The art of pencil drawing pdf free

The advantage that represents having a space where you can access a collection of books for free, is invaluable.

And considering this aspect, we have worked hard to offer you another selection of texts for free. In this publication we have put together a list of books about Drawing, all in PDF format. This is a topic worthy of our digital library, and today we share it with you.

The art and technique of illustrating is what we know as drawing. Through the action of drawing, an image is captured on a surface such as a canvas or paper, using various techniques. On the other hand, it can also be said that drawing is a style of graphic expression on a horizontal surface, that is, in two dimensions. Moreover, it is one of the known visual arts. Drawing is a tool that allows us to express both thoughts and objects.

When something cannot be expressed in words, the best option is to draw it. The list of books about drawing that we share today is made up of more than 30 texts in PDF format in which you can consult all the relevant information about this artistic expression.

Additionally, we have integrated in our collection, books in Spanish and in Portuguese, so that you can enjoy this topic in any of these languages, if you wish. Finally, it is important to note that each and every one of these books has been given for its publication and distribution, or are in the public domain. Drawing is often considered a hobby. Sometimes, parents give their children a sheet of paper and some crayons to entertain themselves with this activity; however, as adults, we can also draw to de-stress or simply for pleasure.

Drawing can then be considered as an art or even as a profession, which is used by many in their jobs. An example of this can be seen in painters, portrait artists, graphic designers, illustrators, etc.

Therefore, if you want to learn how to draw, you can find good materials to do it through the Basic Drawing Books we have for you, so that you can learn the basics of this technique and, together with practice, become an excellent illustrator or cartoonist. A free guide to pencil shading techniques for beginning artists author Drawing Fundamentals Source: Us. Drawing made easy author E.

Lutz Source: Universiti Tenaga Nasional 4. Lutz Source: Timelessreads. Cartoon Books usually provide readers or students with a good amount of exercises to learn how to do them by themselves, from how to do the feet to each of the parts of the body.

Using a soft brush is recommendable which gives a much smoother finish to existing pencil drawing pictures. Another crucial point is to adjust the levels of the picture to give it the desired light, shadow and depth. Once the cleaning up bit is complete this is followed by the seemingly Sisyphean task of adding details like wrinkles, keen textures, cuts, bruises, scars, veins and other imperfections that would normally exist on your subject.

He draws the con- tours of the hair more distinctly—particularly where the hair overlaps the brow-—and bright- ens the top of the hair by erasing a whole cluster of lines that existed in Step 3. And he builds up the shadows on the collar and shoulder.

With the tip of the pencil, he draws the eyebrows and eyelids more distinctly, adding the pupils and a suggestion of lashes, With clusters of short, slender strokes, he builds up ihc tones in the eye sockets and along the side of the nose, sharpening the contours of the nose and darkening the nostrils.

He defines the shape of the lips more clearly and darkens them with short, slender, curving strokes. With the same type of strokes, he goes over the shad- ows on the side of the face to make the grada- tions more distinct; darkens the tone along the chin; and strengthens the shadow on the neck. It's interesting to see how the character of the pencil strokes has changed. In Steps 2, 3, and 4, the artist worked with broad strokes.

Now, in Step 5, he goes back over these broad strokes with more delicate, slender touches to refmc the tones. Step 6. At this point, the artist concentrates mainly on detail, He continues to sharpen and darken ihe contours of the eyes, strengthening the irises and pupils, picking out tiny highlights with a touch of a pointed eraser, and suggesting more lashes.

The few additional strokes suggest individual hairs within the eyebrows. Traveling down the side of the nose, ho darkens the shadow with delicate strokes and then strength- ens the tones around the tip of the nose, where the nostrils and the cast shadow are even more distinct.

He darkens the lips and sharpens the contours, paying particular attention to the slender strips of darkness between the lips. With slim, curving strokes, he carries the half- tone of the jaw farther upward toward the cheek.

Switching back to the sharply pointed HB pencil, he goes over the hair to suggest indi- vidual strands with crisp strokes. The side of the 2B pencil deepens the tones with broad, bold strokes.

Clusters of broad strokes move down over the hair to darken the shadow; the strokes are distinct enough to suggest the texture of the hair.

