To get started, buy a large sheet of watercolor paper. The paper will obviously suffer from your manipulations, so you need thick watercolor paper that is minimally susceptible to deformation. Turn the sheet over to the reverse side - it is smoother. If you are painting a portrait, the smoother side has the ideal texture to imitate human skin.

Besides paper, you will need the cheapest mechanical pencils, these can be bought at any store around the corner (like the ones in the photo below).

I use 0.7 mm thick leads, as well as 4H, HB (#2) pencils and a kneader to remove graphite particles. These tools provide complete control over the drawing process.

Photorealism emerged from pop art in the 1960s as a reaction to the dominance of photography in the media and abstract expressionism in painting. I liked both realistic and abstract things, I don’t see the point in comparing them. At a certain level of skill, anything can be cool. However, realism is particularly good at one aspect - it reaches a wide audience with one clear message: naturalness is beautiful. In photography, even the most tragic subject can be breathtakingly beautiful. Sometimes in pictorial photorealism it is possible to achieve a similar effect, but with the help of additional efforts on the part of the author. With this in mind, always strive for tension and open conflict. In life you shouldn’t be snotty, but in art – the flag is in your hands, throw out everything that has accumulated! As a result, you can capture something elusive or outdo yourself.

Let's get started.

The human face is one of the most difficult objects to reproduce accurately. It takes years of practice to develop the skills necessary to accurately convey the proportions and subtle features that indicate a drawing's resemblance to the subject. Even if you don't specialize in portraits, you can still use these techniques to depict other subjects. An element of a mechanism or a tree trunk, a still life, anything can become an object of reproduction and admiration. If you feel like you have artistic talent, you might enjoy this simple right-brain exercise. Take a photo and flip it over. Now try drawing. You may be amazed at how cool you are doing! But an artist does not have to be “right-brained.” And left-handed too, I myself am right-handed

Ideally, you'll want to base your image on a very high-resolution, detailed photograph with clear contrasts. If you have a graphics editor installed, such as Adobe PhotoShop, specifically increase the contrast settings so that all the details are visible. Use the zoom function to zoom in on the smallest details. Being able to see a detail of a face increases your chances of capturing it realistically.

The first stage is the most difficult. You need to place a three-dimensional object in two-dimensional space. My example is even more difficult because the head is turned three quarters, so look at the object with maximum attention.

Use an HB pencil (#2) to sketch a few lines to create the illusion of volume. Draw, erase, draw again and erase again. Watercolor paper will tolerate a lot. It's important to allow yourself to make a lot of mistakes so that you can see progress over time. If you look at the sketches of the Renaissance masters, you will see many lines that speak of the great struggle in the development of the drawing.

Remember, this is not an academic drawing! You will have to disregard all artistic notions of creative method. Instead of organically building a composition, photorealism will require mechanical elaboration from you. But for now, the first stage of drawing will bring you as close as possible to a harmonious painting technique. At first, your style will be similar to a gestural sketch - lots of light movements until forms of chaotic lines appear. Use this stage to release your emotions.

After completing the formation of the facial contour, the portrait itself is completed. Frame it and invite your friends to appreciate the design and linearity of the composition. Your creation will not look like a black sheep in a museum, for example, among the works of the Swiss graphic artist Albert Giacometti. Enjoy your creation to your heart's content, look at the lines, some of which may seem completely random.

Hey guys, this is actually a photorealism tutorial! It's time to look closely at the close-up image of the right eye (see below).

As I said before, art is a discipline of attention. The most important thing for the rest of the drawing will be observation. To make it even easier – look, look, observe, note interesting shapes. The more interesting they seem, the more you will want to convey them so that others can see them. It probably sounds stupid, but the highest joy from painting can be expressed in falling in love with the form. Forms arise from positive and negative spaces. Small details, like hidden treasures that you search and find, drawing circles around you, as if in a web of letter puzzles. The picture shows that I started with a rare find - a rectangle and a pair of lines in the iris of the eye. And I also started using a mechanical pencil for the darker lines.

Make a few cross strokes to create the eyebrow (see below). I pointed a bright lamp at the drawing so that you could see the direction of the lines, the glare from it.

Try to work with graphite in only one area of ​​the sheet, slowly moving to others, without erasing your previous efforts with your hand or wrist.

Now let’s all listen carefully! Now there will be magic. Take a 4H hardness pencil and draw several lines with strong pressure. You need to seriously make indentations in the paper with a stylus. These will help create lighter areas where the graphite from the mechanical rod cannot penetrate. The effect is similar to negative space in fingerprints.

