In this commentary we will discuss the blocking-in of large masses of tone.

Tone is commonly thought of as shadow. Beginners commonly first sketch an outline of the shadow and then fill in the shadows bit-by-bit. They usually start with an eye and then grow out the shadows. Inevitably, the outcome is a chaos of disconnected darks and lights.

There are two distinct ways of viewing tone: in Western culture we see tone as shadow; in Eastern culture tone is seen as color.

Applying, or more accurately, constructing tone should be done with a sculptural sensibility. That is, think of your sketch as a piece of clay that is to be carved. Once roughly carved, you then model the surface shapes with varying intensities of tone while manipulating their edges.

A portrait sketching from life or (paper picture) starts with the striking of the construct. Two things must be accurately sketched: 1. the shape of the entire head; and 2. the proportions.

Once the arabesque} has been struck, the entire head is then broken down into two point, do not concern yourself with whether or not one area is darker than the other. Only the large light/dark pattern counts.

Note that squinting is a good idea to more clearly see the value patterns because you are not sidetracked by details.

A good rule of thumb is to divide an area in two. For example, if an observed dark area is not entirely uniform in value divide it in two and block-in the two slightly differing values. Before long a multifaceted but unified array of values will emerge.

From the blocking-in of the large darks you can then effortlessly sketch the features. Over time you should try to remember the total anatomy and “feel” the shape 3-dimensionally.

You must know your anatomy to succeed in sketching portraits even at the most basic level. Learn the anatomy in bite-size portions as you sketch along. It really is the best way to learn.

A good way to sketch is to toggle back and forth between line sketching and tonal sketching or hatching. Another way is to first do a total line sketching of the subject. That is, to sketch a “map” of the head that encompasses all planes and scores the boundaries of the various tonal areas. As a second phase you can then hatch-in the accurate values.

While you shade be always aware of the planes of the head and the bearing of the light source.

Another expertise to be acquired is the expertise to cross-hatch areas in a flat and even manner. There is nothing more distracting than scratchy looking cross-hatching.

Lastly, take note of a curious optical phenomenon called “simultaneous disparity”. It takes place when light and dark values lie next to each other. Generally, white is expansive while black is contractive. The result is that the white area looks larger than it is while the black area will look smaller.

In conclusion, keep the blocking-in procedure simple. Look for large masses first and then for the smaller ones. It is always better to work from the general to the specific. And, this stage, ignore the details.

Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing tutorial here: portrait drawing course.

Remi Engels is a pencil portrait artist and oil painter and practiced drawing teacher. See his work at pencil portraits by Remi.

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Posted in: Drawing Tips | | January 2009