About Miranda

My work fits into two very different and unrelated categories: realism and abstract. Each style allows me to challenge different parts of my personality. Drawing realistically indulges the side of me that loves detail and is a perfectionist. It challenges me technically and I am always pushing to create more accurate drawings. The abstract works reflect my interest in colour and form. I am able to work loosely and fluidly, reacting to the painting as I go. It is sometimes a relief to shift from the tight discipline of realistic drawing to this type of work, but it can be equally relieving to go from these open-ended paintings to getting lost in the details of a drawing.

A very important part of drawing realistically is shading: the variation in value from shadows to highlights that describe the shape of something. By improving your shading, you can greatly improve the quality of your drawings. Shading isn’t difficult to learn, but it does take some practice. You can learn how to make your drawings more realistic by understanding light, controlling your pencil, and blending.

To learn more about Miranda, please take a moment to visit her websites below:

Art Lessons & Tips: http://www.learntoart.com/

Portrait Work: http://www.customportraitsonline.com/

Online Gallery: http://www.mirandaaschenbrenner.com

How to Shade a Drawing Using Pointillism

Pointillism is a technique using a series of dots to create an image. It takes time, and loads of patience, but the results can be incredibly impressive!

For pointillism, you’re going to need some special pens. The best are fine tip pens with free-flowing ink. Ball point pens don’t work well because they need to be moving for the ink to flow. My favourites are Staedtler Pigment Liners. You’ll also want a range of sizes as well, from very fine to a wider tip. Something like a 01, a 03, and a 05 would work well.

Throughout the drawing, you’ll use each size of pen. Make sure you blend the dots together when you switch pen size. You don’t want to see the border where you switched pens. Also, don’t rush your mark-making. If you get careless, some of your points might get little tails. You want nice clean dots to create an even pattern across the whole of your drawing.

As with any drawing, you want to start out with a good line drawing. Outline the contours of your subjects, as well as the shapes of the major shadows and highlights. You want to have good guidelines for when it comes to filling in the values.

When using pointillism to shade, you need to think about values just like you do when shading with a pencil. It’s important to have a range of values to give your drawing enough contrast.

Let’s use the sphere as an example for how to shade with pointillism. Once you learn how to shade basic shapes, you can shade just about anything!

Start with your finest pen and make some dots around the highlight. Avoid putting any dots inside the highlight area, but make sure that the points gradually become more and farther apart closer to the highlight. You don’t want your marks to suddenly stop dead. As you move away from the highlight, place your dots closer together.

As the highlight fades to the mid-tones, switch to the middle-sized pen and mark your points closer together. Now you can fill in almost the entire sphere, making your points closer together as you approach the shadow.

For the shadow, use your widest pen and make your marks close together. In the darkest areas, your dots should be so close together that white shows through. You might be tempted to cheat and use the pen to color in the entire shadow.

Try to resist!

It would be faster, but it would be obvious. With pointillism, it’s important to use only dots. The marks create a pattern or a texture that is visible even in the solid black areas. If you have a really large area of black that would take you days to dot, you could try colouring it in solid, then adding a few dots on top to mimic the pattern. I don’t recommend it, but you could try.

When drawing with pointillism, make sure you don’t draw any lines. Even when you’re drawing wrinkles or eyelashes use a series of points to create the line. It will look more natural than a solid line, which would stand out amongst all those dots

When your drawing is done, let the ink dry for ten minutes or so before erasing the pencil lines. You’d hate to smudge all your hard work!

Pointillism in Colour

You can also do pointillism in paints or pastels. This technique involves layering different colored dots on top of each other. When seen from far away, it’s like an optical illusion: dots blend together and create a new color. A simple example of this would be dots of red and yellow, which would appear as orange from far away. This type of illusion was used extensively by the French painter, Seurat.

His example from Wikipedia is A Sunday on La Grande Jatte, by Seurat.

About the Artist

In 2002, I picked up my art pencil again after 20+ years.  During this break, I devoted my time to my family and building a career.  Even though I earned my Bachelor of Fine Art degree at the University of Northern Iowa, my career path ventured away from the fine arts.

