Faces

The unique qualities of individual faces, as well as the emotions they

convey, make them some of the most fascinating subjects to draw. And
becoming comfortable with drawing the face will give you the confidence to
go on to draw the full human figure. This book presents the basic principles
of drawing the human face, including proportion and perspective. You’ll
learn how to render the face from a variety of views, the differences between
adult and child proportions, and how to draw individual features, as well as
simple shading techniques that will add realism to all your drawings of faces.
And if you study and practice the easy-to-follow lessons in this book, you’ll
soon be on your way to developing your own unique drawing style.
CONTENTS
Getting Started
Shading Techniques
Adult Proportions
Children’s Proportions
Adult Features—Nose & Ears
Adult Features—Eyes & Lips
Children’s Features— Ears & Nose
Children’s Features—Eyes & Lips
Women—Profile
Men—Profile
Children—Profile
Women—Frontal View
Men—Three-Quarter View
Children—Frontal View
Elderly Women
Elderly Men
People of the World
Developing Your Own Style
Getting Started
Drawing is just like writing your name. You use lines to make shapes. In the
art of drawing, you carry it a bit further, using shading techniques to create
the illusion of three-dimensional form.
Only a few basic tools are needed to draw. All the tools necessary to
create the drawings in this book are shown here.
Pencils
Pencils come in varying degrees of lead, from very soft to hard (e.g., 6B, 4B,
2B, and HB, respectively). Harder leads create lighter lines and are used to
make preliminary sketches. Softer leads are usually used for shading.
Flat sketching pencils are very helpful; they can create wide or thin lines
and even dots. Find one with a B lead, the degree of softness between HB and
2B.
Although pencil is the primary tool used for drawing, don’t limit yourself.
Try using charcoal, colored pencils, crayons, and pastels—they can add color
and dimension to your work.

Erasers
Erasers not only help correct mistakes but also are fine drawing tools. Choose
from several types: kneaded, vinyl, or rubber, depending on how you want to
use the eraser. For example, you can mold a kneaded eraser into a point or
break off smaller pieces to lift out highlights or create texture. A vinyl or
rubber eraser works well for erasing larger areas.
Paper
There are many types of paper that vary according to color, thickness, and
surface quality (e.g., smooth or rough). Use a sketch pad or inexpensive bond
paper for practice. For finer renderings, try illustration or bristol board.
Bristol board is available in plate finish, which is smooth, or vellum finish,
which has more tooth. As you become more comfortable with drawing
techniques, experiment with better quality paper to see how it affects your
work.
Other Helpful Materials
You should have a paper stump (also known as a tortillon) for creating
textures and blends. The paper stump enhances certain effects and, once
covered with lead, can be used to draw smeared lines.
To conserve lead, purchase a sandpaper pad to sharpen the point without
wearing down the pencil. You may also want to buy a regular hand-held
sharpener and a metal ruler. Lastly, a sturdy drawing board provides a stable
surface for your drawings.

Final Preparations
Before beginning to draw, set up a spacious work area that has plenty of
natural light. Make sure all the tools and materials are easily accessible from
where you’re sitting. Because you might be sitting for hours at a time, find a
comfortable chair.
Tape the corners of the paper to your drawing board or surface to prevent
it from moving while you work. Use a ruler to make a light border around the
edge of the paper; this will help you use the space on your paper wisely,
especially if you want to frame or mat the finished product.
Shading Techniques
Shading enables you to transform mere lines and shapes in your drawing into
three-dimensional objects. As you read through this book, note how the
words shape and form are used. Shape refers to the simple outline of an
object, while form refers to the object’s three-dimensional appearance. See
the examples below.
Value is the relative lightness or darkness of a color or of black. For example,
on a scale from white through various shades of gray to black, white is the
lightest value and black is the darkest value.

Gradual blends can be created using the side of a 2B pencil. Shade in one
direction to make the vertical finish on the left. On the right, see that two
“blend angles” produce a smoother finish. Start lightly and increase pressure
as you work to the right.