The pencil point darkens the contours of the eyes, the tones on the side of the nose, and the tones of the lips; then it picks out more hairs within the eyebrows and more eyelashes. The pupils grow darker, as do the shadows beneath the upper lids. Finally, a kneaded rubber eraser cleans the lighted areas.

Now try drawing a pencil portrait that consists mainly of broad, bold strokes. Use a thick, soft pencil or a thick, soft stick of graph- ite in a holder. In this first step, the artist begins by drawing the side view of the head with the usual overlapping egg shapes, one vertical and one horizontal. Just two lines define the neck as a slanted cylinder, Horizontal guidelines locate the features.

The artist works with the sharp- ened tip of the thick lead. Continuing to work with the point of the thick lead, the artist draws the contours of the face over the guidelines of Step I.

He begins by drawing the prolile; the brow. Then he steps inside the profile to place the eyebrow, eye, nostril wing, lips, ear, and corner of the jaw.

Just two lines suggest the Adam's apple on the front of the neck. The pen- cil sweeps around the lop and back of the hori- zontal egg to indicate the shape of the hair. Notice how the ear aligns with the eye and nose, while the sharp corner of the jaw aligns with the mouth. Moving more carefully over the lines of Step 2, the artist refines the contours with the tip of the pencil. The sitter has an angular, bony face, which the artist records faithfully.

He draws the bulge of the forehead, the sharp brow, the precise S-curve of the nose, the crisp detail of the lips, and the squarish chin. Moving inside the outer edge of the profile, the artist draws the eyebrow, eye, nostril, mouth, and cur with great care. Just a few lines indicate the sideburn and the dividing line between skin and hair on the side of the forehead. Note the inter- nal detail of the ear.

With a pink rubber eraser, the artist re- moves most of the guidelines that appeared in Steps 1,2, and 3. Now he can see the lines of the profile and features more clearly and begin to block in the tone. Turning the thick pencil on its side, the artist begins to render the tones sur- rounding the eyes and nose, the cast shadow be- neath the nose, the dark tone of the upper lip.

Broad, free strokes fill the underside of the jaw with shadow, indicating the interlocking patches of shadow that move from the under- side of the cheek down to the jaw. Patches of shadow are placed on the hair, within the ear. All the tones are still quite pale, but the purpose of this fourih step is simply to establish the major areas of light and shade.

The artist begins to build up the grada- tions within the tones. He darkens the eyebrow and the tones within the eye socket, then moves downward to build up the tones of the nose and lips. He sharpens the nostril and the shadow be- neath the nose, and then he strengthens the shadow of the upper lip.

He also darkens the tones within and around the ear. Focusing on the larger areas of the face, he strengthens the shadows on the cheek, jaw, neck, and hair. The tip of the pencil defines the contours of the ear more precisely and draws the squarish shape of the sideburn. Gradually, the strokes of the side of the thick pencil become more distinct as the artist continues to build up the tones.

Observe the short, decisive strokes hat model the eye sock- ets, the side of the nose, the corner of the mouth, and the lone that travels downward from the cheek to the jaw. The artist darkens the un- derside of the jaw with broad, distinct strokes that accentuate the squarish, bony shape.

The hair is darkened with thick strokes that suggest texture and detail. With the sharp tip of the pen- cil, the artist begins to emphasize the features. He darkens the eyebrow and sharpens the lines of the eyelids.

He adds crisp touches to define the contours of the nostril, lips, and car more precisely. Notice the tiny accents of darkness within the nostril, at the corner of the mouth, between he lips, and within the rim of the car. The pencil moves over the face, adding clusters of the eyelids, nostril, lips, and ear. The side of the pencil parallel strokes that enrich the tones of the brow, cheek, darkens the hair with thick strokes and adds a hint of tone on jaw, and neck.

More strokes darken and model the eye the bare paper along the edge of the brow—accentuating the socket, nose, lips, and ear. The sharpened point of the pen- light on the sitter's bony forehead. For this technique, a sheet of charcoal paper is particularly suitable, since the delicately ribbed surface softens the strokes and also lends itself beautifully to blended tones executed with a fin- gertip or a stomp. The artist begins his demon- stration with the standard egg shape divided by a vertical center line, plus horizontal lines for the eyes, nose, and mouth.