Let's move on to the technique that you will use most as you work on this drawing. With a slightly worn lead of a mechanical pencil (use a rough), or rather the most erased side, begin shading in the shape of tiny ovals. The ovals should overlap each other gradually so that the shading goes from light to dark, as if you were developing a photograph in a dark room. Slowly, slowly, be patient. Use paper fiber to imitate the texture of leather. See for yourself when you achieve the desired technique and maximum use of the paper relief when shading.

As you darken the eyelid, you will notice that the indentations we created earlier with the hard pencil begin to stand out (see below). This is just the beginning of wrinkles that we will soften and detail in the next steps. The skin around the eyes is unusually soft and thin. If the person in the picture is young, facial wrinkles around the eyes do not make him old. Most people normally perceive such wrinkles and will not ask unnecessary questions about why you drew them.

Let's return to the search for forms. I brought my eye closer and found something interesting - the reflection of light and objects. They will help me shade the eye, just like in coloring books, when I need to fill previously outlined blocks with colors. Who else says you need to grow up?!

So... add eyelashes with careful strokes using a mechanical pencil. Of course, you will want to put pressure on the pencil, but be careful, it may accidentally move; you will remove the color, but the mark will not cope with the marks on the paper.

Using a mechanical pencil for the dark areas and HB for the highlights, shade the remaining area of ​​the eye (see below).

Prepare the lower eyelid by dripping a little with an HB pencil. The effect will be the same as with fingerprints, where the color does not penetrate into the depressions on the paper. And there are fewer folds on the lower eyelid than on the upper.

Darken the lower eyelid with a mechanical pencil (over the indentations of the HB pencil). Continue darkening your eyes. Very carefully, so as not to smudge the drawing, shade the forehead with the same tiny ovals.

Increase the darkness as you approach the side of the face (see below).

Darken the forehead area above the left eye by combining shading with a 4H pencil (light pressure) with an oval technique using a mechanical pencil.

The girl wears a hat, which creates an additional shadow on her forehead. Take your time, make a smooth transition from dark to light by shading. I am right-handed and will make strokes in the direction from the upper left to the lower right corner. Left-handers perform shading from the upper right to the lower left corner.

The lamp is positioned to my left so my hand doesn't create a shadow on the area I'm working on. In this photo the light is different, but only for shooting.

And although the shading of the forehead is complete (see below), I will come back to it later, even out the spotted areas with a blob or shade more if I removed too much of the blob. I've done enough shading now that I'm ready to draw in the left eyebrow with a mechanical pencil in firm, confident strokes. Don't draw hairs on a white background; first shade the eyebrow itself. Take your time and carefully draw each hair.

Once again we will be “scratching” the paper with a 4H pencil (see below). This will help create the pores and wrinkles after we go over this shading with a mechanical pencil.

This area of ​​the face reflects light, so we must try to convey a complex effect, a highlight on the pores of the skin with small wrinkles. Again we'll use the paper relief, the graphite rod and the kneading (in tandem) to transfer it all until you're happy with the result.

You can easily draw thin lines around the pores with a 4H pencil to enhance the contrast.

Work the eyelid well with a 4H pencil for subsequent shading.

Shade the eyelid and draw eyelashes with a mechanical pencil, then darken the iris and pupil. Note the complexity and variety of shapes within the eye. Don’t even dare think that some elements are arranged symmetrically! Observe the naturalness, study the symphony of patterns.

Again, I used a 4H pencil to create grooves in the paper before shading with a mechanical pencil. After shading, add eyelashes. The apparently white areas of the eye are not white, but slightly darkened (with a 4H pencil).

Start darkening the nose with soft graphite ovals. Mark for yourself the shadow on the nose on the right side of the face (to the right of it). And forgive me for the reflection of the lamp above her left eye.

Press firmly on the 4H pencil to create long hair with highlights. And although the girl clearly has dark hair, these highlights will look natural and not like gray hair. You need to create grooves on the paper, and then go over it with a darker soft lead of a mechanical pencil. This technique also works great for blondes, whose blonde hair in the foreground flutters against the darker background of the rest.

To create the hair, draw long lines using pressure with a mechanical pencil. You will notice light hair appearing where the pencil graphite does not penetrate.

Continue using the oval shading technique to create the skin and dark lines for the hair. Carefully darken the ear, paying attention to the subtle transitions of shadows that are so abundant on the surface of the ears. Imagine cartilage, fatty tissue and skin forming contours and reflecting light.

