Transcription

1 Step 1. Preparation Hello, welcome to the course. For your drawing to achieve a likeness to the original photo accuracy will be necessary. To help get the accuracy we will make our drawing to a large size, probably bigger than the desired finished print, but this can be reduced as it is photocopied. I suggest you draw on 11" x 17" photocopy paper. If you have a choice choose a photograph that is sharp rather than fuzzy. The clearer the photograph the better chance you have of a good result. Pens. You need the following new pens: 1. A black 'Pilot' Precise Rolling Ball - Extra Fine. Cost about $ A black 'Paper-Mate' Flair - Felt Tip Pen. Cost about $ A black broard tip Magic Marker (Stanford Hi Impact is ideal - pack of 3 for $1.94) It's best to have a spare of each, they can run out at any time, usually around midnight. You also need a blue pencil (that's one with a blue lead - blue doesn't photocopy) and a regular HB grade pencil. Paper - get a few sheets of 11" x 17" regular photocopy paper. Photo copy shops will sell single sheets. You need to draw on an inclined board. Even a sheet of Masonite will do. If you have a tee-square, and setsquare it's a help, but it's not essential. We are now ready to start! 1 of 2 10/23/10 6:50 AM

2 This concludes Step 1. Preparation 2 of 2 10/23/10 6:50 AM

3 Step 2. Outline It is best if we draw the face at least 10" (250mm) tall. Get a digitally enlarged color photocopy made to the 10" high face size you want. Work out the enlargement needed beforehand. For example if the face in your photo is 5" tall, and your drawing is to be 10", then the enlagement %age is (10 5) x 100 = 200%. Most color copiers can enlarge to 400%. Because it is digitally enlatged the sharpness of the print is far superior to a regular photocopy which can only go to 146% and requires repeated enlargements and each time it gets less sharp. a) Tape your blank sheet of paper onto a drawing board (or any flat board 1 of 3 10/23/10 6:49 AM

4 that you can tilt). b) Tape a sheet of carbon paper (or two 8 1/2" x 11" sheets taped together) onto the back of the photocopy, with the carbon paper central on the portrait and the sensative side outwards. c) Then tape the photocopy with three pieces of tape on one long side only. This will allow you to take a look at the blank paper underneath whenever you want to. The three pieces of tape acting as a hinge. d) Using an empty ball-point pen, (yes, empty, so it doesn't mark the photocopy) dot around the hair outline and main locks, also the face features, with a dot about every 1/4". Carefully repeat with the eyes, mouth and all edges and changes of shaded areas, with dots about every 1/8". Do it fairly lightly, because you don't want heavy black marks to remove later. 2 of 3 10/23/10 6:49 AM

5 Step 3. Pencil Fill-in Remove the enlarged color print and the carbon paper and now fill in the outline detween the dots, hair line and other facial features lightly in pencil. Note. The outline is for guidence only. Later we will erase it. We shall not ink in this edge line. It provides a softer appearance if we limit the edge to shadow shading strokes only. See how there is no outline to the face on the drawing below. 1 of 2 10/23/10 6:51 AM

6 This concludes Step 3. Pencil Fill-in 2 of 2 10/23/10 6:51 AM

7 Step 4. The Eyes & Lips THE EYES Usually the eyes reflect a highlight (or two, as in the case of our still) reflecting from spotlights or sunlight from a window. Observe the photo and determine the direction the eyes are looking. This will effect the position of the eyeball in the eye. Duplicate this - using the fine pen - taking care to make the eyeball round, the same size in each eye and the same position. Draw the eyeball in the following order. 1.Mark reflection limits in blue pencil. This area to be left white. 2.Pen in the circular outline carefully. 3. Pen in the radial lines. 4. Black in the pupil with the 1 of 4 10/23/10 6:52 AM

8 3 of 4 10/23/10 6:52 AM

9 felt tip pen - except for the reflection (blue) areas. 5. Pen in circular lines in the pupil. Make a trial run on a piece of scrap paper before you ink it on your drawing. THE LIPS All shading should be radiused to indicate contour curvature, depending on angle of head. Top lip is always darker because it gets less light. 1. Mark in the highlight outline in blue pencil. This area to be left white. 2. Pen in dotted radioused contour lines. 3. Increase shading as required. 2 of 4 10/23/10 6:52 AM

10 Step 5. The Highlight Areas To carry out this stage the enlarged still should be scrutenized and a study made of the highlight (or shine areas) on the face. As we proceed through further stages of the process we shall determine for each area the light value (or shaddow intensity) we think exists on each part of the face. On a scale of 1 to 10 the Highlight Areas represent 1 on this scale and will be represented on the final drawing by a white area. The highlight areas are only added with a blue pencil and cross hatched in blue also. This is done so that you can identify the areas to be left white when you are putting in the vertical shading in the next stage. Take a look at the 'man in the top hat' (below). See how these highlight areas are treated and 1 of 2 10/23/10 6:57 AM