Notice that there's just one horizontal line for the eyes, above which the artist will place the eyebrows. The lowest hori- zontal line locates the bottom edge of the lower lip. The artist visualizes the neck as a slightly tilted cylinder. Notice that he doesn't hesitate to go over these guidelines several times until he gets the shape exactly right.

Because this demonstra- tion requires so much blending, the artist selects a soft, thick 4B pencil. Working with the sharpened tip of the pencil, the artist locates the eyes on the horizon- tal guideline that crosses the midpoint of the head, and then he places the brows above this line.

On either side of the vertical center line, he establishes the outer contours of the nose, and then he moves down to locate the tip of the nose and the nostrils on the next horizontal guideline. He places the ears between the guidelines of the eyes and nose. On the lowest horizontal guideline, he makes a dark stroke to indicate the deep valley beneath the lower lip.

Then he places the dividing line of the lips roughly one-third of the way down from the nose to the chin. He squares up the corners of the jaw, indicates the curves of the cheeks, and swings the line of the collar around the cylindri- cal shape of the neck.

Moving outward from the top and sides of the egg, the artist indicates the shape of the hair, ARN. With the point of the thick pencil, the artist now defines the shapes of the head and fea- tures more exactly. He redraws the contours of the cheeks, jaw, chin, and neck directly over the original guidelines of Steps 1 and 2.

The pencil point carefully traces the hairline. Then the artist focuses on the features: he sharpens the contours of the eyebrows and draws the upper and lower lids; defines the shapes of the nostrils and the tip of the nose; constructs the planes of the lips; and emphasizes small, significant details such as the corners of the eyes, the corners of the lips, and the cleft in the chin.

Finally, he draws the irregu- lar curves of the collar. Turning the thick pencil on its side, the artist begins to block in the tones with broad strokes. The light comes from the left, placing most of the head in shadow. This head is an ex- ample of what artists call rim lighting. There's a strip or rim of light along one edge of the face, neck. There's a dark edge where the light and shadow planes meet; the artist accentuates this by pressing his pencil harder at the edges of the lighted areas on the forehead, cheek, jaw, neck, and nose.

He cov- ers the shadowy areas of the face with broad horizontal strokes and then emphasizes the strong darks within the shadow areas: the brows, eye sockets, and eyes; the bridge of the nose and the nostrils; the upper lip and the dark tones beneath the lower lip; the chin; and the shadow beneath the neck.

The artist also begins to darken the hair and the shadow side of the collar. By the end of this step, there's a clear distinction between the light and shadow areas. The artist begins to deepen the tones by moving the flat side of the pencil back and forth over the face. The broad strokes are most appar- ent in the forehead and cheek, where you often see big gaps between the strokes—although these gaps will disappear when the artist begins to blend the tones.

He strengthens the dark areas where the light and shadow planes meet on the side of the face, nose, and upper lip. He darkens the hair, ihe shadow on the neck, and the shadow side of the collar. Then he moves inside the face to strengthen the contours and to darken the tones of the eyebrows, eyes, nose, and lips.

With the point of the pencil, he em- phasizes the dark edges of the eyelids, nostrils, and lips. Pressing still harder and moving the side of the pencil hack and forth over the tex- tured paper, the artist strengthens all the darks within the shadow planes of the face.

He darkens the tones within the eye sockets, along the bridge of the nose, beneath the nose and cheeks, within the lips, around the chin, and on ihe neck. With short, curving, scribbly strokes, he darkens the lone of the hair to suggest its curly texture. And with the tip of the pencil he sharpens all the features, indicating such details as the pupils of the eyes, the shadow lines around the nostrils, and the dark line between the lips.

The artist moves over the shadow areas with a fin- strengthens the darks of the eye sockets and lids, the lips, gertip, blending the strokes into smooth, glowing tones. The The blending is done selectively: the artist concentrates tip of the pencil accentuates the contours of the eyelids, mainly on the forehead, cheeks, nose, upper lip, and chin.