Although the paper is shiny due to the light, you can get the general concept of drawing hair by using an HB pencil and a mechanical pencil. Note for yourself the highlight on the nose and the general direction of movement in the drawing - from the upper left to the lower right corner. This will help prevent the drawing from smearing.

Below you can see the effect of running a soft lead along the grooves of an HB pencil. We continue darkening.

I created a highlight on the cheek with a very slight fade while shading into a darker area using a mechanical pencil.

Let's look at the mouth in close-up. I increased the contrast so you can see the lines and shadows better. There are no straight lines in nature. All contours are harmonious. Think of these outlines as islands on the horizon. Close your eyes and you will see an archipelago in the Pacific Ocean.

Create folds by pressing firmly with a 4H pencil.

Now darken with the soft lead of a mechanical pencil. Keep discovering interesting shapes and patterns. Note that part of the lip is similar to an ECG strip. And the small serifs near the corners of the lips, and how contrasting the light plays in them. The teeth are not white at all, but in the shadow of the lower lip.

Darken the lower lip (see below).

Darken the rest of the face. Observe the reflection of light from the jaw (see below).

(Note: photo is slightly distorted)

Below is an extreme close-up to give you a better look at the oval shading technique.

After quite a bit of darkening the hair and blotching the face, the skin still looks a little patchy (see below). This is the very borderline moment between photorealism and hyperrealism, and only you can decide whether to step there or not. If you ask me, I will answer that the drawing should still look like a drawing. I'll leave a hint of the shoulder as a single line and shade the hat with simple diagonal lines. As for blotchy skin, I can even out my tone day and night in pursuit of perfection, but a person is worth being imperfect.

How long did it take me to make this face? If you add up all the hours, it’s about a day.

Very often, beginning artists neglect the study of the human skeleton and musculature, mistakenly believing that “it will work out just fine.” But ignorance of human anatomy leads to the fact that the drawn person turns out to be unconvincing, and his facial expressions and movements look unnatural.

Therefore, today we will look at the basic principles that you should follow if you want to draw a good and high-quality portrait.

1. Facial proportions

The skull and jaw are a slightly flattened sphere, so when looking at a human face from the front we see something like an egg turned upside down with its narrow side down. Two perpendicular lines running down the middle divide this egg into four parts. Let's look at the details:

• Mark the midpoints of the right and left halves of the horizontal line. The eyes will be located exactly at these points.
• Divide the bottom half of the vertical line into five parts. The bottom of the nose will be located on the second mark from the top, and the line where the lips meet will be located one point below.
• Divide the top half of the vertical line into four parts. The hairline will be located at the second or third mark, this feature varies. The ears are located between the upper eyelid and the tip of the nose, but this rule is only true when the face is not down or up.

Helpful hint: The width of the face is usually the width of five eyes or a little less. The distance between the eyes is equal to the width of one eye. Very rarely in people this distance differs very much from the standard, but this feature will be quite easy to notice. The distance between the lower lip and chin is also equal to the length of one eye.

Another way to measure is to use the distance between the tip of your thumb and index finger. The figure below shows which distances can be measured in this way: ear height, distance from hairline to eyebrows, from eyebrow to nose, from nose to chin and from pupil to pupil.

Profile

In profile we can still see the shape of the egg, but its sharp side points towards the corner. Lines now divide the head into the face and skull.

On the skull:

• The ear is located just behind the vertical line. In size and location, it is still located between the upper eyelid and the tip of the nose.
• The depth of the skull varies within the limits indicated in the picture below in point 4 with dotted lines.

• Everything is located as indicated above.
• The root of the nose coincides with the horizontal line or is slightly higher
• The most convex part is the first point above the horizontal line that marks the line of the eyebrows.

2. Features

Eyes and eyebrows

The eye is simply two arches joined into an almond shape. There is no specific rule in drawing eyes, because the shape of the eyes can be different, and there are a lot of such shapes, but we can notice the following trends:

• The outer corner of the eye can be higher than the inner corner, but not vice versa.
• If the eye shape is almond, then the rounded part of the eye will be closer to the inner corner, and the elongated part will be closer to the outer corner.

Eye details

• The iris is partially hidden under the outer eyelid. It only touches the lower eyelid if the person is looking down, or if the eye is built so that the lower eyelid is higher than usual.
• Eyelashes grow from the inside out, not the other way around, and this is very important when drawing so that they look natural. The eyelashes on the lower eyelid are shorter.
• When trying to draw all the little details (tear ducts, lower eyelid, etc.), remember that detailed drawing does not always mean that the result will be beautiful.

