How to Draw a Portrait – Drawing Academy

The Step-by-Step Guide on How to Draw a Portrait

By Vladimir London

In this book, you will discover the measure by footfall serve of how to draw a head in the three-quarters watch .
It is written and illustrated by Vladimir London, internationally published generator and the founder of Drawing Academy .

Preface

In the Drawing Academy course, students often ask me how to draw a portrayal so it looks realistic. I besides regularly receive portrayal drawings for review that have coarse mistakes like misplaced facial features, wrong proportions, faulty position, and so on. such mistakes happen because of :

• Not knowing or not following constructive drawing principles
• Ignoring human head proportions
• Knowledge gaps in a human anatomy.

The biggest challenge in drawing portraits arrives from the misconception of how artwork is created – students draw not what they know, but copy what they see. This leads to inevitable mistakes .
To explain why the principle “ Draw What You Know, not What You See ” is significant, I ’ ll give you an exemplar. When drawing from life, art students are doing their best to depict eyes, nozzle and mouth as they see it on a model, forget, however, the overall construction of the head. It is like decorating walls before building a house .
To “ build ” a lead in portrayal drawing requires much more than plainly copying what you see. And the necessary know-how merely comes with crucial cognition. You simply won ’ triiodothyronine see the correctness of proportions if you don ’ thymine know what those proportions are .
so, in this serial of articles, I will parcel with you the in-depth bit-by-bit know-how of portrayal draw as it ’ mho teach in one of the World ’ randomness best artwork institutions – Repin Academy in St. Petersburg, Russia. This process is besides described in my book “ How to Draw a Portrait in the Three Quarters View ” available on Amazon .
here ’ s how the finishes sketch looks. You will be able to draw exchangeable portraits by the end of this practice should you follow close my instructions .

This flying pull was done in bolshevik pastel pencil ; however, feel release to use any drawing medium of your choice. It is not about semblance, but constructive draw principles, rules of perspective, head proportions and anatomy, which won ’ t change whether you draw in graphite pencil, charcoal or with your finger on sand .

How to Draw a Portrait in the Three Quarters View

Before drawing begins

I would suggest getting a model or drawing a self-portrait looking in a mirror .
first, analyze the head, chose the watch angle, and decide on the artwork size and layout. Fix composition to a drawing circuit board and get your pencil sharpened .

1. First step

Begin with measuring the main proportion of the model ’ s head – its width-to-height proportion using a pencil or by eye. many artwork students ask me how to measure with a pencil ; to answer, I created this article – //drawingacademy.com/how-to-measure-with-a-pencil
This proportion varies depending on the scene fish. Make indisputable to get it adenine accurate as you can .
When you have this ratio measured, decide on a typography of your future portrait – how big the head would be and where on newspaper it will be located .
Mark four strokes – the top, bed equally well as the exit and veracious edges of the forefront. Make sure there is adequate outer space in front of the head – “ nose room ” and the head is not excessively close to the top edge of paper. It is besides dear to have more distance below the point than above .
Train your eyes by marking those edges freehand and, if necessary, double-check the main proportion using a pencil .

2. Dividing the face into three parts

The future step requires a know-how of the universal proportion of the expression. All adult faces regardless of individual appearances share the same symmetry – the distance between the hair-root line and the bottom edge of the kuki can be divided in three adequate parts :

1. From the hair-root line to the eyebrow line
2. From the eyebrow line to the base of the nose
3. From the base of the nose to the bottom of the chin.

Observe on the model where the hair-root course is intended by nature and mark this line on the draw. Divide the distance from that line to the bottom of the steer into three equal parts by eye or using a pencil as a quantify stand by. Do it equally accurate as you can ; precise localization of these three parts will help you in placing facial features correctly .
If the mannequin ’ s head is on the same level as yours, you would see those three lines horizontal. When the model is located higher than a spectator, lines will be curved up. The opposite is besides true – lines will be curved down when a model ’ second question is located lower. The curvature depends on the see slant .
To keep things simple for this exercise, we draw a portrayal at our eye-level .

