In order to draw a really high-quality portrait, it is not enough to describe one's own inner feelings. Intuition can be wrong, while the foundation of academic knowledge is solid and reliable.

There are quite a large number of interesting and important sections in academic drawing. Much attention is paid to the creation of portraits. Artists strive to match all proportions and keep the maximum similarity with the model.

Why is it so important

In order to create a high-quality portrait painting, it is worth studying the rules by which an academic drawing of a human head is depicted. . You can talk about a fairly high skill, looking at the paintings of Bryullov, Rokotov, Kiprensky and other outstanding creators. The artist must be familiar with the technique of drawing, both with a pencil and paints, feel the proportions, be able to give volume and depth with the help of shadows, highlights. All this is a subtle matter, comprehended not in one day, but in the end you can rely on a solid foundation of a theoretical base.

Looking at the works of French masters who worked in the 16th-18th centuries, one feels admiration for the accuracy of drawing facial features. It seems that the portrait looks into the very soul, the soul of the person depicted by the artist is felt. The work uses not only paints, of which there are a large number of varieties, but also a pencil, charcoal. Each technique has its own characteristics that need to be studied separately.

How to draw a human head with a pencil step by step

As we feel the mood of a person, looking at the curve of his lips, wrinkles in the corners of his eyes, a fleeting glint in his eyes, so the people who see your work will have to feel both you and the model. No wonder they say that the eyes are the mirror of the soul. Your task is to make it reflect everything you need with maximum accuracy. The drawing should evoke emotion. If we draw an analogy with photography, we can take an example from life.

Let's say you saw a beautiful moon in the sky and want to take a picture of it with a phone with a medium-power camera. There will be striking differences between expectation and reality. As a rule, when professional equipment is not used, a blurry spot is obtained - no more. So, the academic drawing of a human head is a section of fine arts training that will allow your skills to move from the level of a bad camera to a higher level that allows you to capture even the smallest details, like an ultra-precise camera. Although drawing is a creative process, it has a lot of its own specific technologies.

You can start at least with the knowledge of anatomy. Having made a person in the drawing too high forehead, the wrong section of the eyes, having miscalculated in proportions, you can draw one personality, and get a completely different one - existing only on paper. There are frequent situations when the work seems to be not bad, there is definitely something in it, but the person himself is not. The value of such a portrait, however pretty it may be, is rapidly declining.

Making the contours of the head from the first time

An interesting feature is also that in the picture, many would prefer to see themselves a little better than in everyday life. You can, of course, make your hair a little more magnificent, less shadows under the eyes, but when it comes to the main facial features, such as eyes, lips, nose, experiments here can be harmful. Performing all these tasks, it is extremely difficult to rely only on your own intuition. Without knowledge of anatomy, proportions, the play of light and shadow, you will have to make a lot of mistakes, and as a result, the work can turn into one spot, on which something was constantly painted over and erased.

Therefore, practice should always go hand in hand with theory. This formula has been tested in many industries and, as a rule, never fails. Do not miss the chance to save your own time and effort. After completing the course, your skills will increase significantly, and the drawings, as they say, will really come to life.

Head:

We draw a figure that resembles an egg turned upside down with a sharp end down. This figure is called OVOID.
Vertically and horizontally, we divide it exactly in half with thin lines.

vertical
the line is the axis of symmetry (it is needed so that the right and left parts
turned out to be equal in size and the image elements were not on
different level).
Horizontal - the line of the eyes. We divide it into five equal parts.

In the second and fourth parts are the eyes. The distance between the eyes is also equal to one eye.

The figure below shows how to draw the eye (the iris and pupil will
not fully visible - the upper eyelid partially covers them), but we are not in a hurry
to do this, first finish our sketch.

Divide the part from the line of the eyes to the chin by two - this is the line on which the nose will be.
Divide the part from the line of the eyes to the top of the head into three equal parts. The upper mark is the line from where the hair grows)

The part from the nose to the chin is also divided into three parts. The top mark is the lip line.
The distance from the upper eyelid to the tip of the nose is equal to the distance from the upper edge of the ear to the lower one.

Now we make our standard blank sob in three streams.
lines,
drawn from the outer edges of the eyes will show us where to draw the neck.
Lines from the inner edges of the eyes - the width of the nose. Lines drawn in an arc from
the center of the pupils is the width of the mouth.

When you colorize the image, notice that the raised
parts (forehead, cheeks, nose and chin) will be lighter, and the eye sockets, cheekbones,
the contour of the face, and the place under the lower lip - darker.

The shape of the face, eyes, eyebrows, lips, nose, ears and
etc. all people are different. Therefore, when drawing someone's portrait, try
see these features and superimpose them on a standard workpiece.

Another example of the fact that everyone's facial features are different.

