Graphite Pencil Drawing Tutorial: Female Eye by Faith Te

About Faith

Graphite Pencil, Charcoal Pencil and Pastels Artist

Hello! My name is Faith Te. When I was 16, a great desire to capture nature and the people around me started my passion for drawing. I began to look at drawing not just as a hobby but something which I wanted to do all my life.

I practiced every day and for many hours since. I taught myself to draw by experimenting with different techniques and materials and through helpful tips and advice from other artists.

Initially, charcoal and graphite pencils were the only mediums I used. When I began working in color, I used pastels, and more recently, oils. My main subjects are portraits but I also enjoy doing many other subjects including still life, landscapes and flowers, especially orchids.

I devote many hours and lots of attention to detail into each and every one of my drawings or paintings. My ultimate goal is not only to achieve detail and realism but also to capture the life and character of my subjects.

Thank you for your interest in my artwork. I sincerely hope you enjoy your stay here on our web site. Please visit again soon!

Please take a moment to visit Faith’s Website and Blog to learn more about her and her products and services.

Her Website: http://www.artisticrealism.com/

Her Blog: http://www.artisticrealism.com/artstudio/

Graphite Pencil Drawing Tutorial: Female Eye by Faith Te

Here is the first tutorial from Art Studio — a female eye. My method in graphite pencil drawing aims to render subjects as realistically as I can. The following is a step-by-step demonstration of how I draw eyes. While I very much hope that it helps you in drawing realistic eyes, do experiment and develop your own way of drawing. I myself sometimes do not follow some of the steps exactly as I like to experiment and try to find better ways of achieving a specific texture or effect. Before I begin, many thanks to Toni-Marie Hudson for the use of her picture. Toni-Marie does animal paintings in mixed media. Visit her web site to view her extremely realistic paintings.

Step 1:

The outline on Canson Grain. Since the outline was very light and will likely be smudged off when I start rendering or shading, I have carefully and lightly retraced the lines with a soft pencil. In this case, a Faber-Castell 0.5 mm 2B mechanical pencil.

Step 2:

Using a soft brush dipped in small amounts of graphite powder, I cover the outline with two or three layers of tone. Any brush can be used as long as it produces a very smooth effect and fills in the tooth of the paper. I try to avoid getting tone on the highlight of the iris. If I do get any graphite there, I tap the area with a clean kneaded eraser.

Step 3:

Using a smaller version of the brush I used in the previous step, I begin forming the shapes of the eye by defining the darker areas.

Step 4:

With a kneaded eraser, I cleaned up the highlights.

Step 5:

I used a Dong-A 0.5 mm 2B mechanical pencil to draw the darkest areas like the pupil, shadow on the upper part of the iris and the crease of the upper eyelid.

Step 6:

Concentrating on the iris for now, I use a hard pencil (5H Staedtler) and fairly hard pressure to draw spokes originating from the pupil. This will keep the paper from absorbing a lot of graphite in the next stage.

Step 7:

Having used a 5H on the previous stage, I can now draw darker shades on the iris using a dark pencil (2B mechanical pencil). The reason why I use 2B is because it spreads more easily. The 5H is also to keep the tones very smooth when darker tones are added.

Step 8:

I further worked on the iris erasing and adding graphite as much as needed to create varied tones. Moving on to the white of the eye, it was also covered with a layer of 5H to create a smooth effect. Then I used a 2B mechanical pencil on the shadow areas to form the eyeball.

Step 9:

Here I began working on the skin. Using a 0.5 mm HB mechanical pencil and a light circular motion, I added tones to the upper eyelid and the surrounding skin — starting first on an area which will receive more graphite (in this case, the skin around the crease) and moving towards lighter areas. I used a shop towel and a brush to smoothen out rough spots.

Step 10:

Continued with the lower part of the skin.

Step 11:

Still continuing with the HB mechanical pencil. I’ve now added shadows to the skin. The 5H Staedtler pencil was also used on the thickness of the lower eyelid. 2B mechanical pencil was used for its darker areas.

Step 12:

To create the wrinkles on the skin, I lightly drew lines with the HB mechanical pencil and then used a kneaded eraser to create fine highlights beside each line. A paper stump and a brush were used to soften and blend the lines. The same method used on the white of the eye was also used on the tear duct. The HB was used for the eyebrow — starting with the root of each hair and lessening pressure towards the tip.