The pencil ARN. Having discovered how easy it is to blend graphite on the hard surface of a sheet of textured paper, you know that a pencil drawing can actually begin to look like a "painting" in black and white. Now you might like to try a pencil portrait in which nearly all the tones are softly blended, so that the strokes of the pencil virtually disappear.

For this drawing, the right tool is a thick, soft pencil—or perhaps a stick of graphite in a holder—that might be 4B, 5B, or even 6B. The artist chooses a 5B graphite lead in ti plastic holder and works on a sheet of very rough paper with a much more pronounced tooth than the charcoal paper used in the pre- ceding demonstration.

He begins by drawing the usual compound egg shape and a tilted cyl- inder for the neck. The head is turned to a three- quarter view, and so the vertical center line is actually off center. Horizontal guidelines locate the features: ihe artist divides these lines with tiny touches to locate the eyes and the corners of the nose and mouth.

The artist draws the outer contours of the face over the egg shape, capturing the curves of the checks, jaw, and chin. Swift, curving lines capture the sweep of the hair around the head and over the forehead. He draws the first few lines of the features over the guidelines of Step 1: the curves of the eyebrows and the upper lids: the side and underside of the nose; and the upper and lower lips.

The one vis- ible car is aligned with the eye and nose. As you can see, the roughness of the paper breaks up the pencil stroke and produces a ragged line. The artist completes his preliminary line drawing of the outer contours of the head and the shapes of the features.

He strengthens the lines of the jaw and the chin. He draws the car more precisely and adds the inner contours of the eyes, with a hint of darkness on the irises. He traces the bridge of the nose and constructs the tip of the nose and the nostril wings. He in- dicates the groove from the base of the nose to the upper lip. As he defines the lips, he darkens the corners of the mouth and indicates the con- cavity beneath the lower lip with a dark scrib- ble.

The outline of the hair is strengthened with quick, casual lines. Now the artist turns the thick lead on its side and moves it swiftly back and forth over the rough surface of the paper to indicate the big tonal areas. The paper is so rough that you can hardly see the individual strokes—the texture of the paper dominates the tones.

The lines of Steps 1,2, and 3 rapidly disappear under the ragged masses of tone. For the paler tones, the artist moves the drawing tool lightly over the paper, pressing harder and piling up additional strokes for the darker areas—such as the eye sockets, the checks, the shadow cast by the nose, and the hair.

Most of the original lines have disappeared under the tones. The artist erases the others. The main purpose of Step 4 is to establish a clear distinction between the lights which are just bare paper , the darks, and the middletones or halftones.

The artist begins to blend the tones of he face with a fingertip and with a stomp. He uses his finger to blend the broad tonal areas on the forehead, check, jaw, and neck, Then he picks up the pointed stomp to get into tighter spots like the eyes, the side and bottom of the nose.

The pencil darkens the eyes and lips a bit more—then the strokes arc blended with the stomp once again. The art- ist softens the right edge of the hair with a few touches of a fingertip. At this stage, the artist alternates be- tween working with the pencil and the stomp. He uses the pencil to define the eyebrows: to darken the eyes and the underside of the nose; and to strengthen the tones of the lips. Then he blends these tones with the sharp lip of the stomp.

The side of the pencil scribbles broad strokes over the hair; then these strokes are blended with a fingertip. The sharp point of the pencil heightens the darks within the eyes, ac- centuates the nostrils, and sharpens the corners of the mouth.

A few deft touches of the kneaded rubber eraser pick out reflected lights within the shadows on the cheek, jaw. The fingertip carries some tone downward to the pit of the neck, over one shoulder, and beneath the collar. The artist presses a fingertip against the sandpaper and pupils; draws the nostrils more exactly; strengthens the pad to pick up accumulated graphite dust, which he care- contours of the lips; and suggests individual strands of hair.

Touches of the kneaded rubber eraser brighten the lighted The tones of the drawing become richer and deeper. The areas of the face and pick out streaks of light in the hair. A hard stick of chalk can be sharpened Broad Strokes. With the blunt end of the stick of chalk, to a surprisingly fine tip.

So can chalk in pencil form. With you can draw the same subject with broad strokes. The a sharpened stick or pencil, you can build up the tones of a square tip of the stick is used to make the thick, curving portrait with slender strokes like those you see in this close- strokes that render the sitter's hair, as well as the clusters of up.

