Keep in mind that even though the ear is lighter than the planes around it, it’s still in shadow and therefore darker than features on the light side of the face.Īll adult heads look different, and yet they all have two eyes, two ears, a nose and a mouth. For example, the ear is entirely in shadow, but because it’s turned at a slight angle to the head, it’s picking up more reflected light. A lot of the planes are defined by reflected light. H The next pose lets us see what happens on the shadow side of the head. This pose reveals the dark planes caused by the canopy effect of the eyebrows, nose and jaw. G We’ve seen the subtle changes in planes on the cheeks. As the forms turn away from the light, they get darker.

The brightest areas appear on the model’s right forehead, the hair above the cheek, and the mouth area below the nose. The only bright light is in those highlighted areas.į This pose reveals the overall roundness of the head. The eyes stay back in the shadow plane under the brows and are darker than the forehead and cheek areas. For example, the transition from light to dark on the cheeks is more subtle. Squinting allows you to eliminate the details of the features and see only the big shapes - the planes.Į The big planes are still visible, but they’re softer. At this point, I’d like you to squint at these drawings. Remember to leave out details-eyes, eyebrows, nostrils and other features-at this stage.įrom the simplified planes of the head, we now progress to the study of the head and facial features (see Head and Features, below). This subtle value shift produces the look of a rounded structure.ĭ Try drawing the head in simple planes in a variety of positions. Starting from the top of the head-the brightest area-the head gets progressively darker as the planes turn from the light to the back of the head. By contrast, the ear is much lighter because it turns out from the jaw and catches the light.Ĭ The top and the back of the head have the same appearance that a ball lit from above would have. Here, the jaw is dark because it turns back, away from the light. This lighting placement is one of the most desired for portraits since it reveals the forms of the features most effectively.Ī Divide the area from the cheek down to the jaw into three basic planes: light, where the light source is brightest darker, as the form starts to turn from the light and darkest, as the form turns farthest fromī The way light is revealed on the planes of the head tells us how the head is shaped. This particular lighting defines the features best by leaving shadow areas under the eyebrows, the nose, the upper lip and the chin. In the drawings here, the light source is above and to the left of the head. Whether you’re working from a cast or a live model, it’s important to use one main light source to accentuate the planes. Once you feel more familiar with the head, start drawing from a live model. Practice drawing these heads or, better yet, try working from a planed plaster (or plastic) cast. You can simplify the structure of the human head by eliminating details and breaking down the many shapes into a few basic planes (see Planes, below). So pick up your pencil and enjoy the journey. As long as you keep drawing, you’ll move forward. In this article, I’ll discuss the planes, features and proportions commonly used for drawing the “ideal” head.įirst, while you’re learning to draw a portrait, keep in mind that you’re not in a race. Even the same person takes on many looks with various expressions, clothing and lighting. There’s no chance for boredom since there are millions of different faces in this world. To me, people are the most fascinating subjects to study and to draw. The dark background next to the light side of the head helps to push the head into the foreground and contrasts with the white hair.ĭrawing the human head correctly takes practice, but I never consider it work.

With 2B, 4B and 6B pencils, I rendered the subtle lights and darks on the shadow side of the face. Canson drawing paper has a strong texture that I enjoy working on. First, It’s Not a Race I drew The Fisherman in pencil on Canson heavyweight drawing paper.

So enjoy more than a dozen tips on drawing the human head from one of our favorite artists Paul Leveille and then see about further embarking on a portraiture voyage with the sketches and insights from Everett Raymond Kinstler, a seasoned expert whose book, Impressions and Observations, is a must-have for learning artists. That is because there are rules to follow and an effort to put behind it, but the process isn’t anything but something to revel in if you have artistic leanings. We are fierce believers that drawing the human face takes practice, but it isn’t work.

Dark sheep head art