Step 13:

I always try to keep from drawing the eyelashes until the skin underneath is finished. Since the upper eyelashes will be darker than the lower eyelashes or the eyebrow, I used a Dong-A 2B mechanical pencil which is much darker than a Faber-Castell of the same grade. Again, following the direction of growth and starting from the root, lessening pressure as I come to the tip. Reflections of the eyelashes were also drawn on the highlight of the iris.

Step 14:

The lower eyelashes were drawn with the Faber-Castell 2B mechanical pencil.

Step 15:

The final eye. Finishing touches were made and some of the highlights on the lower eyelid were dulled a little. I hope you find these steps and images informative and helpful.

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Tip on Pencil Portrait Drawing - The Problem of Seeing

By Remi Engels

For untrained artists the problem of seeing lies in the conflict that exists between the actual visual reality of an object and the way the brain attempts to represent our perception of this reality on the drawing paper. This attempt always involves the tendency to draw our symbolic preconception instead of the actual reality.

Symbolic preconceptions are part of a subconscious visual language that uses symbols to represent known objects. This language of symbols evolved as a mechanism to help us survive as a species. These symbols help us, for example, to instantly recognize food sources or dangerous predators.

When we observe an unknown object our subconscious mind immediately tries to form a new symbol to represent and store the object in memory. Often beginning artists will more accurately draw unknown objects than familiar ones because they are not yet married to the new symbols.

However, when they attempt to draw the same object a second time, it is likely that a more symbolic picture will emerge because ready to use symbols have already been stored in the brain.

Consider, for example, the word “head”. Immediately an image comes to mind which is symbolic for the head. Unfortunately, this symbol is only a schematic representation of a head and is invariably a gross simplification of a real head. Nevertheless, there is a strong subconscious pull to draw the symbol instead of what we actually see.

It is this conflict that artists must learn to overcome. This is particularly a problem for pencil portrait artists. When drawing a portrait the artist must resolve numerous layers of symbols to achieve a realistic effect.

We now will describe a very good exercise to learn to overcome the problem of symbol drawing.

We will be drawing from an upside-down photograph. This way our symbolic preconception of the head is disrupted. We will be forced to draw without our symbols. The result will be a purer drawing experience unfettered by a tainted perception.

As you draw the lines and block in the tones you will feel quite awkward in your drawing. This is a good thing. Do not be overly concerned of how your drawing looks. This is an exercise in seeing.

When practicing line and tone this way, beginning artists often get better results than from the right-side up way. Trust yourself and throughout the exercise only look at your photograph in the upside-down position even though it may feel quite uncomfortable.

You will learn to see and draw tone as shapes and will be able to break down hard edges into short, straight lines instead of the usual symbols your brain will assign to the nose, the ears, etc.

Thinking of and naming perceived objects will lead you down the garden path of almond shaped eyes, two holes for nostrils, a bunch of lines for hair, cauliflower ears and something that looks like the letter M sitting on a bowl for a mouth instead of what is actually there.

Artists will never be free of symbolic preconceptions. The symbols actually adapt and become more sophisticated. It is by constantly analyzing and abstracting form that we are able to draw realistically.

Remi Engels is a pencil portrait artist and oil painter and expert teacher. Check out his Pencil Portrait Course and his Portrait Print Package Special

Article Source: http://EzineArticles.com/?expert=Remi_Engels
http://EzineArticles.com/?Tip-on-Pencil-Portrait-Drawing—The-Problem-of-Seeing&id=1830591

Portrait Painting Demonstration By Karin Wells

There are a LOT of ways to paint a portrait. I use several different methods (and sometimes combine them) depending on what I think is best at the time. Sometimes I even remember to take pictures of the process.

This portrait of Gwyneth (20″x24″, oil on linen) won the Certificate of Excellence at the Portrait Society of America’s International Portrait Competition in Philadelphia this year (2008).

Here’s how I did it:

This a drawing on Acetate. I use prepared acetate instead of tracing paper because I can see through it. Believe me, it comes in handy later in the painting if my lines begin to “wander” and I need to correct.