3. Placing the eye-line

The following pace comes from the know-how – this proportion is not measured on a model ’ s heading, it is universal for all portraits – the eye-line divides the height of the question in one-half .
then, we can place the eye-line with confidence, marking it either freehand or using a pencil to measure where the in-between of the head is .
This horizontal trace, of course, will be located below the eyebrow line that we marked in the former step .
I have to make a disavowal that the eye-line can be tilted or curved depending on a scene angle. In such case, you need to keep in mind that distances of this proportion could be foreshortened in perspective and the top edge of the lead in your draw might not correspond to the actual circus tent luff of the model ’ randomness head. thus, if we see a mind from above, the eye-line would be curved down and appear lower than the actual middle point between the top and bottom marks of the point .
If the paragraph above sounds a act confuse, think of a cylinder seen from above in perspective and imagine how its middle line curves down and where it is located in relative to the cylinder ’ south top and buttocks edges. To guide you through the challenge topic of how to draw in position, I created this loose video lesson – //drawingacademy.com/drawing-in-perspective

4. Base of the skull and edge of the cheekbone

Location the plane of the skull base will help us to connect the head, neck and shoulders correctly. This plane is on the lapp level as the base of the nozzle, which besides corresponds to the bed edge of the cheekbone. This level is marked in red line .

5. Lower part of the cranium

In this step we mark the location of the lower separate of the cranium. Although it might be hidden by long hairs or a grandiloquent collar we do it using one of the constructive reap principles – drawing objects as if they are diaphanous .

6. Locating the eyebrow

The eyebrow ’ randomness edge is an authoritative mark of the forefront. This virtual channel marks the forefront ’ sulfur planes, separating the face from the side of the head. This edge besides serves as a molding between tonic values of light and shade .
The eyebrow ’ second boundary placement depends on the angle of view. It has to be measured on the model by comparing distances “ A ” and “ B ” .
late on, this edge will besides help us to determine the put of the auricle .

7. Defining contours of the face

Contours of the face are very important virtual lines that help to define portrait ’ second compare .
A shape should not be confused with an delineate. In the draw below, contours of cheekbones and jawlines are marked as contours. These lines are individual ; angles of which have to be measured on the model. Contours here describe the shape of the model ’ south face .

8. Indicating the top edge of the ear

Unlike in previous footstep, where contour of the face are individual, location of the acme edge of the auricle is cosmopolitan for all portraits. This edge is on the same floor as the eyebrows agate line. To mark the top of the ear, we extend the eyebrows line horizontally towards backside of the question .

9. How to place the ear correctly

As the Drawing Academy tutor, I often receive for criticism portrait drawings that have one common err – a miss-located ear. To avoid such a junior err you need to know the pursue rules :

• The top of an ear is on the same level as the line of eyebrows.
• The bottom edge of an ear is on the same level as the base of the nose.
• The distances from the edge of the eyebrows to the ear and to the middle of the face are equal (marked by “C” in green). In perspective, these distances will be foreshortened. This is the same distance as between the hair-roots and the eyebrows line, the eyebrows and the base of the nose, and the base of the nose and the chin (marked by “C” in red).
• The line where an ear connects to the head is not vertical but tilted backward (blue line).

10. Placing the pit of the neck

Another common mistake art students make is forgetting about the neck and drawing it as an afterthought when the head is in full drawn. It is about impossible to draw credible looking portraits from life or resource without the cognition of a mind and shoulders anatomy .
Let ’ s indicate an important landmark of the portrait – the pit of the neck. It is located between two collarbones just above the sternum .
The distance from the kuki to the pit of the neck is equal to the one-third proportion of the face ( marked by “ C ” in crimson ) .

11. Why sternocleidomastoid muscle is important in portrait drawing

The muscle with a very long name, sternocleidomastoid, is an crucial landmark when it comes to drawing a neck. It connects the top region of sternum ( sternum ) and clavicle ( clavicle ) with the base of the skull called mastoid – the process of the skull positioned precisely behind the ear .
We draw this muscle diagonally. In drawing, this muscle not merely defines the shape of the neck but besides separates its frontal depart from the side plane .

12. Trapezium

The trapezium is another significant muscle that defines the shape of the rear of the neck .
There is one point you need to define when drawing a neck in the three quarters view – the position where the neck changes into the slant of trapezium. This bespeak is on the same tied as the bottom border of the chin ; see the dot agate line on the drawing below .

13. Outlines of the neck and collarbones

Following the constructive withdraw principles, we draw not what we see, but what we know. This fully applies to collarbones, which can be covered by model ’ randomness dress .
In position, the axes of collarbones appear foreshortened and tilted. The match of collarbones is curved like a cupid ’ s bow or a stretched double “ S ”. It connects the sternum with the shoulder blades .
Outlines of the neck are individual and you have to observe its determine on the model .
It is a adept overture to draw shoulders as one continuous line from one shoulder to another, making sure they are on the lapp level and look natural .

