Most of the smaller, sharper details should be gently blended into and balanced with the softer areas of tone that surround them. Some of the smaller details around the eyes, nose, mouth and ears will need to be intensified to acquire that depth of tone which is always elusive in the earlier stages of a drawing.
Some of the larger areas of tone around the forehead, cheeks, chin and neck should be gently darkened with graduated shading using soft charcoal and a blending stump. You begin by looking closely at the shading you applied earlier to see what subtle variations of tone lie within these areas. When you start to strengthen the details of the features, you also have to deepen the surrounding tones to balance the overall shading of the head. This stage requires the use of a soft charcoal stick or crayon, a sharp charcoal pencil, a blending stump and a fixative spray. You will also find that you have to sharpen your pencil more often to capture any intricate details.Īt the end of this stage you should spray what you have drawn with fixative to prevent smudges when you work over it in the later stages. The main difference is the darkness of the charcoal pigment which makes it easy to overwork your drawing and therefore requires a more restrained approach. Here you are trying to establish a few key features that you can use as a foundation on which to build the tonal structure of the face.īuilding up the tones and details of the face requires a cautious step by step approach, gradually feeling your way rather than trying to get there fast.ĭrawing details with a charcoal pencil is much the same as using an ordinary pencil. This stage of the drawing involves looking closely to discern some of the darker tones of the eyes, nose, mouth, ears and hair. A fixative spray will also prove useful to protect your work from smudges.
Now you should return to using a sharp charcoal pencil to pick out the main features of the face.
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