A quick digital pencil portrait tutorial

Hello, Artists!

In this week's newsletter, it's been a while, but I've put together a quick step-by-step process of a digital pencil portrait. Follow along with the images!

1️⃣ Step 1: Draw guidelines focusing on large forms

First, ignore fine curves and details, and draw the overall guide using simple lines. Establish the outer silhouette first, and then separate the masses inside.

I like the Loomis method as well, but if I had to specify, the method I used here is closer to the Charles Bargue method, which separates areas and forms on a 2D plane. (If you're curious about how to use the Loomis method, let me know via email. I'll cover it in the future!)

• Group Areas: Instead of looking at the eyes and nose individually, group the entire area containing them into one large mass.

• Centerline: Don't forget to mark the centerline, which is slightly curved to the left.

• Negative Space: Even when drawing simple lines, you must check the "negative space" outside the form to get the proportions right. The key is not to get too absorbed in one part, but to step back and check the balance of the entire drawing.

2️⃣ Step 2: Carve out the large masses

Lower the opacity of the guidelines, and draw the basic framework with actual lines on top.

Just like molding large masses out of clay, find and draw the bold lines that represent the overall structure. No details are needed at this stage. Use light lines and build the structure with the feeling of "carving out blocks with a large knife."

3️⃣ Step 3: Separate the large areas of light and shadow

Now, think of this figure's head as a "simple sphere."

You can see that the Main Light comes from the front left, and the Rim Light comes brightly from the right. Don't overcomplicate the shading; simply divide the entire area into two main parts: the "light area" and the "shadow area." Darker shadows will eventually be broken down inside this large shadow area.

4️⃣ Step 4: Build up tones and control the edges

Build up the shading a bit darker with a soft pencil brush. Pay close attention to the edges of the form here.

• The left edge, which turns away from the light, should be drawn a bit sharper and darker.

• The area where the right rim light blends in should be softened slightly, as if it's being washed out by the light.

• Hair is also a mass. It's too early to depict fine strands, but it's best to draw your pencil strokes matching the direction of the hair's texture and volume.

5️⃣ Step 5: Depict details and adjust the light balance

Finally, smoothly connect the overall tones and add details with thin lines. If you subdivide the lighter tones within the light area, the level of completion will increase significantly.

• Sharpness and Highlights: Depict Ambient Occlusion in the deep areas around the eyes and nose to make the features pop. Add slight highlights to the nose and eyes. (To match the overall mood of this drawing, I kept them at a moderate brightness rather than making them too intense.)

💡 An interesting point in this drawing: Is the rim light brighter than the main light? Looking at this drawing, the rim light coming from the right is brighter than the main light from the front. You might think, "Shouldn't the rim light be the Main light then?" However, what's interesting is that the front light, although slightly less bright, maintains its status as the main light because it determines the overall structure and the large flow of the form.

(As a side note, although I skipped it in this drawing, using Depth of Field to express the difference in focus between the eyes/nose/mouth and the rest of the outer areas makes the drawing much more interesting!)

In this week's newsletter, I showed you the step-by-step process of a portrait.

If there's a topic you'd like me to cover in the next newsletter, or if you have any areas where you usually get stuck while drawing, please feel free to reply to this email. I will try to cover it next time!

Keep drawing,

Brooks