In profile, the eye takes the shape of an arrowhead (with convex or concave sides), with a slight hint of the upper and possibly lower eyelid. In real life, you won't see the iris from the side, you will only see the white of the eye. But an eye without an iris looks strange, so draw at least a hint of it.

As for the eyebrows, the easiest way to draw them is to follow the arch of the upper eyelid. Often the widest part of the eyebrow is closer to the inner part, and the “tail” tending towards the outer part of the eye gradually becomes thinner.

If you look in profile, the shape of the eyebrows changes dramatically and becomes more like a comma. The eyebrow begins where the tips of the eyelashes are located.

The human nose is approximately wedge-shaped, it is quite easy to imagine and draw it in volumetric form before drawing in the details.

The dorsum and wings of the nose are flat surfaces that are only outlined at the end, but it is still very important to take these surfaces into account when sketching in order to correctly calculate the proportions. The lower flat part of our wedge in the form of a truncated triangle connects to the wings and the tip of the nose. The wings fold inwards towards the septum to form the nostrils - note that the ventral view shows how the septum begins before the wings and connects to the face. It projects lower than the wings when we look at the nose in profile, which means that in the 3/4 view the far nostril is hidden by the septum.

Just as with the eyes, detailing does not always give good results. Therefore, it is more important to work out the proportions than to pore over details that can ultimately disfigure the drawing. When drawing from the front, the nose looks better if you draw only the lower part. If you are drawing a 3/4 view, then most likely you will be better off drawing the line of the bridge of the nose. You'll have to look at and study a lot of noses to figure out how and when to portray it.

Lips

• The line where the lips meet should be drawn first, as it is the longest and darkest line of the three that form the mouth. It's not just a wavy line, but a whole series of thin curves. In the picture below you can see an exaggerated example that will explain to you the movement of the mouth line. Note that there are different lip shapes and that the base line can reflect the lower or upper lip. Lips can be softened in many ways. The line in the middle can be very straight to reflect a sharp look, or very blurry to weaken the lips. It all depends on the shape of the lips, how plump they are. If you want to achieve symmetry, start from the center and draw one half of the lip, and then the other.
• The two upper tips of the upper lip are the most obvious parts of the mouth, but they can also be either pronounced or almost in one line.
• The lower lip has a soft arch, but can also vary from almost straight to very rounded.
• The upper lip is usually thinner than the lower lip and sticks out less from the overall topography of the face than the lower lip. Try to highlight the upper lip with strokes.
• On the sides, the lips have the shape of an arrowhead, and the fact that the upper lip protrudes slightly forward in this place can be seen very well.
• The midline of the mouth at the ends deviates downward from the lips. Even if the person smiles, it curves down before going up again. Never draw this line straight up if you are drawing a face in profile.

The most important part of the ear is the long C-shaped outer line. The inside of the ear is like an inverted U. There is also a similar curve just above the earlobe, connected to a small C-shaped arch. In general, the shape of the ear also varies.

When we see the face from the front, the ears are visible in profile:

• The rim, which was previously U-shaped, is now a separate part - as happens when we look at the plate from the side and see its bottom.
• The earlobe will look more like a drop and will stand out.
• How thin the ear line needs to be drawn depends on how close the ears are to the head.

If you look at the head from behind, the ear looks as if separated from the head: the rim is attached to the head by a funnel. Don't be afraid to draw the funnel too big, as it really isn't small.

3. Angle

Being shaped like a ball with a few minor changes, the head is easier to draw than expected. But despite this, you need to study how it looks from different angles. Of course, the appearance of the nose changes first, but the eyebrows, cheekbones, central part of the mouth and chin also change.

When we drew the face in front and profile, we practically simplified it to a two-dimensional plane. For other viewing angles, we need to think in three-dimensional space.

Look down

• All parts are rounded upward and the ears also move upward.
• Since the nose protrudes forward, it protrudes from the general line of the face and its tip is closer to the mouth.
• The eyebrow curve becomes smoother. In order for it to take a reverse bend, you need to turn your face in some particularly unusual way.
• The upper eyelid becomes more visible and covers most of the eyeball.
• The upper lip almost disappears, and the lower one sticks out more.
• Notice that since the mouth follows a general curve, it appears as if a smile has appeared on the person's face.

Look up

• All parts are rounded down and the ears are also moved down.
• The upper lip becomes fully visible and the mouth appears fuller.
• The brow line becomes more rounded, but the lower eyelid curves downwards, giving the effect of an edgy look.
• The lower part of the nose is clearly visible, and the nostrils are also clearly visible.