14. Drawing the base of the neck

When main outlines and contours of the neck in place, we can mark the base of the neck. It has a circular shape and in perspective appears as a tilt egg-shaped. This ellipse goes through the circus tent pair of rib and defines the width of the neck at its foundation. This egg-shaped besides marks the size of the top of the ribcage .
The base of the neck is an significant contour because it separates upright planes of the neck from more horizontal surfaces of the shoulders. As such, it serves as a border between light and shaded areas of those surfaces .

15. Rendering the main shades of the portrait

So far, we do not draw any facial features or belittled details. rather, we build a solid construction of the head in drawing. This will help us to avoid mistakes and misplacements when it comes to drawing facial features. Drawing eyes, mouth, scent, etc. at this stage is like decorating the walls before building a house .
Although this is a very general outline of the head, it is a time to block-in the main shades of the portrayal .
Use very light pencil pressure to render shaded areas of the head and neck .

16. Drawing outlines of the eyebrow

Check model ’ s brow and eyebrow outline – it will be person to every person .
Notice how this draft is protruding in front of the frontal bone – this distance is indicated in blue lines on the drawing downstairs .
The eyebrow outline has its feature slant ( marked in red lines ) .

17. Outlines of the cheekbone

We move down along the shape of the grimace, this time paying attention to the person contour of the cheekbone .
once again, check this outline on the model ; pay attention how far it bends and compare to the draft of the eyebrow. normally, the eyebrow would be extended advancing a moment more than the outline of the cheekbone .
The eye socket outline depicted in the former mistreat continues downwards with the cheekbone sketch .
You can besides need to check the direction of the production line that goes towards the shmooze ( indicated in green on the drawing below ) .

18. Parallel contours of the chin

Usually, female kuki is less marked than a male one ; however, both male and female jaws have characteristic management of outlines that can be marked in two parallel lines, which are besides parallel to the line of the spinal column of the head ( marked in bolshevik ) .

19. Drawing the eyebrow curve

In a homo head, the bound between the cranial separate of the skull, which protects the brain, and the facial depart of the skull can be indicated by a curl virtual channel that goes through the eyebrows and then sloped towards the auricle channel .
This virtual curved line helps to build by rights the bridge of eyebrows, which is not straight, but bent down .

20. Indicating the plane under the eyebrows

With the swerve note of eyebrows defined, we can caw block shaded sphere below it. In most cases, the informant of sparkle is above a exemplary ’ second heading, therefore it will be a shade under eyebrows. thus, we mark this shade in idle tone applying very light pencil imperativeness .
As you see, we are distillery defining boastful masses without any attention to facial features like eyes, nozzle and talk. Drawing such facial features before the main shape of the steer is construct proficiently is like decorating walls of a house that so far to be constructed. This sequence will help you to ensure compensate proportions of the portrayal and will result in greater likeness when we do the rest of the portrayal .

21. Defining the cheekbones curve

The cheekbones curve defines another crucial contour of the face. It bends downward from one cheekbone to another, with its lowest point at the base of the nose .
This virtual line is the surround between the frontal region of the cheekbones and the amphetamine jaw section .
A portrait artist can merely keep this lineage in heed preferably than actually draw it. however, as a character of the head construction, this agate line helps to “ build ” the portrayal geometrically chastise and proportionate .

22. Blocking the shade beneath the cheekbones’ curve

As mentioned before, the cheekbones curve separates two surfaces of the expression. The coat of cheekbones above that occupation is facing the informant of easy and consequently will appear lighter than the coat below .
To indicate this difference in tonal values, we shade in very light pencil strokes the dark area correct below the cheekbones curvature .
There is no motivation to worry about accurate tonic prize of this plane veracious now. All we want from this step is to show that two planes on both sides of the cheekbones curve have unlike tonic values. We will fine-tune the accurate tonal values later on in this lesson .

23. Drawing the central line of the face

A virtual line that goes precisely in the middle of a face from the identical top of the brow to the bottom of the kuki is one of the most significant landmarks of every homo face. It serves as the axis of symmetry and is used to balance all facial features at the same distances from that note .
Because the nose is located in front of this telephone line, we can break the channel or mark it identical thinly within the nozzle area, so it would not interfere with lines of the nose later .
many drawing books and tutorials suggest drawing a central lineage of the expression much earlier in a portrayal draw. The reason why we do it now is because it is much easier, specially for beginners, to mark this line with preciseness when the overall structure of the head is in space .
I want to point once again that the sequence of steps is a personal predilection and some artists do not draw all virtual lines at all, keeping them in mind alternatively .

