There are many modes of sketching: linear, tonal, gestural, etc. In this commentary we will focus on carving out shape with a painterly awareness.
This manner of sketching is very much like working with putty except that we are drawing on paper, of course, and using our fingers, a stump, tissue, and the kneaded eraser as our painting tools.
As always, begin with drawing the construct and locating the basic proportions of the facial region.
Before hatching-in the chief light/dark patterns you should squint and look at the model or the photograph. Squinting distills the lights and darks into uncomplicated patterns of one given tone because it obscures the minutia.
At this stage, just concern yourself with the big masses, maybe even just two, a light one and a dark one. Do not yet attempt to break down the darks at this stage.
Working in this way is also good training for painting because this is how you build up a painting especially when using the Alla Prima method of painting.
Sketching, painting, and sculpture are subtractive/additive enterprises. You first add something and then you take something back, all the while proceeding towards the final drawing.
You also will use your kneaded eraser to take out the lights. When doing this pay careful consideration to the anatomical features; every shape indicates a muscle marker.
We all have our individual preferences about how we sketch. At this stage, you may prefer to improve the construct and work on the facial features. Other draftspersons will go on working tonally without any line drawing. As you gain expertise and grow as an artist you will make your own choices. That is what art making is: choices - bad and good.
Now that we have the basics down including the overall proportions, we can begin reworking the darks and the lights. The point is to go for the “full stretch” of tones, i.e., from the darkest darks to the lightest light.
Beginning and intermediate draftspersons often fail to go for the full value interval. Quite often the reason for this is the apprehension of ruining their drawing and also because they have read, or been told, not to overwork the sketch.
As a student you should take a sketch as far as you possibly can, even to the point of collapse. That way you will learn precisely how far you can go. If you always finish short you will never know what lies ahead.
Use your fingers, a tissue, and a stump to blend the tones. The best thing is to start dividing each tonal mass into two separate smaller forms of different tones wherever your observations tell you there is a distinction in tone to be made. Keep in mind the changing planes and the anatomy of the model’s features.
The hair is kept dark and simple with only a few lines of the kneaded eraser to suggest the disheveled locks of hair. Do not overdo these lines or they will look blanched.
In conclusion, when utilizing the painterly manner of sketching a pencil portrait always treat your tools as if they were brushes. Act as if as much as possible that you are sculpting instead of sketching. Constantly remember the anatomy and the changing plane bearings that you note in your subject. Always sketch from the general to the specific or from the large to the small. As you get more ablity, try to remember the things that work for you and include them in your style of sketching.
Do you want to learn the secrets of pencil portrait sketching? Download my brand new free pencil portrait drawing tutorial here: pencil portrait tutorial.
Remi Engels is a pencil portrait artist and oil painter and practiced sketching teacher. See his work at graphite pencil portraits.
Info about working with children - visit this parenting blog.