Make patterns using the side, rounded tip, and sharpened point of an HB
pencil. Shade the backgrounds first; then draw patterns over them. Pressing
harder creates darker effects.
Pencils can be used with sharp, round, flat, or blunt points, and several
techniques can be combined on one surface. The paper stump helps smear the
lead, making a blend softer. Experiment to see what kinds of textures you can
create on your own.
Use a sharp-pointed HB pencil to draw this line pattern.

Shade a light background with a round-pointed HB pencil. Then use a sharp-

pointed one to draw the darker, short lines over the background.

Draw groups of randomly patterned lines using a round HB lead.

Use the side of an HB to shade the background, blend with a paper stump,
and then add patterned lines over the background.

Create blends and lines like these with a blunt round 2B pencil.

Use the same technique as the left example; then blend softly with your
finger or a paper stump.

Make lighter background shading using the side of a 2B. Then apply a little
more pressure for the darker patterns, varying the angle of the strokes.
Adult Proportions
Learning the proper proportions for the human face is critical to accurately
drawing it. Proportion is the comparative relationship among parts relative to
size and placement. The examples on this page illustrate how to determine
the correct size and placement of each feature. Once you know these basics,
you can modify them to achieve a likeness to your subject. Differences in
proportion are what make each person unique.

First sketch an oval, and divide it in half horizontally and vertically with light
guidelines, as shown to the right. On an adult, the eyes fall on the horizontal
center line, usually about one eye-width apart. The nose is located on the
vertical center line. Study the diagrams to learn the other proportions and
placements for the features.
The cranial mass is divided into thirds to place the ear.
The length of the face is approximately equal to the depth of the head.
Children’s Proportions
The proportions of a child’s head differ from those of an adult. For example,
children generally have larger foreheads, so the eyebrows—not the eyes—fall
on the horizontal center line. Also, a youngster’s eyes are usually bigger,
rounder, and spaced farther apart than an adult’s.

As shown in the diagrams at right and lower left, use horizontal guidelines to
divide the area from the brow line to the chin into four equal sections. Use
these lines to determine the placement of the eyes, nose, and mouth.
As shown above, the forehead can be divided vertically into five equal sections. Refer to
these guidelines when placing the facial features.
Notice that a child’s forehead protrudes farther than an adult’s and that the hairline
starts much higher.
As children get older, their faces become longer, and the facial proportions change
accordingly.
Notice that, as the face becomes longer and narrower, the chin becomes more square, and
the eyes appear smaller.
Adult Features—Noses & Ears
If you are a beginner, it is a good idea to practice drawing the facial features
separately. This way, you can work out any problems before attempting a
finished head drawing. Additionally, always try to work from a live model or
clear photographs. This is much easier than trying to draw from your
imagination.
The nose is important to the character and personality of a person’s face.
Study your subject from different angles, looking for the shapes and planes of
the nose. Block in the basic shapes with simple lines, as illustrated below.
Then refine the lines into subtle curves, according to the shape of the
individual’s nose.
Profile View
Frontal View
Upward Frontal View
Three-Quarter View
The lower portion of the nose is made of cartilage, while the upper portion is supported
by bone. Also, the tip of the nose usually has a slight ball shape.
When shading the nose, don’t make the nostrils too dark, or they might draw
too much attention. In general, men’s nostrils are angular, while women’s
nostrils are more gently curved.

This diagram shows how the nose changes as a person ages. Over the years,
the tip begins to sag and turn downward. These details are important for
producing realistic works.
As shown above, the ears usually connect to the head at a slight angle.
Notice, also, that the width is generally about one-half the length. The ear can
be divided into three sections, which make it easier to see the basic shapes
and ridges.
To draw the ear, first block in the general shape; then lightly sketch the
ridges, as in step A below. In step B, begin shading within the ridges to
develop the form. Finally, add the darkest values. Notice that the white areas
are as important as the shadows. The lightest values are called highlights.
Adult Features—Eyes & Lips
The eyes are the most important feature for achieving a likeness to your
subject. They also play a large part in communicating the person’s mood or
emotion. You can become skilled at drawing eyes by practicing the examples
on this page.

