyman point of its curve one-third from the outer corner of the eye. Avoid a junior mistake of drawing tuna-shaped symmetrical eyelids.

This dominion is easier to follow in straight view portraits. In our instance, the upper eyelid is foreshortened in perspective. Nevertheless, the rule is notwithstanding in place.

29. How to Draw Optics

With eyelids depicted accurately, nosotros tin place an iris of the eye. Here's another amateur mistake you must avert – placing an iris equally a full circle symmetrically between the upper and lower eyelids. Ordinarily, the upper part of an iris is partially covered by the upper eyelid while it might be a pocket-size gap between the lower edge of the iris the lower eyelid.

You should likewise think that the eyeball is not pure white and oft has darker tonal values than highlights of the forehead, for example. Also, in that location is a casted shadow under the upper eyelid.

Many art students ask me "how to draw eyelashes?" The professional fashion is non to draw individual eyelashes unless it is an ad drawing for mascara. One nighttime curved line would do the job. This is especially important for male portraits.

To learn more about how to draw eyes in this video lesson »

xxx. How to draw a nose

The shape of the nose tin be simplified equally a prism. The base of the nose is already marked at the same level as the lesser border of the ear and the bridge of the nose is curving between optics. The width of the nose tin can exist double-checked by comparing it to the distance between eyes.

The individual shape of the olfactory organ has to be observed on the model. Shapes can vary from person to person and capturing likeness depends on how accurately y'all "build" model's nose contours and outlines.

Offset, you can simplify olfactory organ contours as straight lines, depicting their angles and proportions. Then, you tin smooth-up lines with softer corners.

The lower plane of the nose is in shadow and its tonal value can exist blocked in light tones for now. We will work on tonal values with necessary depth later.

31. How to place a mouth correctly

When drawing a mouth, there are some proportions you can you lot to place information technology correctly.

Nosotros begin with placing the line between lips. This line is located one-third from the base of the nose to the bottom of the chin. This is an ideal proportion in existent life it cad differ, so you can mensurate this distance and adjust if required.

If yous draw an open mouth, continue in mind that the lower edge of the upper lip usually would be at the halfway point of the upper front teeth.

Of course, when drawing a portrait in the three-quarters view, the line between lips will appear in perspective and might non be straight in your drawing.

32. Placing the lower lip

It is quite piece of cake to locate the bottom lip – its lower border is exactly in the center of the distance from the base of the nose to the bottom edge of the chin. This proportion is also arcadian and should exist amended if your model is slightly dissimilar.

Avoid a junior fault of placing the mouth exactly in the centre between the nose and the chin. It is actually located in the upper half of this distance.

33. Marking the upper lip

To locate the upper lip, just carve up the upper one-half of the distance from the olfactory organ to the chin in half. In one case again, this line is marked according to classical proportions.

34. Blocking shades of the mouth

Then far, nosotros have three parallel lines corresponding to the upper and lower edges of the mouth and the line between lips.

To indicate the form, we can slightly return shaded areas of the mouth, which are the upper lip and the place beneath the lower lip.

At this footstep, we only differentiate planes of the rima oris without going into details.

35. How to draw a mouth in a iii-quarter view

When it comes to depict a oral fissure in perspective, there are few things you demand to keep in listen. Get-go of all, it is of import to draw what you know – the construction of the oral fissure, rather than copy what you run into – outlines of lips. Copying leads to inevitable inferior mistakes.

Hither'south what you lot need to know. The oral fissure's construction has a iii-dimensional nature. The upper and lower lips not only curved equally a cupid's bow, resembling widespread characters "M" and "W", but also curved from front to back from the oral cavity heart to edges. This presents a certain claiming in 3-quarter cartoon.

The half of the mouth that is further from the viewer volition be considerably foreshortened in perspective, while another half volition exist visible in without foreshortening.

In that location is one simple way you can employ to overcome a challenge of drawing a oral cavity. Draw three equal size balls – two at the lesser and ane to a higher place them, all touching each other. These balls should be constructed in perspective, and so one that is closer to the viewer might partially cover other balls. The upper brawl sits in the heart of the upper lip and 2 lower balls represent to the bottom lip.

To learn more, check this video lesson on how to draw a oral fissure »

36. Cartoon the mouth's outlines

In previous step, we put 3 circles as the base of the lips – ii balls for the lower lip and one in a higher place them. Now, these balls can help united states to ascertain the outlines of the oral fissure.

The top ball coincides with the central role of the upper lip. The upper lip's groove divides this ball approximately in one-half.

The bottom outline of the lower lip goes around two balls, and the line between lips curves around all three balls, resembling a cupid'south bow.

37. Defining the contours of the mouth's

With main outlines of the moth in place, we tin further ascertain contours of the oral fissure. At his stride, virtual balls of the mouth are redundant and can be erased altogether. This is the time to discover model's mouth shapes and describe its individual shape, trying to accomplish the necessary likeness.

Make sure that the linear perspective is in place and the half of the mouth that is further away from a viewer has more foreshortening than another one-half.