I use a “Sharpie” Permanent Marker as it makes a clean line and doesn’t smear.

I use a sheet of graphite paper and a ballpoint pen to transfer the drawing to the canvas. Acrylic paint will cover graphite (pencil). Oil paint will not cover graphite so if I were painting in oil, I’d need to erase my original lines and replace them with a Sharpie line.

I used acrylic paint for my first layer. In order to do this, I needed to use an acrylic primed linen - acrylic paint will not stick to oil primed linen and will not be archival.

I use Golden Matte colors. I try to stick to the dull halftone, neutral earth colors.

For the color “white” I choose a dull warmish neutral - about the value of a brown paper bag. Nothing will be lighter in value than this.

If my subject has light skin, I use the same paint and color for the skintones as my “white.” If my subject has darker skin, I deepen the value accordingly.

I may need to put on more than one layer of paint in order to cover the canvas and make it flat - like a poster. It is a good way to lay down my basic composition and make a definite statement of shape.

Two thin layers are much better than one thick layer. And I try not to leave ridges.

Posterizing is a good way to see if a composition works. This layer could be in oil but acrylics are a faster way to saturate the canvas.

I chose a medium value paint for all the objects and was thinking “halftone” (the space between light and shadow). Once the white of the canvas is covered up - it doesn’t look so dark.

I always establish black and white immediately in an underpainting. It will help all the other mid-range values fall into place.

Gwyneth Demonstration Part 2 >>

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Grab a cup of virtual coffee and stop by my Painting Studio to see what’s happening. Also come visit my Portrait & Landscape Galleries.

Portrait Painting Demonstration - Gwyneth - Part 2

After I’m done with the acrylic stage (and it is completely dry), I seal the entire canvas with Winsor-Newton’s Liquin.

My first layer of oil on the background. I want to create an outdoor scene. As you can see it is messy and moody and neutral.

With a paper towel in one hand and a brush in the other, I begin to “push” the wet paint around.

I am only using transparent colors at this stage. If I begin to use opaque colors, it will turn into mud…ick.

I generally have something in mind but this is a good time to “play around” with color and value.

Background is done and I’ll let it dry. Then I use soft chalk or charcoal to draw guidelines on the jacket. I keep it very light and it just melts into the paint when I cover it over.

To paint the color white, I use Raw Umber + Titanium white and this mixture is slightly cooler than what I can get with the acrylic colors. However I match the value exactly in my oils and paint over it. That
“white” skirt, face doesn’t look so dark now, eh?

In oil paint, I divide the jacket, skirt, etc. into general light and shadow. I cover up all the acrylic paint with oil.

I keep the light and shadow general so I can manipulate the patterns. I use a photographic reference as my guide but seldom feel bound by “reality” if I can think of something better (that looks believable).

I continue to work with just general light and shadow and start turning the background into “real paint.” That is, I follow the underpainting as a guide and begin to add opaque colors.

<< Gwyneth Demo 1 | Gwyneth Demo 3 >>

Grab a cup of virtual coffee and stop by my Painting Studio to see what’s happening. Also come visit my Portrait & Landscape Galleries.

Portrait Painting Demonstration - Gwyneth - Part 3

I’m starting to paint “form” into the black vest. I usually deal with black by glazing color over the flat black acrylic paint to give it a jewel tone.

When that is dry I add a thin glaze of ivory black and use raw sienna to build light.

Inside the general light on the jacket, I begin to build more form. The narrow range of values are subtle and no dark inside the light is as dark as any place in the general shadow area.

Light is lighter and warmer (I add yellow ochre pale + titanium white to the red jacket color).

Adding form to the jacket’s general shadow area - narrow range of values with nothing as light in value as what is found in the general light.

I’m beginning to build form in the skirt by establishing how the general light meets the general shadow. It can meet very quickly….or very slowly. The definition of this is the foundation of painting form.

I’m working the entire background as I build the form of the figure. I like to add touches of the colors from my foreground into the background.

Added details into the skirt. I’m still not adding dark into this painting - I’m just painting with light and the darks suddenly begin to appear “darker.”

<< Gwyneth Demo Part 2 | Gwyneth Demo Part 4 >>

Grab a cup of virtual coffee and stop by my Painting Studio to see what’s happening. Also come visit my Portrait & Landscape Galleries.