After blocking in the basic shapes, begin shading to create the form. Pay
particular attention to the planes of the face around the eyes. The shading
should indicate the eyes’ depth and indentation into the face. A sharp pencil
is useful for creating the creases and corners of the eyes. The shading should
gradually become lighter as you move away from the eyes.
The eye is a sphere, so the eyelid and the skin beneath the eye should be drawn over the
sphere.

Pay particular attention to the highlights (white or very light areas) in the eyes. They
bring life and realism to the drawing.
When drawing lips, it is important to observe their form closely. Familiarize
yourself with the various planes of the lips. When shading, pay particular
attention to the location of the highlights, because they enhance the lips’
fullness and form.

Shade in the direction of the planes of the lips.

When shading a man’s lips, keep the value light to prevent the mouth from appearing as
though it’s covered with lipstick.
Children’s Features—Ears & Noses
It’s important to study the differences between the features of children and
those of adults. In general, children’s faces and features are smoother,
rounder, and, of course, smaller. Therefore, the shading should be rather
minimal and light.
To begin, study your subject’s features; then block in the basic shapes.
Develop the form with shading, but keep it soft, smooth, and delicate, as
shown on these examples. Generally, the values are fairly even, only
becoming darker in the nostrils and the crevices of the ear.
Two intersecting guidelines help establish the angle of the nose.

The liveliness and innocence of children make them exciting drawing

subjects.

As the illustrations show, you should first lightly block in the basic shape of
the ear or nose. You may want to indicate a few of the areas that will have
darker shading.
Children’s Features—Eyes & Lips
Children’s eyes are generally rounder than an adult’s, and the skin around
them is smoother. When drawing children’s eyes, aim to create a soft,
innocent expression by keeping your lines and shading delicate.
Practice drawing the eye from various angles. Note the position of the iris;
part of the top and bottom should always be covered by the eyelids.

Children often exhibit a wide-eyed, curious expression. The highlights in the pupils add
life to the drawing.
A child’s lips have a soft, pudgy appearance, and the mouth is usually not as
wide as an adult’s. Again, the highlights are important for conveying the
smooth texture. The corners of the mouth may have small dimples because
they indent into the cheek slightly.
The top lip usually protrudes slightly over the lower one.
Don’t make the common mistake of trying to draw each tooth separately.
Simply suggest the teeth as a group with subtle shapes.
Women—Profile
Once you have practiced drawing the facial features separately and have
memorized the proportions, you can combine your skills to draw the entire
head. Start with a simple rendering that has minimal shading, such as the
profile shown here.
Don’t worry if you have to use your eraser often. Everyone, even professional
artists, makes mistakes. Just remember to practice, practice, practice, and
soon your skills will be quite good.
Once you’re familiar with the proportions, you can quickly lay down the
basic shapes with just a few lines. First sketch a curved line, and add
guidelines for the features, as shown in step A.

Sketch the features on the guidelines, and then refine them into recognizable
features, as demonstrated in steps B and C. Always take the time to ensure
that the features are drawn correctly. Even a drawing with minimal details
requires attention and care.
For step D, use a blunt-pointed pencil to suggest the hair, adding just a few
lines to create the general shape. Although the facial features aren’t very
detailed, a loose rendering like this can still provide a good resemblance to
your subject.
A dry brush and black India ink are used to create the dark, bold lines of the finished
drawing.
This drawing is slightly more developed than the previous exercise. To make
your lines smooth and fresh, keep your hand loose, and try to draw with your
whole arm rather than just your wrist.
As shown in step A, use an HB pencil to block in the proportion guidelines.
Then carefully sketch the basic shapes of the features, as shown in steps B
and C. Check your proportions before continuing.
Use an HB pencil for your block-in sketches and a 2B or 4B for shading and details.
Practice with simple renderings until you are able to capture a likeness of
your subject. Later you can progress to more detailed drawings.
Finish the drawing by refining the shapes, suggesting the hair, and adding
minimal shading to the lips and nose.