38. Virtual angles of the mouth

When defining the contour and outlines of the rima oris, you tin can double-check angles that usually follow this dominion – the upper lip elevation points, connected with the lower lip lesser points course two lines that go diagonally to the prominent points of the chin. Every model has its individual shape of the mouth and chin, simply in general, the upper lip protrudes more forward than the lower lip and the lower lip protrudes more than the chin. This protrusion is usually forms a trapezium aeroplane that is based on six points of the chin and lips (marked with reddish dots).

You can either draw those lines and dots or keep them in listen.

39. How to draw an ear

The ear's outline was marked a few steps earlier; it resembles the character "C." It's a good time to double-check its main proportion, which is the height of the ear is equal to the acme of the nose or the distance between the line of eyebrows and the base of the nose.

The ear's height divided in half will give us a dimension of the ear'southward width.

Farther, we can divide the height of the ear in three equal parts. Every part is as follows:

• At the superlative, there is the antihelix, which is the outer rim of the ear.
• The eye third coincides with the concha – the ear's basin.
• And the lower part is taken by the lobule.

The curve of the antihelix is echoed by another rim that is located inside and called the helix. At the top of the ear'south basin, the helix splits into two arms like the character "Y".

You will notice more information on how to draw an ear in this video lesson »

40. Defining the side plane of the head

The curve where the forehead's plane changes into the side aeroplane of the head is an of import "landmark". Usually, at this border tonal values will change from lite to darker tones. This border can be marked earlier in drawing and now nosotros can double-check its location and utilise light tonal shades to differentiate planes of the caput.

41. Shading the temple

To separate the plane of the temporal bone, nosotros can shade its tonal value using broad strokes with light pencil force per unit area.

The direction of the strokes tin can go contours of that plane to emphasize its spatial position. There's no need to finish this part in i get, we volition come back to it later to deepen the tonal values as required.

42. How to depict a hairstyle

Upwards to this step, I've intentionally left the hairstyle untouched to demonstrate the planes and construction of the model's head. Drawing a bold head is not required and you tin indicate the pilus book much before in the drawing.

Students often inquire me how to draw hairs. There are several points to keep in mind:

• Describe a hairstyle not as private hairs, but as one big mass.
• Construct planes of the hairstyle.
• Avoid rendering individual curls in the beginning. Details will come up later.
• Apply pencil strokes forth hairstyle contours, Do not putter randomly.
• Render a hairstyle gradually; exercise not complete it before other parts of the portrait.

You volition find much more information on how to draw hair here »

43. How to render tonal values

There are many approaches to rendering tonal values. Here, I will describe the classical way:

• Information technology is better to starting time from rendering large areas with the darkest tonal values.
• The process tin can develop gradually in multiple layers.
• The aim is to keep the drawing getting darker simultaneously in all places without cease 1 surface area earlier others.
• While shading, you need to proceed an heart on relative values, comparing different areas to each other.
• When cartoon in graphite pencil, the pencil tip should be sharp at all times.
• Avoid going the full forcefulness a drawing tool can provide from the beginning.
• Utilise pencil strokes forth the contours of objects.
• Reveal the book of an object with strokes.
• Avoid ninety-degree cross-hatching unless you lot draw a drapery.
• Keep the gamut of pencil strokes rich and wide – use various directions of strokes, pencil pressure, curvature and length of lines.

There are many more than tips and professional demonstrations on how to return tonal values presented in the Drawing Academy video lessons »

44. Drawing minor details

Working on a cartoon goes from large areas to small details.

When working on smaller details, it is tempting to finish some places before the residue of the drawing. Professional person artist keeps the whole cartoon complete, just not finished at all times until one decides that the creative task is achieved.

Smaller details in a portrait are shaded using the aforementioned rules of rendering tonal values as when shading big areas; nonetheless, shorter pencil strokes are required for such task.

The good style of working on a portrait is when drawing goes from big areas to pocket-sized details and so back to big areas once over again. Such cycle can be repeated several times. This will ensure that a portrait looks unified yet detailed.

45. When to cease a head drawing

The beauty of working on a portrait rendering it gradually is that it would look completed at all times. And then, information technology is your decision as an artist when to stop it. Withal, if yous go out the drawing slightly unfinished, information technology would appear more interesting to a viewer. Overworking a drawing is less desirable than stopping but earlier you lot think it is done.

Conclusion

I promise this information on how to draw a portrait was helpful. This is just one fashion of drawing a portrait from many that are described in the Drawing Academy course. If y'all want to learn more, enroll in the Drawing Academy course »

If y'all have whatsoever questions, you lot can inquire Drawing Academy tutors online: //drawingacademy.com/drawing/inquire-tutors-questions

I wish you all the creative success you deserve.

Vladimir London
Drawing Academy tutor and founder

About the Author

Vladimir London is the internationally published author of several art books and the founder and tutor of Drawing University – the online video course where you can acquire how to depict any you lot see, recollect or imagine, using traditional drawing techniques.

He is also a creator of the Beefcake Master Class – //AnatomyMasterClass.com – the video course for fine artists who want to learn fast all you need to know near how to describe human figures and portraits with the necessary noesis of human body, caput and face up anatomy and proportions.

Vladimir, together with Natalie Richy, fine creative person and instructor, is also a co-founder of the Web Art University – //WebArtAcademy.com – the online video course that teaches traditional oil painting techniques.

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