The precise strokes of the drawing tool follow the curve short parallel strokes that model the eye socket, brow, and of the hair. The artist presses harder on the chalk and places cheek. To render the more precise detail of the eyes, the art- the strokes closer together in the darker areas. The tones of ist simply turns the chalk so that the sharp corner of the rect- the cheek and eyelid are rendered with clusters of short, angular stick touches the paper.

This sharp corner can draw curving parallel strokes. The sharp point of the drawing tool surprisingly precise lines, like those you see in the eyelids, picks out the precise details of the eyes. The ribbed surface of char- Strokes on Rough Paper. There are much rougher pa- coal paper is excellent for chalk drawing, whether you're pers than charcoal paper, of course, and it's worthwhile to working with chalk in stick or pencil form.

The charcoal pa- try these surfaces, A rough sheet is best for bold, broad per softens the stroke and lends its own subtle texture to the strokes, made with the squarish end of the chalk. Notice drawing. Tiny flecks of bare paper show through the strokes how free and vital the strokes look on the checks and jaw.

You can work sible on rough papers: the eyes arc rendered with fairly pre- with broad strokes like those you see on the cheeks. On the cise, slender strokes, although these strokes are distinctly other hand, the paper is just smooth enough to lend itself to rougher than those with which the eyes are rendered on the precise detail like the slender strokes of the features. Working with a sharpened stick Modeling by Blending. A different way to create a of chalk or with chalk in pencil form, you can build three- strong sense of three-dimensional form is to cover the tonal dimensional form by layering stroke over stroke.

On the areas with free, casual strokes and then blend them with a side of the face, the artist gradually lays one stroke over an- fingertip or a paper stomp. The strokes don't have to be pre- other, piling up strokes more thickly in the darker areas. The blend- The strokes curve slightly lo suggest the roundness of the ing action converts the strokes to rich, smoky tones like face. The lips and nose are also built up stroke over stroke. If you blend some The network of strokes is dense in the dark areas, such as strokes, add darks with the chalk, and brighten the lighted the shadow at the side of the nose, while the strokes are areas with the kneaded rubber eraser, you can produce the lower and farther apart in the paler tones, such as the deli- strong contrast of light and shade that you see on the mouth cate gray beneath the lower lip.

Charcoal pa- Continuous Tone on Rough Paper. You can try the per—like all strongly textured paper—has distinct peaks same technique on any paper that has a distinct tooth. On and valleys. As the chalk moves, it tends lo strike the peaks the rough sheet of paper shown here, a draw ing of the same and skip over the valleys.

The peaks gradually shave away sitter has a bold, granular quality. Once again, the artist granules of chalk each time you make another stroke—and moves the chalk back and forth gradually so that it hits the the tones become darker with successive strokes. Thus, you peaks and skips over the valleys. With each successive can build up soft, luminous tones by gently moving the movement of the chalk, more granules of chalk pile up and chalk back and forth over the paper, pressing slightly harder the darks become richer.

It's almost impossible to see an in- and building up more strokes for the darks. Work slowly, dividual stroke. The granular texture of the sheet dominates and let the tones emerge gradually, and they'll have a the drawing. When you draw your first portrait in chalk, see what you can do with just lines and strokes—no blending.

A hard, fairly slender stick of chalk, such as a Conte crayon, is best for this project. The artist begins by sharpening the stick on a sandpaper pad so that the tool will make slender, distinct lines. He draws the clas- sic egg shape. The portrait is a direct, frontal view, and so the vertical center line divides the face into equal halves.

He draws the usual hori- zontal lines to locate the features—with a dou- ble line for the dividing line of the mouth and the underside of the lower lip.

Just two vertical lines suggest the cylindrical form of the neck. The artist begins work on the features by plac- ing the ears on cither side of the egg, with the tops of the ears aligning with the eyebrows, and the lobes aligning with the underside of the nose. Still working with the sharpened tip of the chalk, the artist begins to define the contours of the lower half of the face, starting with the curves of the cheeks and then working downward to the squarish jaw and the rounded chin. He swiftly sketches in the shape of the hair.