A pencil sharpened to a chisel point is used to create the broad strokes for the hair.
Like the previous drawings, this profile is a good exercise for becoming
accustomed to placing the features correctly—as well as practicing how to
draw the individual features. Pay close attention to the shapes of the nose and
chin; these features will greatly affect the overall appearance.
In step A, begin with a slightly curved vertical line, and add guidelines
according to the proportions you’ve learned. Then lightly block in the
features. In step B, begin to refine the shapes. Ask yourself what your
subject’s nose looks like. Is it long or short? Broad or narrow? Does the tip
turn up or sag down? Is the bridge sloped, or does it have a bump? These are
the types of factors that will determine whether you achieve a likeness or not.
Draw with bold, confident lines rather than thin, scratchy lines.

Practice developing form by shading.

Don’t draw a small head in the corner of your paper. Use the whole space!
By now you should be able to create a strong rendering using simple lines
and techniques. In this drawing, contour shading makes the subject appear
much more realistic.
In step A, use an HB pencil to lightly sketch a profile with guidelines for
placement of the features. In steps B and C, refine the block-in lines, bringing
out the eye, nose, mouth, chin, ear, and hairline. Then add a suggestion of
hair, and smooth out the lines, creating a soft, feminine appearance. Minimal
shading gives this portrait depth.

If you don’t have a model to work from, get a mirror and try a self portrait.
Many of the old masters practiced this way.
The illustration below shows the various planes of the face. Being aware of
these planes will help you to shade the face more accurately.
Men—Profile
These profiles include a new element: clothing. When drawing clothing, the
goal is to make it appear natural. It should not look as if it has been pasted
onto the subject as an afterthought. Therefore, you should always include the
clothing in the block-in stage.
In step A, sketch the basic proportions for the features, adding the hat in step
B. Remember that the hat fits around the head; it doesn’t sit on top of it.
Additionally, the top of the hat will be slightly higher than the top of the
head, and the top of the ear will be covered by the rim of the hat.
Sketch your guidelines right through the hat; they can be erased later.
Although the man’s head is at profile, note that his body is turned slightly
forward. This is apparent because the tie and collar are fully visible. It’s also
important to know that you can use just a few simple lines to suggest the
clothing.
Compare this subject’s masculine features with the women subjects’ feminine
features on the previous pages. Notice that this subject has a stronger jaw,
sharper nose and forehead, and thinner lips.

Clothing should enhance your subject, not draw attention away from it.
This man is slightly older than the subject on the previous page; the wrinkles
along his face are an obvious indication. Also notice that he is turned
completely at profile, so the view of the tie, shirt, and jacket are different.
As usual, draw the block-in lines in step A. Build the features on these lines.
In step B, draw the rest of the head and begin to refine the features. Keep
checking your proportions before continuing. In step C, add the outline of the
collar, tie, and jacket.
Expression is an important part of drawing the human head. For practice,
make faces in a mirror, and try drawing what you see.
A smile usually creates lines around the mouth and rounds out the cheeks. Notice how
the eye is affected also.
For the final details, such as the hair and shading on the tie, you can use a
charcoal or a brush and black India ink. (Before using brush and ink on your
drawing, you might want to practice making different types of strokes on a
piece of scrap paper.) Finally, add a few “smile lines” around the mouth.

To create the slicked-back effect of the hair, make all the strokes in the same direction,
as shown.
Children—Profile
The youth of children is brought out with a delicate approach. Simple
renderings like these require minimal shading to create the appearance of
smooth skin.
In step A, begin with a very simple block-in method, using a curved line and
horizontal strokes to determine placement of the eyebrow, eye, nose, mouth,
and chin. In step B, sketch in the features, along with the outline of the hair.
Study your model to make sure that your proportions are correct.
Remember that children generally have smooth, round features.
In step C, refine the features, and suggest the waves and curls with loose
strokes. In the final rendering, develop the features, making your strokes bold
and definite. Note that you don’t have to draw every strand of hair; just a few
lines are enough to indicate the hair style.

