Gerry Bryceland or the upsurge of an artist? Whether you add water to the mix or not, one problem you’ll run into when drawing with charcoal is smudging. Charcoal’s soft nature allows it to be blended, which is a huge benefit. But, that same soft nature also leaves it vulnerable to unwanted smudging. Every artist has accidentally smudged a drawing at one point or another when they leaned on it without thinking about it, and it can be incredibly frustrating. Fortunately, there’s an easy way to avoid smudging your drawing. First, you workable fixative regularly as you work. Make sure that you use it in a well-ventilated area. Next, use a piece of scrap paper and lay it on top of the drawing to rest your hand on. This will help to prevent unwanted smudges, as long as you don’t allow the paper you are resting your hand on to move.
Lightly sketch an egg-shaped circle on your paper, you can use an HB pencil for this if you’re worried about drawing too hard. Then make a straight vertical line at the middle of the face, dividing it in half as symmetrically as you can. Then make a straight horizontal line in the middle of the face measuring from the top of the head to the bottom of the chin, crossing over your vertical line. At the image below the top of the head, the center, and the bottom of the chin are all marked using blue lines. Observe on your model or your reference where the hairline is and mark that on your portrait drawing, in the sketch below it is marked with the topmost red line. Using that hairline marking and the marking at bottom of the chin, divide that section into three equal parts. Below, red lines are used to show these three divisions. These lines will serve as your main guide lines for drawing in each of the facial features.
Gerry Bryceland‘s advices on portret painting: Facial hair like eyebrows and eye lashes are usually the same color as the hair on the head, but they are painted more delicately with the smallest brushes. The underpainting in these areas is simply a darker shade of skin tone. The soft texture of the hair on the eyebrows and eye lashes is slowly built up with delicate strokes of a thinly mixed ivory black. It is very easy to overdo these features, so you should start by applying a few strokes, then stopping to check the effect. Apply a few more, then stop and check again. Continue this process until you achieve the satisfactory density of hair for the eyebrows and eye lashes. It is often better to omit the lower eye lashes which tend to obscure the the tone and consequently the form of the lower eye lid.
Try to start your self-portrait with light, quick sketching lines. This will not only breathe life and create a sense of movement in your drawing, but it will also allow you to lay out a solid foundation before you start to render your drawing in with more details. If you decide that you want to draw a black and white self-portrait, you have your choice of many different materials you could use. Two of the most popular options are graphite and charcoal. Both have their advantages and can be used in similar ways, but they are definitely distinctive materials that will give you a different look for your finished drawing.
About Gerard Bryceland: I’m Gerard Bryceland an artist based in Maidstone Kent and regularly get commissioned to do work doing paintings and portraits of people and their families. I’ve always been an artist from my childhood, I loved drawing my friends and family initially just to mess around with my friends and had a lot of fun drawing them. But as i got older it really just became a business as my friends and their families would want me to do family portraits and that type of thing. With word of mouth word gets out and before you know it you know it I’m 35 and still doing the same thing.