There are many modes of drawing: linear, value-wise, gestural, etc. In this expose we will center on carving out form with a sculptural awareness.

This mode of drawing is very much like working with putty except that we are working on paper, of course, and using our fingers, a stump, tissue, and the kneaded eraser as our painting tools.

As always, begin with striking the arabesque and locating the essential proportions of the facial region.

Before hatching-in the main light/dark patterns you should squint and look at the subject or the photograph. Squinting distills the lights and darks into simple patterns of one given value because it obscures the minutia.

At this time, just concern yourself with the large masses, maybe even just two, a light one and a dark one. Do not yet attempt to break down the darks at this time.

Working in this way is also good training for painting because this is how you build up a painting in particular when using the Alla Prima method of painting.

Drawing, painting, and sculpture are additive/subtractive activities. You first add something and then you take something back, all the while progressing towards the finished drawing.

You also will use your kneaded eraser to take out the lights. When doing this pay careful consideration to the anatomical principles; every form signifies a skeletal signpost.

We all have our individual preferences about how we sketch. At this time, you may prefer to improve the arabesque and work on the facial features. Other draftspersons will continue working value-wise without any line work. As you add expertise and grow as an artist you will make your own selections. That is what art making is: selections - bad and good.

Now that we have the basics down including the overall proportions, we can start 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.

Starting and intermediate draftspersons often fail to go for the full tonal stretch. Quite often the reason for this is the apprehension of destroying their drawing and also because they have read, or been told, not to overwork the drawing.

As a beginner you should take a drawing as far as you possibly can, even to the point of collapse. That way you will learn exactly how far you can go. If you always stop 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 big value mass into two separate smaller forms of different tones wherever your observations tell you there is a difference in tone to be made. Keep in mind the varying planes and the anatomy of the subject’s features.

The hair is kept dark and simple with only a few strokes of the kneaded eraser to suggest the unkempt locks of hair. Do not overdo these strokes or they will look bleached.

In conclusion, when making use of the sculptural mode of drawing 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 drawing. Constantly remember the anatomy and the varying plane bearings that you note in your model. Always sketch from the general to the specific or from the large to the small. As you get more skill, try to remember the things that work for you and include them in your style of drawing.

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 practiced drawing teacher. See his work at graphite pencil portraits.

Info about working with children - visit this parenting blog.

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Posted in: Drawing Tips | | January 2009