I am currently an IT Manager at a medical auditing firm in Des Moines, IA.  My children are in college and it’s now time for me to explore my arts again!  I live with my wonderful husband, Les, in the small town of Mitchellville, Iowa.

- Diane Wright

To learn more about Diane and to view her work, please visit her website:

http://www.dianewrightfineart.com/

Rock Drawing Tutorial by Diane Wright

While I haven’t had the opportunity to draw many rocks in my landscapes (yet), they can certainly add interest to any landscape. I consider them just one more opportunity to add a different texture to the scene.

There are different kinds of rock formations. From sandstone, shale, limestone, volcanic to boulders. Each one will hold different textures and ‘feel’ to them.

This lesson will be very specific and we are going to study the drawing of a close-up view of rocks. Our goal is two fold. 1) To understand the how to create the shape and depth of rocks, and 2) to learn how to create textured, realistic looking rocks.

Materials Needed:

F and 2B .5 mechanical pencils 4H and 2H clutch pencils Blu-Tack or kneaded eraser Battery operated eraser Strathmore 300 Series Bristol Board Smooth paper

Sketching

Sketching… Never underestimate the power of just sketching. I seldom just sit and watch television, but when I do, I usually have a folder full of photos and I just sketch. Here is a sketch of a group of rocks… .

Find some photos of rocks and sketch them. Don’t let the rest of the landscape intimidate you as you sketch the rocks. Pick out the sections that interest you and just sketch.

Creating Three-dimensionality and form

At first glance they seem to be easy to draw. I find they a bit more challenging than that. They beg to have three-dimensionality and form. Light and shading play an important roll in drawing realistic rocks.

I find the best comparison to make is to use a cube. In order to create this three-dimensional form we have to use light and shadow. The plane with the most direct sunlight is the brightest. The plane with the no sunlight is the darkest. With a strong light, the shadow will be short and dark.

Let’s relate this concept to a grouping of rocks. These rocks are drawn to emphasize their angles and planes. The light source is to the upper right.

This sketch softens the edges of the rocks but the planes are still very visible, creating solid three-dimensional rocks.

I find most tutorials stop at this point when explaining how to draw rocks. Do you see the problem with this? Will these sketches really work in a realistic landscape? What’s missing or rather what is there too much of?? White. There is just not enough tone or detail too.

So let’s keep going… .

Here is the reference photo in both color and grayscale that we will be using for the rest of this tutorial. I like to draw and study from both images. The grayscale helps to match the tones, but color helps in the details.

Step 1

We are going to draw the large boulder on the left. I start with a 2B pencil and sketch in the darkest areas. The lighter areas are sketched in using an F lead weight. Using short random marks, I concentrate on the indents and shadowed areas. Be sure to draw in all of the darkest areas in this step (I will explain further in the third step)

Step 2

Once you have the preliminary details drawn, use the clutch pencil with a chisel edge to apply a smooth even layer over the surface. The lighter areas I use the 4H, and use 2H in the shadowed areas. Remember the planes and angles for lighting.

Step 3

Now the fun starts! Using a softer lead in the mechanical pencil, start creating the texture! use random short marks to create pits and a rough surface. That’s right; use a softer lead over the harder lead. We all know that using softer lead over harder lead creates a very uneven surface. But it works wonders in creating a random, uneven texture for rocks.

The chisel edge is important as it creates a flat wide mark. To create a chisel edge, use sandpaper; angle your pencil and scrub!

Using these harder leads may be new to some of you, but they create wonderful light values that otherwise would be very difficult to achieve.

Continue building and layering. Use the Blu-Tack to create subtle highlights. Press the Blu-Tack onto an area and lift the graphite off. Use the battery-operated eraser to create small strong highlights.

I mentioned in step 1 to be sure you have all your darkest areas drawn BEFORE you proceed onto step 2. The reason should be obvious. Once the harder lead is laid down, you will not be able to achieve those rich blacks!

Here is my completed rock study…

Diane Wright © Copyright Diane Wright 2007

So if you are passionate about learning how to draw the human body, specifically the face, then you are sure to find the following tutorial extremely helpful.

