In this stage, using line, the shape of the head and the place-
ment and shape of the features have been refined. At this
point, there is no need to rush into using tone until you are
satisfied that you have approximated what you are seeing.
The drawing undergoes a big transformation with the devel-
opment of the pattern of light and shadow, and darker tone
for the hair. Suddenly, with the use of these three simple
tones, the drawing takes on a sense of form and light. For
now, all that is necessary is the development of these basic
shapes of tone without all of the variations that take place
within them. At this early stage, even without the inclusion of
extensive information about the features, we can sense the
eyes in the eye sockets and the nose and mouth being fairly
well developed. This is because the artist has taken the time
to establish the pattern of light and shadow fairly accurately.
Remember that you are working from large shapes to
smaller shapes. The best way to see your subject in these
basic terms is to squint. This is a simple but extremely effec-
tive and important technique to practice!Drawing a Tonal
Portrait (continued)
TIP
Comparisons
It is highly recommended that you move your
easel and drawing next to the model and step
back 8–10 feet to compare the two side by side.
Doing this often is the best way to check your
drawing for proportional errors.