Add a suggestion of clothing so the head doesn’t appear to be floating in the middle of
the paper.
A black felt-tip marker was used for the final drawing.
This drawing of a young boy uses a slightly different block-in method than
was used in the previous exercise. The outline of the entire head shape is
sketched first, along with the proportion guidelines. Of course, you can use
whichever method you prefer.

Lightly sketch the overall head shape in step A with short, quick strokes. This
may be tricky because the head is not at a complete profile—but you can do
it! Observe your subject closely; notice that a portion of the right cheek is
visible, along with the eyelashes of the right eye.
In step B, begin to darken and smooth your block-in lines into more refined
shapes. Keep checking your proportions.
As you reach the final, develop the form by shading within the smile lines,
under the chin, below the hairline, and inside the part of the hair.

Add some spots along the cheek to suggest freckles.

With just a few minor changes, you can change the expression on your
subject’s face. Try raising the eyebrows, widening the eyes, and opening the
mouth. What happens?
Women—Frontal View
For these frontal view drawings, you will need to pay special attention to the
position of the features. In a profile, for example, you don’t have to worry
about aligning the eyes with one another. Study your subject closely, because
a small detail such as the distance between the eyes may determine whether
or not your drawing achieves a strong likeness to your model.
Step A shows minimal proportion guidelines. You will be able to start with
fewer lines as you become more comfortable with your drawing and
observation skills. Even the two lines shown are helpful for determining
placement of the features.
In step B, make the facial features more recognizable, and begin to suggest
the hair. Notice that features are rarely symmetrical; for instance, one eye is
usually slightly larger than the other. To finish the drawing, create depth by
shading the eyes, nose, and lips. If you wish, practice developing form by
shading along the planes of the face and around the eyes.
A few loose, curving strokes with a chisel-tipped pencil can create the appearance of a
full head of hair.
Notice that the nose is barely suggested; the viewer’s eye fills in the form.
The features of this subject’s face differ from those in the previous drawing.
Here the nose is much thinner, and the eyes are closer together. You will
need to make these adjustments during the block-in stage.
In step A, use an HB pencil to block in the proportions. Use the guidelines to
place and develop the features in step B. Notice the types of strokes used for
the hair; they are loose and free. Quick renderings like this one are good for
practice; do many of them!
Remember that your preliminary drawing must be correct before continuing. No amount
of shading will repair the drawing if the proportions are not accurate.
This rendering shows the finest details in the eyes. Therefore, the eyes appear to be the
focus of the drawing, with the hair acting as a framing element.
Men—Three-Quarter View
The three-quarter view is more challenging than the profile and frontal views,
but if you begin with the usual proportion guidelines, you shouldn’t have any
trouble. Simply take your time, and observe closely.

Follow the steps as shown, using charcoal for the block-in stage. When you
begin shading, use dark, bold strokes for the eyebrows, mustache, and beard.
Notice this subject’s facial expression; his dark eyes are intense. Fill in the
irises with the darkest values, but be sure to leave tiny white highlights.
Clothing can be used to identify a character; here the headdress emphasizes the model’s
Middle-eastern heritage.
The dark vertical strokes of the background are used to define the outline of the subject’s
face.
Use photos from books or magazines to draw people of all types and
ethnicities in various styles of dress.
This drawing was done after an old master’s painting. Copying a master’s
work is excellent practice; it helps to improve your artistic skills and
understanding. When copying a great work, think about the reasons the
original artist may have done certain things, and then use your insights to
better your own works.
Follow the steps as illustrated, blocking in each of the features with quick,
confident strokes. Look for the basic shapes in your subject; then refine them
as necessary to achieve a likeness.
Use overlapping brush strokes to create the beard.

Notice this character’s piercing expression, which is enhanced by the thick, dark
eyebrows.
Most of the shading and details for this drawing were done with a brush and
India ink, although charcoal was used for the guidelines and initial sketching.
Brush and ink is a good choice for creating the thick, dark facial hair.

Keep practicing if you want to become a modern-day master!