The following is a 6 part video lesson demonstrating step by step, the process of drawing a realistic portrait.  It was created by the very talented portrait artist Ron Lemen.

Unfortunately, this drawing series has not been completed yet or the artist has not yet uploaded the final part.  I wasn’t planning on posting this incomplete tutorial, but it is such a valuable lesson, that I just couldn’t pass it up.  I hope you don’t mind. I promise to post the final part if and when it becomes available.

Grab your favorite pencils and paper and draw along.  I hope you enjoy this realistic portrait drawing tutorial!

Portrait Drawing Tutorial Part 1

http://www.youtube.com/watch?v=quR8FTaONfA

Portrait Drawing Tutorial Part 2

http://www.youtube.com/watch?v=x32gYH6kGqw

Portrait Drawing Tutorial Part 3

http://www.youtube.com/watch?v=uJazvyOUdpY

Portrait Drawing Tutorial Part 4

http://www.youtube.com/watch?v=Mmr6VWNObqs

Portrait Drawing Tutorial Part 5

http://www.youtube.com/watch?v=h0OFQpzfuro

Portrait Drawing Tutorial Part 6

Sheri Lynn Boyer Doty CPSA -Biography 2010

Sheri Doty received a B F A degree in 1972 from the University of Utah with a painting and drawing emphasis. Having experimented with non-representational styles during her student years, Sheri preferred classic realism as thought by professor Alvin Gittons.  He and the professors, under whom she studied, emphasized strong drawing and painting skills. Sheri is a faculty member of Salt Lake Community College and Peterson’s Art center where she teaches Fine Art and Design.

Sheri’s paintings have  earned her awards in regional, national and international art exhibitions and invitational shows including purchase awards and permanent museum acquisitions.  Sanford Corporation has used her artwork to showcase its PRISMACOLOR colored pencil product line internationally.  Sheri is a charter member and signature member of the Colored Pencil Society of America [C.P.S.A.].

Sheri’s artwork has been published in numerous books including The Encyclopedia of Colored Pencil Techniques by Quarto Publishing, London England;Most of The Best of Colored Pencil series by Rockport Publishers, Creative Colored Pencil Techniques by Rockport  Publishers, Creative Colored Pencil Portraits byri’s art work is included is  Rockport Publishers and The Best of Portrait Painting by North Light Books, Dear Sisters by Covenant Communications Inc. Sheri’s artwork is published on book covers, in newspapers, periodicals, and exhibit catalogues.

People have been known to say, “She possesses a unique ability to paint the breath of life into her subjects – a gifted talent.” Because Sheri expresses not only the likeness of her clients but also their lifestyle, her portraits are in high demand. Sheri has also has prints and greeting cards on the market.

Sheri Says:

“The art professors under whom I studied had us draw and paint from live models and “open air” studies, not from photographs.  To truly see and paint a subject, I need to see it from all angles.  The human eye sees so much more than what is pictured in a photograph.  I am glad of the rich ridged training I received from my teachers.  I have married the use of photography and live studies to create my paintings.  I take my own photographs as resource material employing a variety of ways to recreate what the human eye sees.  My paintings are not exact reproductions, but an interpretation of life from my view as an artist.

“Thirty years of study and experience in this field has taught me that talent isn’t the reason for success in any endeavor.  The keys to success are desire, perseverance and determination.  But most of all,  I depend on Father in Heaven’s influence.   When I pray about what I paint, I can feel His help and guidance.”

Follow this link to visit Sheri’s website to view more of her work and to learn more about her.

A Theory of Light and Shade © January 2009 Sheri Lynn Boyer Doty

All Illustrations for a theory of light and shade are by Sheri Doty accept for Manet’s painting “The Railway” showing an undefined light source. Before you undertake your practice of the use of light and shade in your art you need to understand the significance that light and dark contrast has in making a painting or drawing visually believable.

Value is the term used to describe light, gray and dark tones.

