D R AW I N G P R O G R A M

Head Drawing Phase IV:

Jeff – Female

OVERVIEW
In this drawing phase we will work on three-hour charcoal drawings. For the purpose of this program
we will be using photo reference. Keep in mind you will want to apply these same methods to working
from the model. I chose an older male and female to demonstrate more advanced mapping, abstrac-
tions and planes. Keep an eye on how subtle the upper-level rendering is and how I slightly manip-
ulate the shapes. This information is rare and really is best absorbed by watching someone execute it
live. For this reason I highly encourage going back to the videos regularly as you work through these
drawings. As you move through the phase, take note of how all three of us utilize the same concepts
through our own tastes and biases.

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 D R AW I N G P R O G R A M
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Jeff – Female

M ATERIALS
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charcoal pencil
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charcoal-friendly paper
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SETTING UP
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- TIP - ‡6HWXSUHIHUHQFHDQGEHJLQ
I like to really design my halftones.
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Keep this in mind as you watch my
lead. You can tone this down if you
wish. I am hoping you will take the
essence of what I am doing rather
than try to mirror it exactly. There
is a very fine line.

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1
 D R AW I N G P R O G R A M
Head Drawing Phase IV:
Jeff – Female

ASSIGNMENT: THREE-HOUR PORTRAIT DRAWING: JEFF – FEMALE

As we venture further into the portrait during these core phases, take your time. I would encourage
going back over some of the earlier phases, maybe not as thoroughly, but simply as a refresher. In
this phase you will watch as Erik, Lucas and I approach both a male and female portrait at three
hours each. Take note of the small differences in our calligraphy and design. Have fun and best of
luck.

Part 1: Watch the demonstrations of each of these three-hour efforts.

Part 2: Browse through the workbooks before progressing to actual drawing.

Part 3: Set up your work station as usual with either a nice printout or your computer/TV monitor.

Part 4: Proceed as follows:

1) Lay-in: This phase of the drawing will take anywhere from 40-90 minutes.

2) Block-in: This phase is usually a bit quicker than the lay-in as all the mental processing
was done in the lay-in. The time of this phase could be 30-60 minutes–just a ballpark time
so don’t worry if it takes longer.

3) Finish: The finish can eat up some time especially if you have waited to make adjustments
or corrections. These are always a lot more work when you wait to do the corrections late in
the piece.

Note: My suggestion for this phase would be to try and execute one a week. Maybe with 30 minutes
to an hour a night. You could alternate between watching one night then drawing the next. This way
you can carefully work through each stage in easily digestible steps.

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 D R AW I N G P R O G R A M
Head Drawing Phase IV:
Jeff – Female

L AY- I N
This is the most important
phase of any drawing or
painting. It requires a great
deal of foresight, a delicate
hand and well-tuned eye.
As you observe the photo,
you then want to ask your-
self one very important
question: Do I like what I
see? If so, then try to repli-
cate it as accurately as you
can. If not, then search your
knowledge and recall past
drawing you have done as
well as drawings you have
seen of other artists who
have inspired you. Try to
use this recall to help you
navigate the current prob-
lem you are having.

- TIP -
Don’t take inventory of the
folds and wrinkles. Try to
only emphasize the ones
that lend themselves to the
design you are aspiring to
create.

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 D R AW I N G P R O G R A M
Head Drawing Phase IV:
Jeff – Female

BLOCK-IN
The block-in is not the most
exciting phase to be honest.
It’s really about controlling
your midtones, not getting
carried away will full-value
rendering. Stay disciplined,
don’t get the cart in front of
the horse. Notice how I am
not venturing into the half-
tones yet but rather laying
in a middle value #5 as a
placeholder. On this draw-
ing I have not indicated the
blacks in the hair to help me
navigate the midtones. As
with the male, this is an
option if it helps you. The
strong core shadow mean-
dering down the cheek and
nose will need some care
and attention, so try not to
daydream. Stay focused and
present!

- TIP -
Remember to squint so
you only pick up the most
substantial wrinkles. You
don’t need them all–be
judicious.

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 D R AW I N G P R O G R A M
Head Drawing Phase IV:
Jeff – Female

F U L L - VA L U E
As you approach the full
value on this piece, stay
watchful and present.
Many a drawing fails due
to too much detail, not too
little. I could have brought
up this drawing to more of
a full-value. You will have
as much time as you need,
so you may wish to explore
more than I did. Try to
capture the humanity in
this face. You can almost
feel the compassion and
love still there after all of
that life experience. Just
being aware of this more
ethereal aspect of your
work can add a great deal
of depth to your technical
proficiency.

- TIP -
I made the nose a little
long, so you may want to
adjust that on yours. A
nice effort overall, but no
matter how many you’ve
executed just right, there
are always little measure-
ment issues. Hope this
makes you go a bit easier
on yourself. This is tough.

Preserving the Traditions of the Masters

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 D R AW I N G P R O G R A M
Head Drawing Phase IV:
Jeff – Female

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 7
 D R AW I N G P R O G R A M
Head Drawing Phase IV:
Jeff – Female

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 8
 D R AW I N G P R O G R A M
Head Drawing Phase IV:
Jeff – Female

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 9
 D R AW I N G P R O G R A M
Head Drawing Phase IV:
Jeff – Female

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 10