Children—Frontal View
This subject was rendered with very simple shapes and lines. Remember that
your artistic style should reflect the nature of your subject. To achieve the
youthful look of a subject like this one, use clean, polished lines and minimal
shading.

Use an HB pencil for the preliminary sketch in step A. Remember to use the
proportions you learned for a child’s face. Continue to develop the features as
shown in steps B and C. Notice the wide-eyed expression and pouty lower
lip.
As children age, their proportions become more like an adult’s.
The long eyelashes enhance the youthful, innocent appearance.
Once you’re satisfied with the pencil drawing, trace over your lines with a
felt-tip marker. This will give you a clean line drawing like the example
below.

The upper part of each iris is shaded to indicate the shadow cast by the top eyelid.
This young girl is not positioned at a full frontal view; therefore, the vertical
division line must be placed slightly off center. This will help you to
correctly place the features.
Use your HB pencil to sketch the basic shape and guidelines in step A. Then
block in the features in step B. The position of each feature will depend on
the age of the child—so observe your subject closely.
In step C, begin to refine the shapes. Draw the bows in the hair at this stage
so they don’t appear to be pasted on later. Remember to adjust the
proportions as needed for the angle of the head. When you are happy with the
block-in drawing, create form by shading according to the light source. Here
the light is shining from the right (the subject’s left).

Many beginners make the mistake of trying to draw each tooth, creating the
illusion that the subject has false teeth. To make the teeth look natural, draw
them as one large shape.
Add more shading on left side of the face.
The light source is coming from the right, so keep your strokes sparse on this side to
create the illusion of light shining on the hair.
Elderly Women
These more advanced renderings bring out the character of the subjects. The
elderly woman on this page, for example, appears stern and serious, while the
woman on the opposite page evokes a certain kindness and gentle spirit.

Using the usual proportion guidelines, block in the face. Remember to

include the hat as part of the initial sketch, as shown in step A. Add shapes to
indicate the wrinkles and loose skin in step B.

As people age, certain features will begin to sag and perhaps become less
symmetrical. Notice that the shading strokes are rather harsh and bold. This
technique creates the appearance of rough, weathered skin.
The shapes of the woman’s eyes differ slightly.
It’s exciting to draw unique-looking individuals. Seek out characters that will
challenge your skills. It’s fun!
Be sure to include the pronounced creases around the mouth and under the eyes; these
details give your subject character.
The small, sparkling eyes and fragile hand of this woman create an entirely
different mood from the previous subject. Here the facial expression is more
delicate, producing a feeling of compassion and sympathy.
In step A, lay down the guidelines for the features, and lightly block in the
ears, nose, and mouth. In steps B, C, and D, continue to develop the features,
adding craggy lines for the wrinkles. In the final drawing, shade the face to
create the aged appearance.
Hands can be difficult to draw. Study your own hands, and practice drawing
them on scrap paper. Check the proportions to make sure your drawings are
accurate. For example, the length of the hand is approximately equal to the
length of the face. What other hand-proportion rules do you see?
Occasionally step back from your drawing to get a new perspective. Ask
yourself if you’ve created the right mood and personality. If not, make
adjustments!

Keep the head wrap simple; it provides a contrasting frame for the face.
Elderly Men
Elderly men are good subjects for practicing a variety of techniques, such as
drawing wrinkles, thinning white hair, and aging features. Pay close attention
to the details to create an accurate rendering.
This model exhibits a somewhat worried expression; notice how the eyebrow
angles down slightly in step A. Use bold lines to develop the features and
hairline in step B. Begin shading with diagonal strokes, changing direction
slightly to accommodate the uneven surface.
Coarse shading over the entire face creates the rough skin texture.
Two media were used for this drawing. A chisel-tipped 6B pencil was used
for the shading on the face, and a brush and black India ink were used for the
darkest details. Experiment with different drawing media to create new
effects.
As always, begin with quick proportion guidelines. Then sketch the basic
shapes of the features, including the bushy mustache. Keep referring to your
subject, checking the proportions and shapes. When the sketch is to your
liking, create form through shading.
When observing your subject, look for unique characteristics such as the pronounced
brow and the bump on the nose.
Use a brush and ink to bring out fine strands in the hair, eyebrow, and mustache. Keep
the shading to a minimum to indicate the white hair.
Practice will allow you to develop your own artistic style. Keep at it!