Johannes Itten wrote “the contrast between light and dark is one of the most expressive and important means of composition.” Value contrast can be encountered in both colorful and non-colorful art renderings.” All neutral tones from white, black and all the gray tones between are called achromatic, meaning having no color. All tones that have some color are call chromatic. When investigating art in all its components, you must consider the relationship of value to other art elements, color, line texture and shape. All these elements must exhibit some value contrast in order to remain visible.

A simple Value Scale shows figure-ground relationships

Figure-Ground is the condition in which backgrounds tone or hue changes the visual impact of the figure resting on it. The same hue or value appears to be a different depending upon the contrast of tone or hue of the background upon which it is placed. Conversely, two different tones or hues appear to be the same when placed on contrasting grounds. Each will have an impact on how believable your art will be perceived by the viewer. Most people have difficulty perceiving “figure-ground” relationships. When the same medium toned figure is placed on varied light and dark backgrounds, it will be perceived to be as a different value. Example: When a medium gray is placed on a near black background, the mid-gray tone appears very light. When the same gray tone is placed on a near white background, it is perceived to be very dark. But when a mid gray tone is placed on a similar value background, the contrast is minimal. Note how the same mid-tone value patch looks different when placed on backgrounds of contrasting values.

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Chiaroscuro

Value describes volume and depth of space In Europe artists of the Renaissance were concerned with showing depth and volume in opposition to the artists of the Middle or “Dark Ages.” Men of the Renaissance considered their time period to be the Age of Reason and rebirth of artistic and mathematical achievements. Renaissance artists manufactured the term “Chiaroscuro” to describe how light and dark can imply depth and volume. The word Chiaroscuro is a combination of two Italian words that mean light and dark. (chiaro (clear, light) + oscuro (obscure, dark) Atmospheric or Ariel perspective was one of the artistic strategies used in the study of Chiaroscuro during the Renaissance. (Atmospheric or Ariel perspective is covered in depth in the section “Objective Color Harmony”.)

Chiaroscuro and the Illusion of creating intuitive space.

One of the most used and useful applications of value is creating the illusion of volume and mass on a two dimensional surface. When a mass is exposed to light, a solid object will receive more light from one side than another when that side is closer to the light source. A spherical surface demonstrates this as an even flow tone from light to dark. A cast shadow is created when the source of light is obstructed by the sphere. An angular surface shows sudden contrast of light and dark.

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Intuitive Space is merely a trick the artist uses to create depth on a two dimensional surface.

“Intuitive space” is merely the illusion space created by using artistic methods to trick the viewer into seeing depth, volume and mass on a two dimensional surface. Intuitive space is sensed or ”felt” on a two dimensional plane. Intuitive methods of space control include overlapping, transparency, and other applications of spatial proportion. In a “Theory of Light and Shade” I will show how to create intuitive space by using “Light Logic”.

Light Logic refers to how light interacts with objects. Light Logic is the term Betty Edwards uses in her book “The NewDrawing on the Right Side of the Brain”

Light Logic and the Rendering of Three Dimensional Objects onto a Two Dimensional Surface.

You will make your art more believable when you keep these basics in mind.

A Light Source and Shadows

A light projected onto an object or figure creates lights, darks, and cast shadows. Your source of light may be the sun, the moon, a light through a window or an artificial light. When several light sources are present the light and dark tones vary and are less predictable. To simplify the study of light and shadow in this first section, I will use only one light source.

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Two Kinds of Shadows There are two kinds of shadows that occur when one light shines on an object, a cast shadow and a form shadow. Cast Shadow When an object blocks a light source it casts a shadow. A cast shadow is not a solid shape but varies in tone and value. The farther a cast shadow is from the object which casts it the lighter and softer and less defined becomes its edges. Form Shadow A form shadow is the less defined dark side on an object not facing the light source. A form shadow has softer less defined edges than a cast shadow. Form shadows are subtle shadows essential for creating the illusion of volume, mass and depth. The changes in form shadows require careful observation – quinting at the subject to see value definition affected by figure-ground making value relationships clearer.