24. Marking contours of the eyebrows’ corners

With the central facial wrinkle in plaza, we can continue by drawing smaller details making sure that facial features are harmonious in sexual intercourse to that production line .
The form of eyebrows is individual and you need to observe its character on the model first .
The bridge of the nose is bordering with the eyebrows corners, so we need to portray its width and slant.

25. Marking the upper eyelids’ contours

With the inner corners of eyebrows in place we can now mark the curvature of the bridge of the intrude. This channel is a helpful landmark, which normally coincides with the flush of the upper eyelids contours. Because every boldness is individual, you need to check this level on the model and adjust the drawing if required .
symmetrical features like eyelids have to draw in pairs, making certain they are located on the same virtual horizontal line and have alike curvature. This helps to avoid the mistake of drawing one eye higher or lower than the other .

26. Shading the area above the upper eyelids

The area below eyebrows has dark tones than amphetamine eyelids. so, we could build up tonic values to block the sphere above the eyes .
Go light with rendering upper eyelids. We will come back to darken these tonal values to required depth later on. It is a well proficiency to build tones gradually. A adept way of applying pencil strokes is along aim ’ sulfur contour. besides, if you are drawing in graphite pencil, smudging pencil marks is a big no-no. I will explain why late .

27. Marking the corners of the eyes

Depicting eyes with preciseness is a critical gradation in portrait pull. It is not an easy tax for beginners. I frequently receive portrayal drawings for review with eyes that are excessively close to each other or not symmetrical .
To pinpoint the accurate location of eyes in a portrait draw, you can use the follow rules :

1. The distance between well-positioned eyes is equal to the length of one eye.
2. Both eyes must be on the same level, which is the horizontal line that divides the height of the head in half.

These rules are easy to use when you draw a guardant straight opinion portrayal. In our event, it is a bit more complicate because the head is turned three-quarters and, consequently, is foreshortened in perspective. The eye-line is besides slightly curved in this watch .
We begin with marking model left eye ’ south corners. Check the distance from the central line of the side to the eye ’ s inner corner. Make certain, this corner is not excessively close to the nose in your draw .
When this inner corner of the eye is pinpointed with necessity preciseness, you can besides mark the wing of the nose, which is slenderly closer to the cardinal line of the face. I marked the distance between the eye ’ s corner and the nose boundary in bolshevik lines .
Check the length of the center on the model and cross off it in drawing .
repeat this step for model ’ mho properly center. In the three-quarter view, the nose can overlap the inner corner of another eye. Draw this eye accomplished as if the intrude is crystalline .

28. Depicting eyelids

With all four corners of eyes in place, we can “ build ” eyelids with preciseness. I ’ megabyte using the son “ build ” rather than “ draw ” because we use constructive trace principles, drawing what we know alternatively of copying what we see. This is particularly critical when portraying eyes .
An eye is a ball about one column inch in diameter and eyelids wrap around this ball. Despite an eyelid is a very slender muscleman, it has certain thickness that has to be depicted .
There is one rule you must know to draw eyelids skillfully – upper and lower eyelids are not symmetrical. The amphetamine eyelid has its top point one-third distance from the inner corner while the lower eyelid has the lowest compass point of its wind one-third from the forbidden recess of the eye. Avoid a junior mistake of drawing tuna-shaped harmonious eyelids .
This rule is easier to follow in straight watch portraits. In our case, the upper eyelid is foreshortened in position. Nevertheless, the rule is still in place .

29. How to Draw Eyes

With eyelids depicted accurately, we can place an iris of the center. here ’ south another amateur error you must avoid – placing an iris as a entire r-2 symmetrically between the upper berth and lower eyelids. normally, the amphetamine partially of an iris is partially covered by the upper eyelid while it might be a small opening between the lower boundary of the iris the lower eyelid .
You should besides remember that the eyeball is not pure egg white and much has darker tonic values than highlights of the frontal bone, for exercise. besides, there is a cast shadow under the upper berth eyelid .
many artwork students ask me “ how to draw eyelashes ? ” The professional way is not to depict individual eyelashes unless it is an ad draw for mascara. One darkness curved credit line would do the caper. This is particularly important for male portraits .
To learn more about how to draw eyes in this video example »

30. How to draw a nose

The supreme headquarters allied powers europe of the nose can be simplified as a prism. The base of the scent is already marked at the same flush as the bottomland edge of the ear and the bridge of the nose is curving between eyes. The width of the nose can be double-check by comparing it to the distance between eyes .
The individual determine of the nose has to be observed on the mannequin. Shapes can vary from person to person and capturing likeness depends on how accurately you “ build ” exemplary ’ sulfur nose contours and outlines .
first, you can simplify nose contours as straight lines, depicting their angles and proportions. then, you can smooth-up lines with softer corners .
The lower plane of the nozzle is in shadow and its tonal rate can be blocked in light tones for now. We will work on tonal values with necessary depth by and by .