Well, here we see how to draw a face in profile and half a turn - the so-called "three quarters"
At
drawing a half-turn face, you need to take into account the rules
perspective - the far eye and the far side of the lip will appear smaller.

Let's go to the picture human figures.
In order to depict the body as correctly as possible, you need to know a few secrets, as when drawing portraits:

The unit of measure for the human body is the "length of the head".
- human height is on average 7.5 head lengths.
- Men, of course, are usually slightly taller than women.
-
Of course, we start drawing the body from the very head that we will
measure everything. Have you drawn? Now we postpone its length seven more times down.
This will be the growth of the depicted.
- The width of the shoulders is equal to two head lengths for men and one and a half lengths for women.
- At the place where the third head ends :), there will be a navel and an arm bent at the elbow.
- The fourth is the place where the legs grow from.
- The fifth is the middle of the thigh. This is where the arm length ends.
- Sixth - bottom of the knee.
-
You can not believe me, but the length of the arms is equal to the length of the legs, the length of the arm from the shoulder
to the elbow will be slightly less than the length from the elbow to the fingertips.
- The length of the brush is equal to the height of the face (note, not the head - the distance from the chin to the top of the forehead), the length of the foot is equal to the length of the head.

Knowing all this, you can quite plausibly portray the figure of a person.

Taken in a group dedicated to graffiti VKontakte.

Lip shapes

nose shape

Eye shapes

Forms of women's brogues

(c) The book "How to draw a human head and figure" by Jack Hamm

The proportions of the child's figure differ from
adult proportions. The less times the length of the head is hindered in growth
child, the younger he is.

In a child's portrait, things are a little different.
The child's face is more rounded, the forehead is larger. If we draw a horizontal
line through the middle of the child's face, then this will not be the line of the eyes, as
was in the portrait of an adult.

To learn how to draw a person not only
standing like a pillar, we will temporarily simplify our image. Let's leave
only the head, chest, spine, pelvis and fasten to all this
arms and legs. The main thing is to keep all proportions.

Having such a simplified version of the human figure, we can easily give him any pose.

When we have decided on a pose, we can
grow meat on our simplified skeleton. Do not forget that the body, it is not
angular and does not consist of rectangles - we try to draw smooth
lines. At the waist, the body gradually tapers, at the knees and elbows too.

To make the image more lively, character and expression must be given not only to the face, but also to the pose.

Hands:

Fingers on such smooth as a board, the joints in the entire skeleton are the widest parts of the bones.

(c) Anatomy for Artists: It's Simple by Christopher Hart

First, build a grid based on a square. To do this, divide the square vertically into four equal parts, and horizontally into five equal parts (you will get a HAIR LINE, a nose line and a chin line). You can delete the fifth pencil or erase with an eraser, since you will no longer need it.

Through the end of the segment, draw a vertical axis of symmetry, which, crossing the upper face of the square, will give you a point - the height of the model's head. Now find the eyebrow line by dividing the segment between the hair line and the eye line into five equal parts. A thin dotted line drawn through 1/5 of the part will be this line.

Divide the top face of the square into five equal parts so that the third part is bisected by the vertical axis of symmetry. Further, lowering the perpendiculars on the lines of the nose, eyes and mouth, as in Fig. , find the size of the eyes, the width of the nose and mouth.

Now draw in detail all the elements of the face, as well as the cheekbones and ears. With a dotted line, outline the shape of the skull and, giving the desired volume, draw the hair.

SCHEME OF THE STAGED CONSTRUCTION OF THE DRAWING OF THE HUMAN HEAD IN PROFILE

Draw a square and divide it horizontally into four equal parts. You will get respectively the hair line, the eye line, the nose line and the chin line.

D further, vertically divide the square into two identical parts. Divide the first vertical part into five equal parts and after 1/5 draw a dotted line up to the intersection with the line of the eyes: you have got the location of the eye in the figure.

Divide the second part into 10 identical segments, and erase 1/10 due to uselessness. Through the first three segments, draw a dotted line up to the line of the eyes to determine the location of the ear.

Divide the distance between the hair line and the eye line into five equal segments and draw a dotted line after 1/5. This line is the eyebrow line. Divide the distance between the nose line and the chin line into three equal segments and draw a dotted line through 1/3. Thus, you got the line of the mouth of the drawing of the human head.

Determine the height point of the head X, the point of the back of the head Y and the points of the base of the neck P and P1. Note that the back point of the base of the neck of P1 is always on the line of the mouth of the drawing of the human head. And the point of the back of the head is always on the line of the eyes. The shape of the skull smoothly passes through all these points. Stage D. Sketch the outlines of the head and face and give extra volume to the hairstyle (maximum on top and minimum on the back). human head).

