I drew this sketch shortly after yesterday’s. It is also a blind drawing, but this time, I peeked.
I really must practice imagining the entire sketch when I begin my blind drawing. This means I must create a mental picture of the sketchbook surface on which my hand will trace the outline of the portrait subject. This is difficult, since I place the point of my pen at one place on the outline […]
The young man in the sketch below had a very long face. He seemed very nice, smiling to himself now and then. Very handsome. His legs were very gangly but I concentrated so much on his face, they seem almost forgotten. A little sharper bend on his right knee could have fixed that.
When concentrating on individual parts of a portrait sketch, sometimes itty-bitty errors add up. In the case of the image below, the cumulative inaccuracies were bridged by the enormity of the young lady’s arm upon which her head lay. When I began the sketch, her head was gracefully touching the apex of her angled wrist. […]
One of my previous posts was a double portrait of a woman and a young lady whose elongated face reminded me of one of Modigliani’s portraits. Below is a closer rendition of the same young lady from that post. The proportions of the face are less Modigliani-ish, below.
These young ladies were drying off after a dunk in the pool. When I draw more than one figure, I lightly sketch them in, to get the relative positions of each. In the drawing below, the figure on the far right was too big at first. I re-drew it with a heavier sketch of the […]
Proportions, always proportions. Leonardo DaVinci had very detailed descriptions of ratios of one body part to another. When drawing, it pays to lightly sketch in the entire form of the subject before committing to a more bold outline. The portrait below turned out to be one of a long-waisted man.
I’m proud of this one. The proportions are life-like and the composition, including the chairs and tables. This couple was reading about traveling, but they look so comfy right where they are.