31. How to place a mouth correctly

When drawing a talk, there are some proportions you can you to place it correctly .
We begin with placing the line between lips. This trace is located one-third from the base of the scent to the bottom of the kuki. This is an ideal proportion in very life it cad differ, so you can measure this distance and adjust if required .
If you draw an outdoors mouth, keep in mind that the lower boundary of the amphetamine lip normally would be at the halfway point of the amphetamine presence teeth .
Of course, when drawing a portrayal in the three-quarters see, the line between lips will appear in position and might not be straight in your string .

32. Placing the lower lip

It is quite comfortable to locate the bed brim – its lower boundary is precisely in the center of the distance from the floor of the nose to the buttocks border of the kuki. This proportion is besides idealized and should be amended if your model is slightly different .
Avoid a junior mistake of placing the talk precisely in the in-between between the intrude and the chin. It is actually located in the upper berth half of this distance .

33. Marking the upper lip

To locate the upper sass, plainly divide the upper half of the distance from the nose to the kuki in half. once again, this line is marked according to classical proportions .

34. Blocking shades of the mouth

So far, we have three analogue lines corresponding to the amphetamine and lower edges of the sass and the pipeline between lips .
To indicate the form, we can slenderly render shaded areas of the mouth, which are the upper berth lip and the place below the lower brim .
At this tone, we only differentiate planes of the mouth without going into details .

35. How to draw a mouth in a three-quarter view

When it comes to draw a mouth in perspective, there are few things you need to keep in judgment. First of all, it is important to draw what you know – the construction of the mouth, preferably than copy what you see – outlines of lips. Copying leads to inevitable junior mistakes .
here ’ s what you need to know. The mouth ’ sulfur structure has a three-dimensional nature. The upper berth and lower lips not merely curved as a cupid ’ second bow, resembling far-flung characters “ M ” and “ W ”, but besides curved from front to back from the mouth center to edges. This presents a certain challenge in three-quarter draft .
The half of the mouth that is farther from the spectator will be well foreshortened in perspective, while another half will be visible in without foreshorten .
There is one simple means you can use to overcome a challenge of drawing a mouth. Draw three peer size balls – two at the bed and one above them, all touching each early. These balls should be constructed in perspective, so one that is closer to the spectator might partially cover early balls. The upper ball sits in the middle of the upper brim and two lower balls correspond to the bottom lip .
To learn more, check this video example on how to draw a mouth »

36. Drawing the mouth’s outlines

In previous step, we put three circles as the base of the lips – two balls for the lower sass and one above them. immediately, these balls can help us to define the outlines of the mouth .
The top ball coincides with the central separate of the upper berth brim. The upper lip ’ mho groove divides this ball approximately in one-half .
The bottomland outline of the lower brim goes around two balls, and the line between lips curves around all three balls, resembling a cupid ’ randomness bow .

37. Defining the contours of the mouth’s

With chief outlines of the moth in place, we can far define contour of the mouth. At his footprint, virtual balls of the mouth are excess and can be erased wholly. This is the clock to observe model ’ s mouth shapes and depict its individual shape, trying to achieve the necessity likeness .
Make certain that the linear position is in place and the half of the mouth that is further aside from a spectator has more abridge than another half .

38. Virtual angles of the mouth

When defining the contour and outlines of the mouth, you can double-check angles that normally follow this rule – the upper lip top points, connected with the lower lip bottom points form two lines that go diagonally to the big points of the chin. Every mannequin has its individual supreme headquarters allied powers europe of the mouth and chin, but in general, the upper sass protrudes more forth than the lower lip and the lower brim protrudes more than the chin. This protrusion is normally forms a trapezium plane that is based on six points of the kuki and lips ( marked with red dots ) .
You can either draw those lines and dots or keep them in take care .

39. How to draw an ear

The ear ’ s sketch was marked a few steps earlier ; it resembles the character “ C. ” It ’ s a estimable clock to double-check its chief proportion, which is the acme of the ear is equal to the stature of the nose or the distance between the line of eyebrows and the base of the nose .
The auricle ’ second acme divided in half will give us a property of the auricle ’ mho width .
far, we can divide the height of the ear in three equal parts. Every part is as follows :

• At the top, there is the antihelix, which is the outer rim of the ear.
• The middle third coincides with the concha – the ear’s bowl.
• And the lower part is taken by the lobule.