A simple method for drawing a human head with a pencil

R head drawing consists of two intersecting lines. The first - the middle facial line - runs down from the bridge of the nose to the middle of the base of the nose and then to the middle of the chin; up it goes from the bridge of the nose

in the middle of the forehead and crown to the back of the head. The second line of the cross passes through the bridge of the nose to the left and right to the edges of the head through the middle of the cut of the eyes, as if covering the entire head with a horizontal hoop. Intersecting, these two lines form a kind of frame that characterizes the position of the head in space in relation to the point of view of the painter.

If, for example, the head is located in the front without tilt and the level of the eyes coincides with the horizon line, then the pattern of the human head will look like straight lines intersecting at right angles (Fig. a).

If the head is located in the front, but slightly tilted back, then the middle facial line will remain a vertical straight line, and the transverse line of the drawing of the human head will turn into an ellipse, the near part of which will be higher, and the back, occipital, below eye level (Fig. b).

If the head is located in a three-quarter turn without tilt, and the eyes are still at the level of the horizon, then the middle facial line will look like an oval, and the cross of the cross will look like a straight horizontal line (Fig. c).

Having determined the position of the cross of the head in space by nature, it is easy to depict this position in the figure in the form of a frame of a drawing of a human head, according to which the drawing of the head will be built in the desired angle.

The use of a cross when constructing a drawing of a human head at the initial stage of mastering the drawing gives the greatest effect, since many errors in the drawing arise as a result of an incorrect determination of the position of the head in space. Only when you have firmly mastered the basics of drawing, can you take into account the cross of the head without depicting it. It usually doesn't come so soon.

Proportions of the human head and body

Pavlinov P.Ya. For those who draw: artist's advice. M.: Sov. artist: 1965.

Chistyakov P.P. Letters, notebooks, memoirs. M., 1953.

Rabinovich M.Ts. Plastic anatomy of man, four-legged animals and birds. M.: Higher school. 1978.

Kartser Yu.M. Drawing and painting. M.: Higher school. 1992.

Starting from the primitive era, a powerful tool in the development of science, technology, arts, along with language, its speech, words, letters, was drawing with its points, lines, strokes, spots, strokes, shading, images.

Drawing is the basis of all fine arts, and at the same time an independent branch in the form of final works with a pencil, pen, brush, and so on.

A.P. made a great contribution to the Russian school of drawing. Losenko, A.I. Ivanov, K.P. Bryullov, P.P. Chistyakov. Chistyakov believed: “Drawing means thinking. Never draw silently, but always set a task... First you need to draw as you see and work out in more detail. This is the beginning of the teaching of painting. Don't forget to draw a line through two points, all calculated... and check with the general shape." (Chistyakov P.P. Letters, notebooks, memoirs. M, 1953. - p. 359–442).

“In the drawing of a human head, the position of the head and neck relative to the vertical is first marked. And immediately the size of the face and neck, the location of the eyes, relative to the horizontal. Draw not with a line, but with a shape, that is, draw a line, and not see the mass enclosed between two, three, and so on lines. When the total mass is correct relative to the horizontal and vertical, then you can start breaking down and drawing smaller parts. Shading and chiaroscuro - the end of the matter. It begins with a drawing of shadows or spots. Take the strongest one and, in relation to it, bring other shadows, penumbra, half-light and light into harmony.

ANATOMICAL STRUCTURE OF THE HUMAN HEAD

The external shape of the human head is extremely complex and varied (Fig. 1). At the same time, its structure is based on the same anatomical, constructive structure for all objects, which determines the general nature of the plasticity of its forms, regardless of the individual features of an individual.

The hard base of the head is the skull (Fig. 2). It consists of a large brain section and a relatively small facial section. The rigid box of the cranial vault consists of the occipital, frontal, two parietal and two temporal bones. Falling down, the frontal bone forms the outer edge of the eye sockets, protected from above by superciliary arches. Below is the upper jaw with a pear-shaped opening of the nose and the upper row of teeth. From the sides, the jaw is covered by the zygomatic bones with the zygomatic arches extending back to the ear openings. From below, the skull is completed by the movable bone of the lower jaw with a paired joint at its base. The lower jaw carries the lower row of teeth and can be pressed against the upper jaw with powerful chewing muscles.

The muscles of the face are divided into chewing and not quite correctly called "mimic" (Fig. 3). Chewing muscles, attached to the bones, control the movement of the lower jaw. “Mimic” muscles, intertwining with their endings in the soft tissues and skin of the face, allow the eyes, nose, mouth to function normally, and also express the internal emotional state of a person - facial expressions.

The bones of the facial part serve as the basis of its spatial structure, its external plastic form is determined by the complex cover of cartilage, muscles and fat layer. Because of this, the shape of the vault of the skull is relatively simple and static, and the shape of the face is unusually complex and mobile.