11 how they indicate high shine areas. With them the face appears more threedimensional. This concludes Step 5. The Highlight Areas 2 of 2 10/23/10 6:57 AM

12 Step 6. Vertical Shading Using the fine point pen, make vertical shading lines - at approx. 3mm spacing - over the entire face, ears and neck, except for the following areas. Blue shaded highlight areas Eyes Lips Eyebrows, if light in color The vertical lines can be drawn with a set-square, or by hand. They look 100% better if done by hand. If you prefer the effect by hand but don't have the patience, the following method can be adopted. Buy a 15ç wooden rule and profile the edge with some sandpaper to give a ridged non-straight edge. Tape this to the edge of the set-square. In order not to get get all the ridges occuring at the same level raise the set-square up and down on adjacent shading lines to imitate a hand drawn effect. This takes a bit of practice, but you'll know when you get there. 1 of 3 10/23/10 6:53 AM

13 2 of 3 10/23/10 6:53 AM

14 Step 7. Contour Shading To give the drawing its three dimensional appearance we need to add the different degrees of shading and these shading strokes are determined as we continually scrutenize the color print, and make judgements as to the darkness of each area. The shading can be divided into 10 grades as below: 1. is left white. 2. is vertical shading only with Pilot fine point pen. 3. is additional 45º shading at 3mm pitch, with Pilot fine point pen. 4. is additional 45º shading at 3mm pitch (the other way) with Pilot fine point pen. 5. is additional 45º shading at 1.5mm pitch with Pilot fine point pen. 6. is additional 45º shading at 1.5mm pitch (the other way) with Pilot fine point pen. 7. is additional 45º shading at 3 mm pitch with Felt Tip Pen 8. is additional 45º shading at 3 mm pitch (the other way) with Felt Tip Pen 9. is additional 45º shading at 1.5 mm pitch with Felt Tip Pen 10 is all black with Magic Marker. There is a blend between grades 9 & 10. Features such as eyebrows and nostrils can be added, also the general eye hollow and lashes. Then add the dark-side shadow and under chin shadow. We are adding shadow a little at a time so that if we overdo something we can work around it and bring up adjoining shading. Corrections are seldom necessary, 1 of 4 10/23/10 6:54 AM

15 but if they are, since we will finally photocopy the drawing, we can stick on a piece of paper over the wrong bit, and blend it in carefully. Gradually the face will begin to look rounded instead of just two-dimensional. After this stage we can erase the pencil outlines of the face. 2 of 4 10/23/10 6:54 AM

16 3 of 4 10/23/10 6:54 AM

17 2 of 3 10/23/10 6:55 AM

18 Step 9. The Hair & Final Shading The hair shaddow lines follow a different process. As with the face observe the highlight areas and leave these clear. Black hair has to rely almost solely on reflective white areas. Final shading - Work over the whole face area and increase the the shadow where needed. As previously one works by continuously glancing at the color photo and comparing the photo shade grade with your drawing and adding more shading where needed. Work using the shading grades described in Step 7. Blend the merging of of two grades gradually, so that shadow changes do not appear as ridges on your drawing. Background - This is entirely a personal preference. If you choose to show a background keep it simple and sketchy, and preferably out of focus - without well defind edges. If your drawing is fairly light you may choose to add a dark background, maybe close shading, or even black. 1 of 2 10/23/10 6:55 AM

19 This concludes Step 9. The Hair & Final Shading 2 of 2 10/23/10 6:55 AM

20 Step 10. Self-Critique When you have reached the point where you are more or less satisfied with your drawing and can't see where to add further strokes, before you take it off the drawing board decide whether you want to put a border round it. Again this is entirely optional. Some illustrators like involved fancy borders. One use of a border is to indicate where vertical is. Take it off the board and pin it up on the wall somewhere where you can see it. Perhaps with the color print alongside. After awhile you will spot some feature that needs a little extra work done to it. The real test is when you show it to a friend and wait for them to say "That's the Doctor on the Star Trek series". 1 of 2 10/23/10 6:56 AM

21 Step 11. Publication If you are interested in getting your drawings published there are many fanzine editors who are eager to find good illustrators. Choose a fanzine - or fan press - that is well established and in good standing. It is very disappointing to send your art away and nothing appears because the fanzine founders. 1 of 1 10/23/10 6:57 AM

22 Step 8. Heavier Shading & Face Border Continue applying the shading with glances back and forth from the color print. The pencil outlines are now erased but the shapes are fixed by the shading. Add heavier shading grades as the areas require. When you apply the magic marker work you may need to put a sheet of paper underneath as it may mark your board otherwise. 1 of 3 10/23/10 6:55 AM