Shade the darkest areas first. Be sure to leave light areas for highlights.
People of the World
When drawing subjects of ethnic background, it is important to study their
features and proportions closely. While you may find some characteristics
typical of a certain ethnicity, there are still many variances between
individuals. Your observation skills will be tested with these drawings!
For this young boy of color, begin as usual with guidelines and a block-in
sketch. Look for the features that make the subject unique—for example,
large, round eyes, a wide nose, and full lips. Notice that the eyes are
especially dark in value, providing a striking contrast to the white highlights.
To render the dark skin, use charcoal or a soft-lead pencil to shade over the
face with even, parallel strokes. Leave areas of white for highlights,
especially on the tip of the nose and the center of the lower lip.
The diverse population provides endless opportunities for drawing subjects;
continue to observe people around you to challenge and improve your skills.
This Asian girl has her head tilted forward, which requires you to adjust the
proportions. In this position, where the chin is close to the chest, the length of
the face should be shortened, leaving a larger area for the top of the head.
This adjustment is an example of foreshortening. For further information on
foreshortening, see Walter Foster’s Perspective (AL13) in the Artist’s Library
series.
Notice how the guidelines are altered in step A. Observe your subject closely
to determine the differences. In steps B and C, develop the features, and
suggest the hair and costume. Asians generally have shiny, black hair, so try
using a brush and India ink, as shown in step D, to achieve this effect. Leave
small white areas for highlights, enhancing the sheen of the hair.

The length of the face must be shortened because her head is tilted forward. The best way
to master foreshortening is through plenty of practice!
Don’t try to draw from your imagination; always use a live model or
photograph for reference.
Draw curved lines for the closed eyes, adding short, thick strokes for the lashes.
Developing Your Own Style
These last two subjects have distinctive characteristics that will lead to
interesting artistic works. As you follow the steps, notice the manner in
which the facial features are developed and how shading is used to add depth
and create interest.
To develop your own artistic style, experiment with different techniques, and
use all kinds of media. Try minimal shading or heavy shading; keep your
lines loose or make them deliberate. It’s all up to you!
A dark background can be used to create the shape of the profile.

The unfinished areas of this drawing add an artistic element, focusing the viewer on the
fine details of the face.
Drawing is a life-long study. You will always be able to find new subjects to
expand your skills and develop your own style. Be sure to keep practicing—
you will be proud of yourself!
 About the Artist

Walter T. Foster was born in Woodland Park, Colorado, in 1891. In his

younger years, he worked as a sign painter and a hog medicine salesman. He
also performed in a singing and drawing vaudeville act. Walter invented the
first postage-stamp vending machine and drew political caricatures for
several large newspapers. He’s well known as an accomplished artist, art
instructor, and art collector. In the 1920s, while running his own advertising
agency and instructing young artists, Walter began writing self-help art
instruction books. The books were first produced in his home in Laguna
Beach, California, where he wrote, illustrated, and printed them himself. In
the 1960s, as the product line grew, he moved the operation to a commercial
facility, which allowed him to expand the company and achieve worldwide
distribution. Walter Foster was a truly dominant force in the development of
art instruction books that make it possible for many people to improve their
art skills easily and economically. Walter passed away in 1981, but he is
fondly remembered for his warmth, dedication, and unique instruction books.
© 1989, 1997, 2003, 2011 Walter Foster Publishing, Inc. All rights reserved.
(Previously titled Drawing Heads.)

This book has been published to aid the aspiring artist. Reproduction of the
work for study or finished art is permissible. Any art drawn or
photomechanically reproduced from this publication for commercial purposes
is forbidden without written consent from the publisher, Walter Foster
Publishing, Inc.

Digital edition: 978-1-61059-845-3

Softcover edition: 978-1-56010-002-7