Turn sideways

When a person is seen almost from the back, all that is visible is the protruding line of the eyebrows and cheekbones. The neck line protrudes and tends towards the ear. Eyelashes are the next thing that is visible when a person turns his face.

Then part of the eyebrow appears, and the ridge of the lower eyelid and the tip of the nose protruding from behind the cheek become visible.

When the face is already turned almost in profile, the eyeball and lips become visible (but the middle line of the mouth is still small), and the neck line merges with the chin line into one line. You can still see part of the cheek where the nostril hides.

Learning the basics of drawing will help you become a good painter in the future. People who are just learning the basics of drawing often have difficulties with how to draw with a simple pencil. In this article we will talk about techniques that will make this complex process interesting and less intimidating. The lesson will be based on simple ones that we will use to “dress” the face. We will figure it out step by step. A girl's face from the front will not be a very difficult task. So let's get started.

Of course, without anatomical knowledge it is difficult to tell how to draw a person’s face, so we will use the so-called basis, which will help us determine the exact location of the eyes, nose, ears and mouth. In the future, if you decide to continue drawing, you will definitely need to master the anatomical drawing of the human body.

Face oval

So, today we are learning to draw a person’s face, and we will start our drawing with an oval of the head. If we skip all the anatomical details and look at a person’s head schematically, we will see an oval that resembles a chicken egg. We divide it into symmetrical halves with a vertical line, and then with a horizontal line (the line of the pupils). We will start from these lines.

Auxiliary lines

Ears

In the diagram, the place where the ears should be is marked in yellow. Extend the line of the nose until it intersects with the width of the head; at these points we will have earlobes. We will adjust the height a little later.

Turn on your imagination

At this stage we outline the contours of the eyes, eyebrows, tip of the nose, lips and ears. Here you will see where your ears will end, approximately this will be the line of the eyebrows. Draw a little oval of the head in the area of ​​the ears.

The final stage

We slowly erase unnecessary and interfering lines and add details. We draw stronger, add shadows, make the drawing three-dimensional. The hairstyle is already to your taste.

When you draw a drawing and remember how to draw a person’s face, check the proportions in parallel. The placement of the eyes and mouth fits into an equilateral triangle. The peaks will be located at the corners of the eyes and on the lower edge of the lips. The height of the mouth will be equal to half the width of a woman's eye, as will the distance from the tip of the nose to the lips. And the chin in a woman’s face will be equal to the width of the eye.

Now you know how to draw a person's face without knowledge of anatomy. This method is one of many that help you master the basics of drawing. Try hard and you will succeed.

Who among us did not draw pictures of our family in childhood and were not offended by those around us who “didn’t guess” who was who! And all because while the body could still be dealt with somehow, the face could not be managed at all. Modern children are luckier: they now have access to a considerable number of descriptions that tell them step by step how to draw a person’s face with a pencil.

Portraits accessible to beginners

It is believed that only those painters who use the theory of the “golden section” of Leonardo da Vinci succeed in depicting faces. But non-professionals shouldn’t worry: to draw a person’s face with a pencil step by step, even for beginners it will be enough to familiarize themselves with the simplest technologies and learn a couple of important nuances. So acquaintance with the brilliant leadership of Leonardo can be postponed. But it’s worth getting hard and soft pencils and a black pen. Nowadays it is very popular among young people to draw portraits of famous personalities - let’s take this mini-trend as a basis.

The face of a representative of the stronger sex should have well-defined cheekbones and chin. Let's look at the technique of a male portrait using the example of a drawing by the German actor Til Schweiger.

Materials:

• hard pencil;
• soft pencil;
• ballpoint pen with black ink.

Instructions:

Girls' and ladies' faces, unlike men's, have more subtle features. Therefore, in their depiction, preference is given to a hard pencil. As in the previous instructions for beginners, we will master a technique that describes how to draw a girl’s face with a pencil step by step, on a celebrity. This time - on actress, singer and model Hilary Duff.

Instructions:

When depicting aged faces, it is necessary to pay special attention to wrinkles, because they are what give the drawing a naturalistic look. Drawing a portrait of an elderly person with a pencil step by step is quite difficult for beginners, but detailed instructions make the task much easier. Consider a double portrait: there will be both a man and a woman.