In order to more fully imagine the nature of the volumetric shape of the head (Fig. 4), it should not only be examined more closely from all sides (front, rear, top and bottom), but also make the so-called "characteristic cuts" in the main planes (frontal, profile and horizontal). The plate of the head is also known with the help of a number of anatomical nodes-points (reference points or beacons) and lines. So, for example, when viewed from the front, the shape of the head is determined by: frontal tubercles, superciliary arches, temporal lines, orbital cavities, base and wings of the nose, corners of the mouth, chin tubercles, crown, parietal tubercles, angles of the lower jaw, zygomatic bones.

The beacons of the lateral parts of the head are: the crown, the ear openings, the occipital, parietal, frontal and superciliary tubercles, the tip and base of the nose, the chin, the angle of the lower jaw, the apex of the zygomatic bone and the upper edge of the orbit.

When viewed from the back - parietal and occipital tubercles, mastoid processes, auricles and protruding occipital bone ridges symmetrically located relative to the midline.

When viewed from above, the forehead, wide parietal and zygomatic bones with receding zygomatic arches should be noted.

From below, we will see a horseshoe-shaped lower jaw, widely spaced zygomatic bones and protruding superciliary arches, the base and tip of the nose, the lower edge of the orbit.

The connecting link of the trunk and head is the neck, the rigid structure of which is made up of the seven upper vertebrae of the spinal column. The anterior borders of the neck and trunk are the clavicle and the jugular fossa.

BASIC MOVEMENTS

The movement of the head (Fig. 5) relative to the body (rotation and tilts in all directions) is provided by the mobile atlantooccipital joint, the flexible articulation of seven cervical vertebrae, as well as a large number of neck muscles that regulate these movements.

On fig. 6 shows different positions of the head in relation to the viewer. They help to understand the essence of the three-dimensional construction of the entire head and its parts. Looking at these drawings of the head in various inclinations and turns, one should, first of all, pay attention to how the reference lines of its construction visually change: median, profile, superciliary arches, eyes, base of the nose, mouth and lower jaw.

The image of a human head has been in the center of constant attention of fine art masters of all times. In the era of the Italian Renaissance, an inquisitive study of nature, the accumulation and generalization of knowledge on human anatomy and geometry resulted in certain image techniques, led to the creation of a harmonious head construction system.

STRUCTURE OF THE FACE AND ITS MAIN PARTS

Based on the analysis of the works of old masters and the instructions of the professors of the St. Petersburg Academy of Arts P.P. Chistyakov and G.R. Zaleman. Prof. M.I. Kurilko developed a scheme for constructing the head (Fig. 7) based on the characteristic anatomical features of the structure of bones and muscles. It is interesting to compare his scheme with those of A. Durer and A. Golubkina. The schemes are given, of course, not in order to draw them instead of a living form, for it is clear that no scheme is able to replace a living, extremely complex form in itself, which changes depending on individual characteristics. Schemes are necessary as visual aids for a competent and convincing image of the head of any person.

In the diagram, from the extremely complex anatomical structure of the head, the most characteristic strongholds for the construction of bones and muscles were selected. Their totality is the structural core of the three-dimensional form of the human head, which makes it possible to clearly and correctly build its visible plastic form. Knowing the anatomical points-lighthouses and characteristic guide lines, the painter sees the main structural elements of the form more sharply and will never get confused in a multitude of details, correctly and quickly enough depict it with the help of lines and light and shade.

Based on the schemes of masters S.V. Tikhonov proposed his own scheme of the human head, connected in more detail with the anatomical structure (Fig. 8). It shows the system of superciliary arches, frontal tubercles, glabella, back of the head.

Of greatest interest is the structure of the face and its parts (eyes, nose, lips and ears). The rigid base of the eyes is the orbital cavities located under the superciliary arches of the frontal bone (Fig. 9). This complex spatial structure is formed by four bones. The outer edge of the orbital cavity, having a backward bend, forms the fifth reference point of the orbital foramen at the junction of the frontal and zygomatic process. The outer edges of the orbital cavities are not located frontally in the skull, but are turned somewhat to the sides and tilted forward. The turn of the upper edge is less than the lower one, therefore, when viewed from above, below and from the side, the line of the orbital foramen resembles a figure eight in outline.

The eyeball is placed in the orbital cavity. The front part of the orbit and the eyeball is covered with a ribbon of the circular muscle of the eye, including the thickness of the two parts of the eyelids (upper and lower). The shape of the outer edge of the opening of the eye cavity is close to a rectangle, and the eyeball has a spherical shape. Therefore, the corners of the orbital foramen are not completely filled, especially the inner upper corner. The upper edge of the tilted orbital cavity partially overlaps the eyeball.