The swerve of the antihelix is echoed by another rim that is located inside and called the helix. At the top of the ear ’ south bowl, the coil splits into two arms like the character “ Y ” .
You will find more information on how to draw an ear in this television lesson »

40. Defining the side plane of the head

The curl where the frontal bone ’ s plane changes into the side plane of the point is an significant “ landmark ”. normally, at this molding tonal values will change from faint to darker tones. This molding can be marked earlier in drawing and now we can double-check its location and apply light tonal shades to differentiate planes of the head .

41. Shading the temple

To separate the plane of the worldly cram, we can shade its tonic value using broad strokes with easy pencil pressure .
The commission of the strokes can go contours of that plane to emphasize its spatial position. There ’ randomness no necessitate to finish this part in one go, we will come back to it belated to deepen the tonal values as required .

42. How to draw a hairstyle

Up to this step, I ’ ve intentionally left the hairdo untouched to demonstrate the planes and structure of the exemplary ’ second head. Drawing a bold head is not required and you can indicate the hair bulk much earlier in the draw .
Students often ask me how to draw hairs. There are respective points to keep in mind :

• Draw a hairstyle not as individual hairs, but as one big mass.
• Construct planes of the hairstyle.
• Avoid rendering individual curls in the beginning. Details will come later.
• Apply pencil strokes along hairstyle contours, Do not doodle randomly.
• Render a hairstyle gradually; do not complete it before other parts of the portrait.

You will find a lot more information on how to draw haircloth here »

43. How to render tonal values

There are many approaches to rendering tonal values. hera, I will describe the classical means :

• It is better to start from rendering big areas with the darkest tonal values.
• The process can develop gradually in multiple layers.
• The aim is to keep the drawing getting darker simultaneously in all places without finish one area before others.
• While shading, you need to keep an eye on relative values, comparing different areas to each other.
• When drawing in graphite pencil, the pencil tip should be sharp at all times.
• Avoid going the full strength a drawing tool can provide from the beginning.
• Apply pencil strokes along the contours of objects.
• Reveal the volume of an object with strokes.
• Avoid 90-degree cross-hatching unless you draw a drapery.
• Keep the gamut of pencil strokes rich and wide – use various directions of strokes, pencil pressure, curvature and length of lines.

There are many more tips and professional demonstrations on how to render tonal values presented in the Drawing Academy video lessons »

44. Drawing small details

Working on a draw goes from big areas to little details .
When working on smaller details, it is tempting to finish some places before the rest of the draw. master artist keeps the whole drawing complete, but not finished at all times until one decides that the creative tax is achieved .
belittled details in a portrait are shaded using the lapp rules of rendering tonal values as when shading big areas ; however, shorter pencil strokes are required for such task .
The good room of working on a portrayal is when drawing goes from big areas to little details and then back to big areas once again. such bicycle can be repeated several times. This will ensure that a portrait looks unified yet detailed .

45. When to finish a head drawing

The beauty of working on a portrayal rendering it gradually is that it would look completed at all times. thus, it is your decision as an artist when to finish it. however, if you leave the drawing slightly unfinished, it would appear more matter to to a viewer. Overworking a withdraw is less desirable than stopping merely before you think it is done .

Conclusion

I hope this information on how to draw a portrayal was helpful. This is merely one way of drawing a portrait from many that are described in the Drawing Academy course. If you want to learn more, enroll in the Drawing Academy course »
If you have any questions, you can ask Drawing Academy tutors online : //drawingacademy.com/drawing/ask-tutors-questions
I wish you all the creative success you deserve .
Vladimir London
Drawing Academy tutor and founder

About the Author

Vladimir London is the internationally published generator of respective art books and the founder and tutor of Drawing Academy – the on-line video course where you can learn how to draw whatever you see, think or imagine, using traditional draw techniques .
He is besides a creator of the Anatomy Master Class – //AnatomyMasterClass.com – the video recording course for ticket artists who want to learn fast all you need to know about how to draw human figures and portraits with the necessary cognition of human body, head and face human body and proportions .
Vladimir, together with Natalie Richy, ticket artist and teacher, is besides a co-founder of the Web Art Academy – //WebArtAcademy.com – the on-line video class that teaches traditional oil paint techniques .

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