Instructions:

Nuances in the depiction of faces

Proportions are the main principle that should be followed in depicting a face. In addition, it would be useful for novice artists to know that:

• eyes are the accent of any portrait, but you should not draw them in the center of the oval of the head. We move them a little down, since we need to leave room for the forehead and hairline;
• the “mirror of the soul” occupies 1/5 of the face in the figure;
• the point of intersection of the horizontal and vertical lines in the oval is where the nose should be located;
• instead of an oval, you can mark the contours of the face with two trapezoids, touching long bases (which will be the location of the eyes and the top of the ears), and a triangle - the chin;
• When drawing eyes, you should start with the pupil, and then proceed to the eyelids and eyelashes;
• all lines are first drawn with a hard pencil;
• When darkening with a soft pencil, you don’t need to press it too hard, otherwise your face will turn out rough.

As a child, everyone picked up a pencil and tried to draw themselves, their loved ones and everyone around them. Over the years, the desire to draw passes, only some continue to draw, acquire skills, learn different techniques of fine art and become artists. The passion to draw sometimes arises among those who have abandoned their childhood hobby. They wonder: "How to draw a person's face?" After making several unsuccessful attempts, they give up this activity, but in vain. In fact, most people can learn to draw. The easiest way to start self-study is with a landscape; you can always tell others that this is how I saw this field (mountains, forest, river, sea, etc.). The attitude towards portraiture is more strict; any mistake in the depiction of a face immediately catches the eye.

Where to begin

Each face is individual, but there are basic principles that can be used to draw it on paper. The general outline can be round, oval, triangular, rectangular. At the first stage, you need to decide on your face type. Then you should pay attention to the proportions: height and width. Having outlined the top and bottom, as well as the right and left edges, we draw the person’s face, depicting an oval. Now we need the proportions of the location of other parts of the face. Eyes, eyebrows, nose, mouth, chin are individual, and their location should be copied as accurately as possible from the original.

Eyes are like a mirror of the soul

Round, narrow, slanting, close-set, widely spaced, surprised, joyful, dejected, admiring, disappointed - these are all eyes. They remain the same for their owner and at the same time change depending on the mood and situation. How to draw a person's face and expressive eyes? Their very placement on the face gives the portrait recognition. It is important to know how to arrange them. Having chosen the proportions, the centers where the pupils will be located are determined. Eyelids will be drawn around it. They are also different, young people and children do not have any folds, while a person with a long life path has wrinkles running in different directions. They are also an integral part of the appearance. By drawing eyes, you can draw a person's face, which will be recognized. All other parts of the face are important, but even without them the portrait becomes similar to the prototype.

Drawing the nose

A potato nose or an eagle profile, straight or with a slight hump, with wide or narrow wings, a Greek or Roman profile - all these concepts refer to the shape of the nose. Any mistake in proportion can cost a lot. Even if the nose matches the model, by depicting it larger and smaller, the artist will not achieve similarity. Some portrait painters especially note the size and proportions of the nose when answering the question: “How to draw a person’s face?” By drawing a size chart, you can achieve a perfect match between the real and drawn nose.

How to draw a mouth

Many people claim that character is reflected in the eyes, but they are wrong. Skilled artists can give any expression to the eyes, turning a limited person into a sage. But the mouth betrays human essence. A small, tightly compressed mouth with thin lips or a wide, slightly open mouth with thick lips will give completely different information about the owner. A smile or a sad grin will allow you to judge your mood. Lips and mouth are the outer manifestation of the essence of every person. Even twins, although completely similar, often differ in the appearance of their mouths. The leader has more pronounced features, the second twin is only a reflection of the first, and his mouth will indicate that he is the follower in this pair. When drawing a mouth, you should first apply only thin strokes. Later, the artist’s hand, bypassing complex reflections, will itself add the necessary details. The main thing is to start drawing, and then the mental exchange between the model and the artist will work.

General contours of the face

How to draw a person’s face, showing his attitude to reality? Facial contours with sharp or light shadows will give the desired status and reflect the character of the prototype. They are noticeably different in real life too. There are women with courageous faces, and there are also men with mustaches and beards who have retained a lot of femininity in their appearance. The general contours of the face are responsible for the life position drawn in the portrait. In a photograph, a person's facial features are not so expressive; only the artist can convey the actual vision of the person he is drawing.

To answer the question for yourself: “How to draw a person’s face?” - Once you start drawing, you need to continue this hobby. All people see the same thing, but only the artist is given the opportunity to show everyone else how he sees it all. Painting differs from photography in that the artist paints the world that he spied with his own eyes and conveyed it in the form of a work of art.