The iris is covered by an upper, more mobile eyelid and an inactive lower one (Fig. 10). The palpebral fissure between the eyelids, starting at the lower inner corner of the eye opening - the teardrop, ends slightly below its upper outer corner. With a normally open eye, the upper eyelid partially covers the iris of the pupil of the lower part. The thickness of the upper eyelid, passing over the bulge around the pupil, rises somewhat, due to which the bend of the upper eyelid always follows the movement of the pupil. Four rectus and two oblique muscles of the orbit provide greater mobility to the eyeball. Each pupil, following the object, can move up, down and to the sides (Fig. 11).

The rigid base of the nose is the nasal bones at the top and the edge of the piriform opening of the upper jaw below, the body of the nose itself consists of cartilage and one underdeveloped nasal muscle (Fig. 12). Because of this, the nose is inactive. The glabella is formed by a flat trapezoidal platform of the upper bone with a wide upper base, lying between the superciliary arches at an angle to the frontal surface of the forehead. Going down and going back a little, it connects with two nasal bones, which together form the anterior rectangular platform of the nose, located at an angle to the glabella. The lateral surfaces of the upper part of the nose, formed by the processes of the upper jaw, are in the form of rectangles extending from the nasal bones back to the cheek.

The shape of the middle section of the nose is determined by the pyramidal cartilage, enclosed between two triangular cartilages. Attaching to the nasal bones and going down, it forms a triangular area of ​​the frontal part of the nose, the lower part of which is lost between the two pterygoid cartilages of the tip of the nose (Fig. 13). A fracture between the nasal bones, pyramidal and pterygoid cartilages gives a different character to the profile of the nose (humped, straight, snub-nosed).

The frontal surface of the tip of the nose is determined by the anterior part of the pterygoid cartilages, their lateral parts form the shells of the wing of the nose and their lower sections, in which the openings of the nostrils are located. The construction of a complex shape of the lower section of the nose should be based on anatomical beacons. These are the junctions of the triangular cartilages and several points that define the nasal septum. Since the base of the nose is located on a horseshoe-shaped, in terms of bone, upper jaw, the wings of the nose, naturally, go back from the protrusion of the nasal bone, the attachment site of the septum and the circular muscle.

The complex plastic shape of the upper and lower lips is formed with its thickness by the circular muscle of the mouth, which lies on the upper and lower bone vaults of the jaws and teeth (Fig. 14). Lips are the most dynamic part of the face. This is explained by the mobility of the lower jaw and the relatively free attachment to the bones of the circular muscle of the mouth, a large number of muscles that control it (Fig. 15). The main spatial shape of the lips is due to the horseshoe-shaped bones of the upper and lower jaws, on which the circular muscle of the mouth is located (Fig. 16). The peculiar configuration of the red border of the lips is the result of the action of the fibers of the radical muscles woven into the circular muscle.

The fibers of the buccal muscles, being included in the inner layer of the circular muscle, tuck inward and create vertical folds at the corners of the mouth. The fibers of the square muscle of the upper lip are attached to the outer layer of the circular muscle, turn its thickness outward and raise the red border of the upper lip upward.

Two square muscles of the lower lip are also attached to the circular muscle, turn it outward and pull the red border of the lower lip down and somewhat to the side.

The ears are located on the lateral surface of the head and have an extremely complex spatial shape (Fig. 17). The auricle is formed by cartilage covered with a thin layer of skin. The outer edge of the shell is called the curl. Inside it passes an antihelix bifurcating upward. In front of the auditory opening, protrusions separated by a notch are placed - a tragus and an antitragus. The lower part of the auricle - the lobe - without cartilage. The auricle, attached to the temporal bone with tight ligaments, is motionless.

With a general rounded shape, the surface of the forehead has more or less pronounced five facets (Fig. 8). The frontal part of the forehead is formed by two frontal and two brow humps, lateral surfaces adjoin it at an angle, bounded from below by superciliary arches, from the outside - by temporal lines, behind the protrusions of the latter there are temporal surfaces directed backwards.

The horseshoe-shaped lower jaw determines the plastic shape of the lower section of the head. The chin is placed between the two square muscles of the lower lip. Its shape is formed by two chin tubercles and a fatty growth between them.

There are three platforms under the lower jaw: one straight line - from the chin to the larynx and two triangular lateral ones located on its sides. These areas are limited on the side by the body of the lower jaw, in the middle - by the digastric, and behind - by the styloid-hyoid muscles, marking the lower border of the conjugation of the head and neck in front.

