Once you have blocked-in the primary value masses of your portrait it is time to blend and “remove” the lights with a putty eraser.
A stump is a cylindrical devise tapered at the ends and usually made of rolled paper.
Stumping then is to blotch or blend your hatchings with a stump. The intent of blendingis to produce gradations and halftones and to give certain value regions a softer appearance.
Blending can be done in different ways. You can utilize tissue paper or even your fingers or both. When using your fingers be sure to clean off any oily deposits with a tissue.
Stumping must be done in a painterly manner. You should figuratively cut out the form while invoking both the structural anatomy and the plane changes. As you work name each anatomical facet. This is especially true when you work on complex structures such as the nose and the eyes.
In a similar manner you can utilize your kneaded eraser to “take out” graphite to lighten certainareas. Again, go about it in a painterly fashion. Make use of the putty eraser as if it is a brush.
Now and again you may want to make use of the concept of “finality”. Your mind has a propensity to fill in the gaps in your observations. That is, the mind has a need for “finality”. You can make judicious use of this propensity and leave certain parts of your portrait unfinished. It adds interest to your drawing as the viewer’s mind will unconsciously finalize the portrait for you.
After you have done lots of blending and removing graphite with your putty eraser it is time to further express the forms and planes by hatching with a harder pencil (e.g., a 2H pencil). However, there are a number of things to look out for at this point.
Be careful not to leave the light side of the skull too darkly or it will look like a contusion. The smile-line is also tricky. If you over-stress it you will end up with a sneer. It is best to under-stress it and let the viewer’s sense of closure finish it for you.
An critical consideration must be made when drawing from a photograph. A photograph should only be suggestive material. That means visual decisions must be made. For example:
- What type of emotional reaction are you after? When people view your portrait what type of initial gut reaction do you want them to have to your sketch. Good skill is certainly necessary. But it will count for nothing if it is frosty cold and dry.
- Make choices. You should not draw every small facet but only the critical ones. Use your artistic judgement to make these choices.
A hard 4H pencil can be used to make the already dark regions even darker with hatching.
Careful attention needs to be paid to the edges of the forms in your sketch. For instance, as a sketch turns away from the light source its value increasingly gets darker and takes on a soft edge.
A cast shadow has a hard edge. The shape of a cast shadow is determined by the shape of the object casting the shadow and the shape upon which it is being cast.
Terminate the sketch by paying attention to the critical details. You also want to further tweak and stabilize the constructed values. Your sketch must always read as a unified entity even though you decide not to bring it to a high finish.
These few easy guidelines will set you on the correct path. Apply them properly and soon your pencil portraits will look a lot better.
Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing tutorial here: portrait drawing tutorial.
Remi Engels is a pencil portrait artist and oil painter and skilled drawing teacher. See his work at pencil portraits.
P.S. Let’s stop criticizing the video game art - better get a cheap PlayStation 3 and test it yourself.