He strengthens the lines of the neck and suggests the collar. Then he moves inside the egg to indicate the lines of the eyebrows and the upper lids; the bridge of the nose, the tip, and the nostrils; and the upper and lower lips. A scribble indicates the concavity beneath the lower lip. This concavity is always important because it accentuates the roundness of the lower lip. By now, the point of the chalk has be- gun to wear away and the drawing tool is grow- ing slightly blunt, making a thicker stroke.

The artist strengthens the forms of the eyebrows and eyelids with thicker lines and then moves down- ward to solidify the forms of the nose and lips with strokes that are also broader than the slender lines in Steps 1 and 2.

He refines the shapes of the ears. Then he uses the blunted point of the chalk to block in the shadow planes on the left side of the face and neck, within the eye sockets, and on the left sides of the fea- tures. Most of the face is lighted—the light conies from the right—and there tire just slender strips of shadow on the left sides of the forms.

Look back at the portrait of the black sitter, in which the effect is just the opposite: most of the face is in shadow with just slender strips of light on one edge of the face.

The artist sharpens the stick once again to define the eyelids, the tip of the nose, the nostrils, and the contours, of the lips with more exact lines. He also draws the contours of the hair more precisely and indicates the inner de tail of the ears, A few lines suggest the collar. As the chalk grows blunt once again, he con- tinues to build up the tonal areas with slightly thicker strokes.

He blocks in the tones on the hair and begins to develop subtleties such as the groove between the tip of the nose and the up- per l i p. The guidelines of Steps I and 2 have been erased. The blunted tip of the chalk is par- ticularly useful at this stage. Now the artist moves back over all the tones with short parallel strokes, gradually building up the modeling. These strokes are most obvious in the curve of the cheek. We begin to see gradations within the tones, such as the light of the cheek curving around to the halftone, shadow, and reflected light on the other side of the shadow.

Building up these strokes gradually, the artist darkens the eyebrows, the eye sockets, the nose, the shad- owy upper lip, and the tone beneath the lower lip. He models the brow and the chin in the same way that he models the cheek and jaw. He builds up distinct shadow shapes within the hair and darkens the shadow on the neck.

The sharp corner of the chalk adds dark touches within the eyelids and between the lips. Steadily piling stroke upon stroke, the artist continues to develop the tonal gradations of the brow, cheek, jaw, chin, and neck. He en- riches the tones within the eye sockets and then moves downward to darken the side and the un- derside of the nose, the upper lip, and the pool of shadow beneath the lower lip.

He darkens the earlobes, the central shadow in the ears, the nostrils, and the irises. The sharp corner of the chalk accentuates the eyebrows and sug- gests individual hairs. Turning the chalk around to work with the other end—which he hasn't sharpened—the artist follows the curves of the sitter's dark hair with broad strokes. The artist completes the portrait by building up the sharpening the stick once again, the artist moves back into tones of the face with clusters of slender parallel strokes.

He darkens the hair with a few more broad the softer, thicker form of the lower lip. And, ARN. To draw a portrait in which you com- bine slender lines, broader strokes, and blend- ing, try a stick of hard pastel.

A sheet of rough- textured paper will lend itself especially well to blending with a fingertip or a stomp. The artist begins by sharpening a stick of hard pastel on the sandpaper pad. The stick doesn't come to as sharp a point as a pencil, of course, but he's able to draw distinct lines with it. Notice how the rough texture of the paper breaks up the lines of the compound egg shape. Because the model is turned to a three-quarter view, the ver- tical center line moves to the left of the egg.

However, the horizontal guidelines of the eyes, nose, and mouth arc in their usual places. On these horizontal lines, the artist makes tiny marks to locate the eyes, nostrils, and corners of the mouth, At the extreme right of the head, he makes two small horizontal marks to align the ears with the eyebrows and the underside of the nose.

As usual, the neck is a slanted cylin- der. By this lime, the sharpened stick of hard pastel is glowing slightly blunt, and so the artist sharpens it again on the sandpaper pad. Then he draws the angular contours of the head—the brow, checks, jaw, chin, and neck— over the guidelines of Step 1. With just a few curving lines, he indicates the shape of the hair, which crosses the forehead and extends above the curve of the skull. He begins to draw the features over the familiar guidelines and com- pletes this stage by suggesting the triangular shape of the collar.