The rounded surface of the cheek, formed by a large number of soft tissues, is divided into three sections, expressed by peculiar fractures of the zygomatic and masticatory muscles. The frontal part of the cheek is limited by the lower edge of the eye cavity, the lateral surface of the nose and the zygomatic muscle.

application

To draw a portrait of a person with a pencil, novice artists do not have to complete courses, become students of an art academy, or take private drawing lessons. Drawing a person's face is not difficult, the main thing is not to be lazy and develop your skills.

The main thing in the article

Do-it-yourself portrait of a man in pencil: what do you need?

To draw a portrait of a person you will need:

• simple pencils;
• a sheet of white paper A4;
• eraser;
• stationery knife;
• scotch.

Learning to draw portraits of people with a pencil: where to start?

There should be no unnecessary items on the working surface. Take a sheet of white paper, lay it vertically or horizontally in front of you and secure it around the edges with tape. Remember that while drawing, you can not tilt the sheet. You work only with the hand.

Use a pencil to draw a portrait Koh-i-Noor medium soft HB or soft B.

An incorrectly sharpened pencil affects the quality of the drawing. Do not sharpen pencils with a sharpener, but use a stationery knife. This method of sharpening a pencil allows you to expose the core as much as possible, to make it sharp. Correctly sharpening a simple pencil, you will be less distracted from the process and draw longer.

For practice, use a regular sheet of A4 paper. In the future, if you enjoy drawing, buy professional drawing paper, such as sketching paper, kraft paper.

How to learn to draw a portrait of a person with a pencil?

First, take a photo of the person whose face you want to draw. Consider it carefully. A person's face on a sheet of paper consists of geometric shapes that change their shape in the process of drawing. Remember that people's faces are disproportionate. Therefore, during a detailed drawing of parts of the face, this must be taken into account.

To learn how to draw a portrait of a person with a pencil, you need to make sketches on paper.

How to draw a portrait of a person with a pencil for beginners in stages

The process of drawing a person's face with a pencil can be divided into the following steps:

• drawing a general outline of the face;
• marking the main parts of the face inside the oval;
• eye drawing;
• drawing eyebrows, drawing a nose and mouth;
• detailed drawing: wrinkles, shadows, moles, hair, etc.

Getting Started: Building the Head and General Face Contour

To correctly draw the general contour of the face, you need to know quite a bit of human anatomy. First, draw an oval that is narrower at the bottom than at the top. Next, change the outlines individually.

Marking parts of the face and working with planes

Full face

1. The skull and jaw are a flattened sphere, roughly speaking, the face in this position resembles a chicken egg, turned upside down with a narrow part. Draw such an oval and draw two perpendicular lines through its middle.
2. The horizontal line is the line of the eyes. Divide its right and left parts in half. This will be the middle of the eyes (pupils).
3. Divide the lower part of the vertical line into 5 equal segments. The tip of the nose will be located at the 2nd mark from the top, and the mouth will be between the 2nd and 5th mark.
4. Divide the upper part of the vertical line into 4 equal segments. Hair should be 2 sections from the top. The bottom of the ears should be at the level of the tip of the nose, and the top should be at the level of the eyelids.

Artists use small tips for drawing portraits:

• the width of the face consists of 5 segments equal to the width of the eyes;
• the distance between the eyes is approximately equal to the width of one eye;
• the width of the chin is equal to the length of the eye.

These standards are adjusted individually.

Profile

1. The profile also resembles an egg in shape, but its sharp part is shifted into a corner.
2. Divide the drawn figure with two perpendicular lines.
3. The ear is behind the vertical line. The depth of the skull is drawn individually.
4. The correct location of the nose, eyes, eyebrows has already been sorted out in the subparagraph "Full face".

Detailing the face: drawing the eyes, contours of the eyebrows, nose, lips, ears

Eyes

Since the shape of the eyes of each person is different, it is impossible to accurately describe this process. The middle of the eye is already marked. Now draw two arcs on the right and left, which you will later "turn" into eyes.

The main points to pay attention to when drawing eyes:

• the outer part of the eye is always slightly higher than the inner part;
• the arches of the eyes are rounded closer to the inner part of the eye and narrowed towards the outer;
• if a person looks straight, then the iris of his eye is always slightly covered by the upper eyelid;
• eyelashes always begin to draw from the century;
• the lower eyelashes are always shorter than the upper ones;
• do not forget that the tear ducts, lower and upper eyelids should be drawn near the eye.

Very often, beginners, having drawn one eye, stop looking at the photo and copy the second eye from their drawing. Do not forget that people's faces are not proportional. The second eye will be a couple of millimeters wider / narrower, higher / lower. The eyelid over the right eye may be lower than over the left. All these little things must be carefully copied from the photograph.

If you draw a face in profile, then the eye here will resemble the shape of an arrowhead with convex and concave sides. The iris is hard to see from the side, but when drawing a portrait, you need to draw it so that the eye does not look strange.