A Light Side and a Dark Side on Round or Circular Surfaces When one light source is present, I was taught the dark side is “always”darker than the light side of the object and the light side is “always” lighter than the dark side. Establishing a definite light side and dark side makes round objects appear round and defines the form of an object accurately. Use this simple trick to make your artwork more true to life, separalight tones avoiding figure-ground confusion.

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THE LIGHT SIDE IN TWO PARTS Highlight The lightest spot or streak is where the light strikes the subject in exactly the middle of the light side between the shadow edge and the edge of the object. A highlight can be shinny and crisp on a glass or metallic surface, or fuzzy and muted on a dull or textured surface. Light middle tones Note, to avoid confusion, “always” keep the values on the light side lighter than the values on the dark side. In reverse, the values on the dark side are darker than the values on the light side. It’s the middle tones on either side that confuse the artist’s eye in value relationships.

The Dark Side in Three Parts

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Form Shadow in Three Parts “Shadow edge” or “core shadow” The edge where the light is blocked from the light source is the darkest value on the dark side. The core or darkest value blends into the middle tones from the shadow edge on round subjects. Dark middle tone The variable values blended form the shadow edge on the dark side. Again, the dark middle tones are darker than any values on the light side. The human eye can trick the brain into believing the lightest values on the dark side are the same as the darkest values on the light side. If the artist is confused about lights and darks, the rendering is less understandable.

Reflected light

If the object being painted is sitting on a white table, the light from the table reflects back onto the object and makes the shadow side lighter. If the object of the painting is resting by something black or dark, the middle values will become a dark reflection. The concept also holds true when the object of the painting is sitting on a colored surface. If the reflected light is reobject.

Cast Shadows When the source of light is blocked by an object it casts a shadow. The length and shape of the cast shadow depends on the placement of the light source. Long shadows are cast from a side light source (as from the sun in late afternoon or early evening), and short cast shadows are cast from over head (as from a noonday sun). The shape a shadow casts depends on the shape of the object casting it and how closource is to the object.

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CAST SHADOWS IN THREE PARTS

The vocabulary used to describe cast shadows in art come from shadow descriptions in astronomy. The umbra, penumbra and antumbra are the three distinct names given to the description of shadows cast by heavenly bodies. The umbra is the darkest part of a shadow considered the absence of light. The penumbra is a lighter outer shadow where the object is only partially obscuring the light. The antumbra is more obscure. When it is visible it seems to extend out from the penumbra in a lighter and less distinct way.

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Light Source, Cast Shadows and the Axis

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Cast Shadows The Sphere

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The Cube

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The Cylinder and Cone

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More on Cast Shadows

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Too many complex cast shadows can be confusing. Such objects can be rendered by blurring the edges.

Daylight and Cast Shadows

Cast shadows of irregular shapes and in natural sun light are open for interpretationbecause of the constant changing sunlight: As you work on location, the sun will continue to advance and change what you are drawing. Note the place you would have the sun be positioned, and keep that constant to avoid a confusing spread of shadows. The nature of shadow is affected by weather, sunlight,moonlight, or artificial light.

Multiple Light Sources or an Undefined Light source

Multiple light sources or an undefined light source minimizes the gradation of values and flattens the sense of volume in three dimensional objects. Because of this lighting affect, artists such as Manet painted colors in flat areas neglecting the use of one light source to create shadows. An undefined light source causes a sense of shallow space. Some art critics believe this sense of shallow space to have paved the way for “nonrepresentational” uses of value and color.

Manet’s Painting, “The Railway” shows value contrast in composition, but the sense of shallow space is emphasized by a lack of a single light source.

Objects Have Light, Medium or Dark Values Objects have an allover light, medium or dark quality. To make your representation more believable, you should take into consideration the light or dark value of each object. Before you render details, block in the value characteristics of each object. Using this strategy will save you time and hachieve a more realistic result.

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Value Schemes and Mood You create a sense of mood or interest depending on the combination of values present in a work of art. When value contrast is limited to a small range of tonal variations the result is one of understatement and calm. “High Key” is the term used for a light value scheme. All middle tone values are in a “Medium Key” range. And “Low Key” refers to an allover dark toned value scheme. Sharp value contrast evokes strong emotions in the viewer suggesting drama or conflict. Extreme value contrast in a value scheme refers to a style of chiaroscuro called “Tenebrism”.