Erasing the guidelines of Step 1. He draws the slender eyelids and constructs the blocky end of the nose—with the one nostril wing that shows in this three-quarter view. Now you see the familiar winglike shape of the upper lip. The artist adds a curve just above the chin to define the bony shape. He squares up the corner of the jaw and then moves upward to draw the internal detail of the ear.

On the hard surface of the paper, chalk sometimes smudges or even disappears; this has happened to the line of the jaw just to the left of the mouth. But the line can be easily redrawn in the next step. The rectangular stick of hard pastel is still fairly sharp, and so now the artist blocks in the tonal areas with clusters of parallel strokes.

Notice how the strokes change direction as they move downward from the brow to the cheek to the jaw, following the direction of the form. The tone on the slanted side of the nose is ren- dered with slanted lines. The artist fills the eye socket with tone; places the shadow beneath the nose; fills the upper lip with shadow; and indi- cates the deep shadow beneath the lower lip.

With the flat side of the stick, he blocks in the tonal areas on the hair. Then, sharpening the stick once again, he adds more detail to the eyes and ear. Moving a fingertip gently over the sur- face of the drawing, the artist blends the strokes of Step 4 selectively.

He gradually blurs the tones on the side of the brow, cheek, jaw, and neck, but doesn't eliminate all the strokes. You can still see some of them. In the same way, he gently merges the strokes within the eye sock- ets, along the side of the nose, and beneath the nose and lower lip. A few broad sweeps of the thumb convert the strokes of the hair into tone. The sharp point of a stomp gets into smaller areas such as the eyebrows and eyes in order to fuse the strokes. Turning the stick of hard pastel to the opposite end and working with the flat tip, the artist adds dark strokes to the hair, eye- brows, eyes, cheek, and jaw, sometimes blend- ing them with a fingertip and sometimes leaving them alone.

With the side of the chalk, he adds a dark tone above the head and then blends this with his thumb. The sharpened end of the chalk defines the outer contours of the face more precisely; compare the check with Step 5. The artist then draws the eyelids more exactly, adding the pupils and the dark accents at the corners of the eyes. He defines the nostrils and the shape of the upper l i p , darkening the corners of the mouth.

He adds more darks within the ear. Then he continues to strengthen the darks by adding clusters of short parallel strokes to the eye sockets, the tip of the nose, the brow, and the cheek, blending these with a fingertip or a paper stomp, The side of the chalk darkens the hair and shoulders with broad strokes, which are quickly blended with the thumb.

The artist presses his fingertip against the lar. The point of the chalk darkens the contours of the eye- sandpaper pad, picks up some chalk dust, and gently lids, plus the tones of the eyebrows and lips. A kneaded spreads this tone over the shadow planes of the face: the eraser brightens the lighted patches, and a razor blade forehead, check, jaw, neck, eye sockets, nose, and lips. In scratches highlights into the eyes. Chalk smudges so easily that you can blend it like wet oil paint.

Now try a portrait that consists almost entirely of soft, blended tones. The artist draws this portrait of an Orien- tal woman with a stick of hard pastel on a sheet of charcoal paper. This type of paper has a hard, delicately textured surface on which chalk can be blended very smoothly. The tough sur- face will take a lot of rubbing from a fingertip, a stomp, or an eraser. By now, Step 1 is familiar: the classic egg shape, cylindrical neck, and ver- tical and horizontal guidelines to locate the fea- tures.

However, as you look back, at the various demonstrations you've seen so far, notice that not all the egg shapes are exactly alike. There are subtle differences in height and w i d t h. Some are tall and relatively slender, while oth- ers are rounder, like the soft form of this woman's face.

Over the guidelines of Step I, the artist constnicts the actual shape of the head and hair. He defines the curves of the cheeks, the squar- ish shapes of the jaw, and the rounded chin. With long, curving lines, he draws the sweep of the hair that surrounds the entire head and neck.

A few slanted lines suggest the collar, The fea- tures are hung on the horizontal guidelines within the egg. Notice that he indicates not only the eyes, but also the inside corners of the eye sockets on either side of the nose.