Brows

The widest part of the eyebrow is often closer to the bridge of the nose. Do not start drawing hairs right away. Define the shape of the eyebrows. If you draw a face in profile, then their shape will resemble a comma.

Nose

The easiest way to draw a nose is illustrated in the picture. Draw a circle, then add wings and "backs" to it. At the very end, it remains to circle the nostrils with a pencil.

There is a more complex but realistic way to draw this part of the face. As shown in the picture, draw a polyhedron. The shape of the polyhedron changes depending on the position of the face. Next, start rounding the geometric shape.

Lips

Start drawing lips from the inner line, from the place where the lower and upper lips meet. This line will never be perfectly straight, it always consists of several curved lines.

The inner line of the mouth is always darker in the drawing than the outer contours of the lips, and the upper lip is often smaller than the lower.

If you draw a face in profile, then never bring the tip of the lip up sharply. Draw the middle line of the lips first straight or down, and then lift it up.

Ears

The human ear can be represented as the letter C. Don't forget that the ear has a rim and an inner part that resembles an arc, and a lobe. Be sure to draw these main parts of the ear.

Hatching and shading

It seems that you are already at the finish line, but the portrait is absolutely unrealistic. Hatching and elaboration of halftones is something you cannot do without when drawing a portrait of a person.

First of all, determine where the light falls on the face and where the darkest places are. Apply strokes on the face in one direction - from top to bottom. To give the skin a matte finish, blend the lines with your finger or a regular tissue. Use the eraser tool to lighten the areas in the portrait.

Highlighting and darkening areas of the face

Highlighting and darkening areas of the face is necessary so that the face on the sheet of paper looks voluminous, and not flat:

• If you need to lighten an already painted area, then use the eraser.
• Start sketching parts of the face with light lines. Do not press hard on the pencil.
• Overlay lines in layers. The more lines, the darker the area of ​​the face will be.

How to draw portraits of people with a pencil from different angles: full face, profile, head turn

We have figured out how to draw the full face and profile of a person.

1. If you are drawing a person from the back, then you may not be able to see all parts of his face.
2. With the face turned almost in profile, the middle line of the lips is very small, the line of the neck merges with the line of the chin. A part of the cheek is also visible, behind which the human nostril is shown.
3. When a person is turned almost back to you, you can clearly see the line of the eyebrows, cheekbone, neck line, which tends to the ear (if this part is not covered by hair).
4. When turning the person's face more, you can see the eyelashes, a small part of the eyebrow, the protrusion of the lower eyelid and the tip of the nose.

How to draw a portrait of a person with a pencil: the basics and secrets of skill

1. The focus should be on the eyes of the person.
2. Try to draw not only the head, but also the shoulders, neck decoration, collar, etc.
3. Never start drawing small details without properly marked outlines.
4. Outlining the contours, do not press hard on the pencil, draw with barely noticeable lines.
5. Pay special attention to the proportions of the person's head.

How to draw a portrait of a person with a pencil: video tutorials

The person whose portrait you decide to draw will definitely appreciate your efforts. Such a gift can be made to yourself. If you are afraid of the amount of work ahead, practice drawing individual parts of the face. In the future, it will be easier for you to draw a portrait of a person with a pencil.

To master the method of constructing an image of the shape of the head using a linear design scheme, it is necessary to remember a number of rules for the perspective modification of this scheme, depending on the position of the head in space. In turn, in order to correctly express the constructive basis of the form for any position of the head in space, the draftsman must remember a number of features of the perspective image of the structural scheme.

When learning to draw from nature, the point of view is of great importance, that is, the place from which the painter observes nature. The type of nature varies greatly depending on where the painter is looking from.

Consider the main positions (turns) of the head and analyze the features of constructing their image.

1. Head in front, frontally. The position of the head at the level of our eyes (Fig. 38). The profile line when depicting the head in front is straight and divides the head into two equal and symmetrical parts. Therefore, depicting symmetrical head shapes - forehead, face oval, nose, lips, chin, the student must draw the right and left parts at the same time. The lines of the superciliary arches, the base of the nose and chin, as well as the cut lines of the eyes and mouth will be straight and horizontal. The cut line of the eyes passes through the teardrops and corners (outer edges) of the eyes, or rather, along the seam connecting the zygomatic and temporal bones. The incision line of the mouth runs along the border of the upper and lower lips.
2. Head in front, view from below (Fig. 38). When constructing an image of the head in perspective (in abbreviation), the constructive lines of the superciliary arches, the base of the nose and chin should be rounded and their tops should be turned upwards. The bottom of the auricle will drop below the base of the nose. The lower areas of the superciliary arches, the lower planes of the nose and chin will open (be visible). The incision line of the eyes will descend to the hump of the nose. The profile line is still straight.
3. Head in front, top view (Fig. 38). When constructing an image of the head in perspective (top view), the constructive lines of the superciliary ridges, the base of the nose, chin, the section of the eyes and mouth will be rounded and turned downwards. The bottom of the auricle will be higher than the base of the nose. The lower areas of the nose, eyebrows and chin will be hidden. The profile line is still straight.

