In this article we will discuss the blocking-in of large masses of tone.

Tone is commonly thought of as shadow. Beginners commonly first sketch an outline of the shadow and then fill in the shadows bit-by-bit. They usually start with an eye and then grow out the shadows. Inevitably, the outcome is a chaos of disconnected darks and lights.

There are two different ways of viewing tone: in Western culture we see tone as shadow; in Eastern culture tone is seen as color.

Applying, or more correctly, constructing tone should be approached with a sculptural sensibility. That is, think of your drawing as a block of clay that is to be carved. Once roughly carved, you then model the surface shapes with varying intensities of tone while manipulating their edges.

A portrait sketching from life or (photograph) starts with the striking of the arabesque. Two things must be correctly sketched: 1. the shape of the entire skull; and 2. the proportions.

Once the construct: a large light and a large dark. No more than that. At this time, do not worry about whether or not one area is darker than another. Only the major light/dark pattern counts.

Observe that squinting is a good idea to more clearly see the value patterns because you are not distracted by details.

A good rule of thumb is to divide an area in two. For example, if an observed dark area is not completely even in value divide it in two and block-in the two somewhat differing values. Before long a complex but cohesive array of values will appear.

From the blocking-in of the large darks you can then readily sketch the features. Over time you should try to remember the total anatomy and “feel” the shape three-dimensionally.

You must know your anatomy to succeed in sketching portraits even at the most basic level. Learn the anatomy in bite-size portions as you sketch along. It really is the best way to learn.

A good way to sketch is to toggle back and forth between line sketching and tonal sketching or hatching. Another way is to first do a total line sketching of the subject. That is, to sketch a “map” of the skull that includes all planes and scores the boundaries of the various tonal areas. As a second phase you can then hatch-in the right values.

While you hatch be constantly aware of the planes of the skull and the direction of the light source.

Another expertise to be acquired is the expertise to cross-hatch areas in a flat and even manner. There is nothing more distracting than rough looking cross-hatching.

Finally, take note of a curious optical phenomenon called “simultaneous contrast”. It takes place when light and dark values lie next to each other. In general, white is extroverted while black is contractive. The consequence is that the white area looks bigger than it is while the black area will look smaller.

In closing, keep the blocking-in procedure uncomplicated. Look for large masses first and then for the smaller ones. It is always better to draw from the general to the specific. And, this stage, ignore the details.

Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing tutorial here: pencil portrait tutorial.

Remi Engels is a pencil portrait artist and oil painter and practiced drawing teacher. See his work at pencil portraits by Remi.

New age gaming art! Feel like trying? Then visit cheap PlayStation 3 blog.