The lines in Steps 1 and 2 arc executed with the sharp corner of the rectangular stick of chalk. As one corner wears down, the artist turns the chalk in his hand and uses the next corner. The corners stay sharp just long enough to execute the prelimi- nary line drawing. The artist uses the square end of the chalk to block in tones with broad strokes. A single curving stroke is placed on either side of the nose. A few more short strokes suggest the shadows around the nostrils and beneath the tip of the nose.

Short, broad strokes place the shad- ows in the outside corners of the eyes, along the cheeks and jaw, and at the pit of the neck. The lips are filled with tone. The dark irises are made with quick touches of the blunt end of the chalk.

And then the hair is filled with long, free strokes to indicate the dark tone. At this stage, the chalk glides lightly over the surface of the paper, merely indicating tonal areas that will be developed in later steps. Pressing harder on the square end of the chalk, the artist darkens the irises and ex- tends the shadows on either side of the nose.

Then, with the sharp corner of the stick, he draws the dark lines of the eyelids and the nostrils. Moving the blunt end of the stick lightly over the paper, he gradually darkens the tones within the eye sockets. He picks up a short chunk of chalk—perhaps a broken stick or simply one that's worn down—to darken the hair and neck with broad strokes, He uses the flat side of the stick and presses down harder against the paper, ARN. Moving a fingertip gently over the pa- per, the artist begins to smudge the strokes within the eye sockets, beneath the nose, and along the sides of the cheeks.

With a kneaded eraser, he lightens the shadows on either side of the nose. He blends the strokes on the neck, blurring the line of the chin. With the flat side of the short chunk of chalk, he darkens the hair and blends this area with his thumb, carrying some of the hair tone into the shadows beneath the cheeks, He blends the lips very slightly.

Then he uses the sharp corner of the chalk to re- define the eyebrows, eyes, nostrils, and lips, softening these strokes with a quick touch of a fingertip. The artist's thumb and one or two fin- gers are now coated with chalk dust.

He uses his fingers like a brush to spread tones on the sides of the forehead, beneath the cheeks, along the sides of the jaw, and on the neck, which grows distinctly darker than in Step 5, The fin- ger places very pale tones on either side of the nose and darkens the corners of the eye sockets. Then the sharp corner of the chalk restates the eyebrows, eyelids, nostrils, and lips. Small, precise strokes add pupils to the eyes, sharpen the nostrils, and define the dark corners of the mouth.

The Mat side of the short chalk sweeps over the hair with long, broad strokes. A kneaded eraser is squeezed to a point to pick out highlights on the pupils, brighten the whites of the eyes, clean the edges of the lips, and create highlights on the lower lip. The artist blends the tone of the hair with his finger- the underside of the nose.

The kneaded rubber eraser bright- tips, blurring he contours and adding a few strokes to sug- ens the lighted areas of the forehead, eye sockets, cheeks, gest detail. His fingers are coated with chalk dust, which he nose, upper lip, and chin. The sharp corner of the chalk carefully spreads over the face to add delicate halftones to strengthens the upper eyelids and adds a few eyelashes.

A hard or medium charcoal pencil can Broad Strokes. A soft charcoal pencil has a thick lead be sharpened to a fairly precise point to make crisp strokes. So does a stick The tones of the sitter's hair, forehead, and eyes are built up of charcoal—in your hand or in a holder. Compare the with clusters of parallel strokes made by the sharp point. The soft charcoal pencil or darken the tones within the eye sockets, beneath the eyes, the charcoal stick can be sharpened to do a certain amount and along the side of the nose.

The slender strokes in the of precise work—such as the slender strokes in the hair and hair are made by the point of the pencil, while the broader within the eyes—but the point wears down quickly. Artists strokes are made by the side of the lead.

The strokes of the hard and Strokes on Rough Paper. The strokes of a charcoal pen- medium charcoal pencils arc particularly effective on char- cil or a stick of charcoal look lively and spontaneous on pa- coal paper, as you might expect. The ribbed texture of the per with a ragged texture. The granular texture of he sheet softens the strokes, which are filled with pinpoints of charcoal is accentuated by the coarse surface. The strokes in bare paper.