Portrait Painting Demonstration - Gwyneth - Part 4

This layer can be scary because it looks so radical…but it basically what gives the skin its luminosity. Some people start with it but I wait until the surrounding areas are well established before I use any white paint.

I usually save the face until last because the skin tones are determined by what surrounds it. First, I draw the face in with raw umber and let it dry. Then I begin to use pure zinc white - straight from the tube and build form. Later I begin to use the more opaque titanium white paint.

I don’t usually paint over a color (as in the hair) but I realized that I needed to build the light on the face and hair all together.

The face underpainting is finished. It make several days and is a very slow process. It takes as long as it takes. It is necessary to get a likeness starting now.

Here are the finished hands. I always underpaint any skin that shows.

I think that this stage looks scary. It throws all the colors and values off and suddenly the painting looks dark and dreary.

But take heart, it is only a temporary condition.

Next step - glaze.

<< Gwyneth Demo Part 3 | Gwyneth Demo Part 5 > >

Grab a cup of virtual coffee and stop by my Painting Studio to see what’s happening. Also come visit my Portrait & Landscape Galleries.

Portrait Painting Demonstration - Gwyneth - Part 5

This is the time to really nail the likeness. Sometimes I tape my reference photo next to the area I’m painting.

However, you must be careful with tape on the surface of the painting. The surface must be dry. I stick the tape to material first before resticking it to the canvas in order to reduce the adhesion. I do not leave tape sticking to the surface of a painting when I leave the easel.

I begin by adding a glaze. I use raw umber, raw sienna, and burnt umber either alone or in combination - however I can to begin to create the sitter’s skin tone. I may use a thin glaze of raw umber to draw details
(like eyelids) and enhance the form (above).

I glaze in the skintones very slowly and thinly. I let each layer dry before beginning the next.

I brush color into the cheeks and begin to define eye and hair color.

Note that if this was a woman of color I would begin with a darker value of skintone in the underpainting - the rest is exactly the same.

I am adding color slowly in layers of glazes. Then I am painting tiny bits of Titanium White + Yellow Ochre Pale into the wet glazes to build light.

Light is thick and opaque.

Shadow is thin and transparent.

I am mindful of the Old Master’s technique of color banding:

Yellow Ochre Pale is added to the forehead.

Reds (Indian Red and/or Alizarin Crimson Permanent) are added to the area from the eyebrow line to the chin.

A cool blue (French Ultramarine) is added to the neck and chest.

A glaze is a lot of medium (I use Liquin) with a little bit of transparent color. It will look a lot like pale stained glass.

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Sometimes I scumble a color on the face to even out the tones and add luminosity. A scumble is a whole lot of medium (Liquin) with a little bit of opaque color (like Titanium White). It often looks like watered down milk.

After the underpainting in white, all of my layers are transparent or translucent. I already had a likeness so I didn’t want to lose it.

As I am doing the final glazes and scumbles on the face and hands, I am glazing other colors in the painting to enrich the colors.

Note that because of my earth palette, I don’t use the color “blue.”  Instead I use Ivory Black + Titanium White to make the color blue. If at the end I want to intensify that color I can add a blue glaze if necessary.

All done.

<< Gwyneth Demo Part 4

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Grab a cup of virtual coffee and stop by my Painting Studio to see what’s happening. Also come visit my Portrait & Landscape Galleries.

Free Figure and Portrait Drawing & Painting Lessons…

Be sure to check out the figure and portrait drawing and painting lessons from our sister site, CreativeSpotlite.com.

We have a variety of Free step by step painting and drawing lessons created by professional artists there.

Follow this link to view the lessons…

Drawing the Human Eye Tutorial

I found a great tutorial today on Only Pencil by artist Lisandro Pena on drawing the human eye. The human eye can be a very difficult thing for many beginners to draw. Lisandro explains in the tutorial the importance of studying the eye, or any object you want to draw for that matter, so that you really understand what it is you are drawing.

He provides the tools he uses as well as a step by step lesson with pictures. He has a lot of other great drawing tutorials on his website as well. This is definitely a great resource for drawing enthusiasts.

Click here to reach this tutorial on drawing the human eye.