Construction of the image of the head in a three-quarter turn (Fig. 39).

1. Head at the level of our eyes (Fig. 39). When depicting the head in a three-quarter turn, the front of the head should be shown in perspective - one half in greater reduction. The other is smaller. However, the front part of the head must be depicted simultaneously - the right and left halves - symmetrically. For example, when outlining the outline of the cheek farthest from us, we simultaneously outline the line and the shape of the near cheek, that is, we repeat the line of the outline of the far cheek in mirror image. When the head is positioned in a three-quarter turn, the profile line will already be depicted slightly curved. The constructive lines of the superciliary arches, the incision of the eyes, the base of the nose, the incision of the mouth and the base of the chin are straight and horizontal.
2. The head is above the eye level of the painter (Fig. 39). With this position of the head, the constructive lines - the lines of the superciliary arches, the incision of the eyes of the base of the nose, the incision of the mouth and the base of the chin - will be depicted somewhat curved and directed upwards. When drawing the head in this position, students often violate the laws of perspective and depict it in reverse perspective (Fig. 40, a). With a given position of the head, the eye that is closer to us will always be higher than the distant one, and the lines of the superciliary arches, the incision of the eyes, the base of the nose and the incision of the mouth will fall as they move away from us. This is very easy to prove. Imagine that instead of a head we have a simple box in front of us. On the “front” side, we outline our head diagram; according to the laws of perspective, it will look like in Figure 40, b. Thus, the student sees that the eye farthest from us is lower. The profile line will be curved. The lower areas of the eyebrow, nose and chin will be clearly visible. The tip of the nose will be above the line of the base of the nose.
3. The head is below the level of the draftsman's eyes (Fig. 39). When constructing an image of the head below the level of our eyes, the constructive lines of the superciliary arches, the incision of the eyes, the base of the nose, lips and chin will be rounded and turned downwards. The tip of the nose in this position will be below the line of the base of the nose. The incision line of the eyes will approach the line of the superciliary arches. The front part of the head will be significantly reduced, and the upper part of the skull will increase. The profile line remains slightly curved.

Drawing No. 40 - Head Drawing in Reverse Perspective

Construction of an image of the head diagram in profile (Fig. 41).

1. Head at the level of the artist's eyes. When drawing a head in profile, an inexperienced draftsman generally stops thinking about construction, volume, and is limited to a planar image - a silhouette. Drawing the head in profile, the student conscientiously sketches the outline of the head, without thinking about the volume of the cranium. The use of a linear design scheme helps to avoid this. When outlining the front part of the head with lines, the painter must also remember that part of the head that is not visible. Thus, he will be able to consider the head as a three-dimensional real form.
2. The head is above the level of our eyes. The profile picture of the head, which is above the level of our eyes, is quite simple. With this position of the head, it is easier for the draftsman to catch the design features of the head, as well as perspective contractions. Following the line of the superciliary arches, the student can easily notice that the eye facing him will be higher than the invisible one. The same is true when depicting the nostrils, the corners of the lips, the jawbone. In the figure, it is necessary to emphasize the lower areas of the eyebrow, nose, and chin.
3. The head is below the level of our eyes. In this position, the constructive lines of the superciliary arches, the base of the nose, and the incision of the mouth will be turned downwards.

In order for the student to feel how much the scheme helps to build an image of the shape of the head, the following is necessary: ​​firstly, change the position of nature in space more often and, secondly, change the lighting conditions more often. Then the draftsman will begin to understand that the effect of the drawing does not depend on shading (chiaroscuro), but on the correct construction of the shape of the head, on the correct expression of its design features. An example of such exercises is shown in Figures 42, 43, 44. Such exercises are aimed at strengthening knowledge and skills in building the shape of the head in any perspective position, so that the young artist learns to correctly understand and depict the relationship of parts and the whole when building an image of a human head.

Drawing No. 43 - Educational drawing

Drawing No. 44 - Educational drawing

By the beginning of entering an art school, young artists already have some training in depicting a human head. However, these knowledge and skills are not enough to complete the drawing at the proper professional level. Students usually do not perform exercises, do not strive to master the provisions of academic drawing well, and do not study individual moments of image construction.

In a training drawing, complex moments of image construction must be learned in isolation from each other, as musicians do when studying this or that passage, or as athletes work out their movements.