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Tenebrism – Violent Chiaroscuro In the 17th century, a group of painters instituted the so called “dark manner” of painting. They were inspired by Michelangelo di Caravaggio. Rembrandt perfected this manner of Chiaroscuro. Tenebrism made value an instrument of strong contrast that lends itself to a dramatic and even theatrical style of using light and dark contrast. The tenebrists were interested in peculiar lighting causing mood or emotional expressionism. The deviation from standard light conditions into unexpected lighting locations creates unusual and special effects. This style is used today byphotographers.

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The analytical study of Chiaroscuro in the art of today

Using chiaroscuro to create excitement and interest in composition is a modern concept. Artists of the Renaissance were concerned with showing depth and volume on a two dimensional surface. The expression of light and contrast in old and new masterpieces reveal the continued importance of Chiaroscuro in art.

Notan

Notan is a Japanese word meaning dark-light. The principle of Notan is the interaction between positive (light) and negative (dark) space. This interaction is confirmed by the ancient Chinese symbol of Yin and Yang. This is represented by mirror images of one black and one white shape revolving around a center point. The positive and negative areas make a whole through a unity of opposites that are equal and inseparable. In Notan, opposites complement and do not conflict.

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“An understanding of Notan traditionally has been and will be a requirement for mastery of any field of art. It enables the artist to compose a work in which all the parts relate to create a unity of visual organization, impression, or pattern. Notan enables the artist to achieve a Gestalt – or more simply to create a design.”Notan The Dark-Light Principles of Design by Dorr Bothwell and Marlys Mayfield

Lao-Tse wrote a poem that to me
simply states the Essence of Notan:

Thirty spokes meet in the hub,
but the empty space between them is the essence of the wheel.

Pots are formed from clay,
but the empty space within it is the essence of the pot.

Walls with windows and doors form the house,
but the empty space within it is the essences of the house.

The Principle:
Matter represents the usefulness
Non-matter the essence of things.

Poem taken from Johannes Itten’s book Design and Form, Revised Edition
Basic Course at the Bauhaus and Later, John Westly & Sons, INC, page 13

Value as Pattern Controlled shallow space is illustrated by the early cubists such as Picasso and Braques. Their paintings are taken from realistic subject matter and abstracted into unified flat tonal planes. The planes are shaded individually with the semi-illusion of space with no light source. Later, each plane takes on characteristic value combined with other planes with the same style of value pattern. This produces a carefully conceived two dimensional pattern of light and dark values. The shallow space develops a three dimensional effect through the characteristics of the advancing and receding values.

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Decorative Effects of Light and Dark Contrast

Artists using the decorative effects of light and dark contrast ignore the use of the conventional tools of light logic all together. When light effects appear, it is often based on the total design of the artwork.

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Compositional Functions of Value

Today most artists use value as a vital tool in pictorial composition. Value contrast is an intrinsic factor in pictorial organization, in showing dominance in design, creating two dimensional patterns, establishing mood and producing spatial unity. The effectiveness of a work of art or design is in large measure based on the use of value.

Resource Material: Ideas for this section came from my own experience, education and observations; “Basic Perspective for Artists” by Keith West; “Perspective Without Pain” by Phil Metzger, North Light Books 1988; The Basics of Drawing by Parramon Ediciones Editorial Team’ Barron’s Educational Series 1994; The Practice and Science of Drawing, by Harold Speed, Dover, first published in 1917 by Seeley, in London, reprinted by Dover,1972; Art Fundamentals Theory and Practice – Second Edition WM.C. Brown Company, Publishers/Dubuque, Iowa 1968 by Ocvirk, Bone, Ssinson and Wigg; Design Basics Fifth Edition, by David A. Lauer and Stephen Pentak, Wadsworth-Thompson Learning

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.

Great Resource on Portrait Drawing

Realistic Pencil Portrait Mastery Home Study Course