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There are numerous tattoo designs each depicting different meanings and are available in diverse shapes and colors. Therefore it is important to allow some space to your thoughts while going for tattooing since tattooing is a life long decision and beside that you want to become a proud possessor of a tattoo design that will snatch the attraction of passers-by. There is no need to rush when making such a life long decision instead you do some research to make any changes or alterations to any tattoo design that you find interesting because as it has been already said that each tattoo design depicts different meanings and the design you will be wearing will display your expression and may have ill effect if not selected judiciously.

It is recommended to talk to your tattoo artist to get their expert view on tattoo placement since tattooing needs considerable thoughts and calculation. Among the various tattoo artwork designs, Abstraction tattoo that follow the expression of ancient tattooing for instance be ancestral, primitive or clan type symbols and are normally done in black and white ink. Naturalistic tattoos are lifelike representations of animals, land/sea, and insects, anything in nature. Dedication tattoos are borne on service men and women, as well as those wishing to make a statement of dedication to an occasion or in honor of someone. Simplification tattoos ranges from action figures and cartoon characters to zodiac signs and flowers. Complex or combination tattoos as the name suggests present themselves as body suits of art work or colorful jumbled puzzle pieces.

Tattoos are a common thing these days. They are more popular than ever before. Research has shown that nearly one in four people have at least one tattoo. There are many designs to choose from, giving people a chance to be creative.
Tribal tattoos are among the most popular designs. They have been around for hundreds and hundreds of years and they are always evolving and becoming more and more complex with their designs and styles. Tribal tattoos can either be the traditional black style that cover the arms and the legs or the more colorful styles that can cover every area of the body. The colorful, more modern look is becoming more and more popular when compared to other styles.

The “old school” styles of tattoos are also popular. Anchors and things like that are making a great comeback these days and not just with sailors. These styles were very common and very popular back in the 60s. They are rapidly gaining their popularity back, as men and women are getting anchors and swallow designs tattooed on them more and more.

Lower back tattoos are the most common for women. The lower back is one of the most sexual and sensual areas on a female, making the ideal spot for a tattoo. Tribal designs are the most popular, although flowers, dragons, and other symbols make great tattoos as well. The lower back offers plenty of natural curves as well, which can make for an innovative tattoo. Often times, women tend to include tribal that spreads, covering the base of their hips as well. A lower back tattoo also provides a good starting point from which to expand on a tattoo. If properly designed with this in mind you can extend down across the hips and up the back to create a single flowing tattoo which covers the entire back from where you can then develop across the shoulders and arms if desired.

Dragon designs are another popular style of tattoos. They were popular in the past, and are now starting to get their popularity back. There are a lot of different dragons to choose from, including the mythical dragon and ancient Chinese dragon. Dragons are great on the chest for males and the back for females. Dragon tattoos can be virtually any size, although most males tend to have them cover one side of their chest or the upper region of their arms. Dragons because of their lizard like heritage also lend themselves well to curves around natural muscle and body shape and large dragon tattoos can envelope the entire back and chest if designed properly.

Celtic tattoos are also popular as well. They are mostly seen with those who have a Celtic heritage, although some with no Celtic heritage have them as well. They offer a variety of symbols and designs, providing universal meanings for everyone. Often times they are mixed with tribal tattoos to create a more innovative tattoo. The meanings of Celtic symbols can be found at target tattoo and also some various discussions on thetattooforum.com
There are several other types of tattoos out there, although the above are the most common. Tattoos can be very creative and innovative; it all depends on what you want. If you’re looking to stand out and be truly creative – you can always have a professional tattoo artist design one for you.

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Including a hand in your portraits adds a important measure of excitement but can quickly ruin an otherwise fine portrait if done incorrectly.

The goal is to integrate the hand so that it is not only proportionally and gestural accurate, but is congruous in personality with the expression of the face.

For example, a pleasant facial expression juxtaposed with a clenched fist may not yield the effect you desire unless you intend to add an ironic twist to your portrait. On the other hand, a hand supporting the head fits very well with a stern scowling expression.

First, absolute novices should not be trying to sketch both the hand and portrait together. Things will quickly get muddled. The lesson for the absolute novice here is to get a grasp of the significance of acquiring a solid foundation of your skill.

In a pose where a hand supports the skull there is a subtle forward tilt because the model is a little bit hunched and leaning forward. For the artist, this situation translates into the presence of a faintly foreshortened and reclined portrait. In the hand/head case this means that the chin is somewhat receding relative to the forehead.

As always, you should start with the construct, which in this case, includes the hand and the shoulder. If you first render the skull and then attach the hand to it you are really asking for trouble. The hand and the head will lack cohesion and will give the awkward impression that they are two distinct objects that are coincidentally juxtaposed.

When striking the construct be aware of the negative as well as the positive spaces. In addition, do not pre-measure any aspects of the complete arabesque. It should be sketched with as much flair as possible without losing your sense of size. Strike first then verify.

Further build upon the construct by locating the face, hand, and shoulder landmark
s and sizes. The internal architecture of the complete arabesque is initiated by hatching-in the primedarks and painting out the lights with a kneaded eraser.

What you are doing is to set the stage for sketching the facial features, the hand, and the shoulder. The hand must be established and sized in accordance with the head and the facial features. The compression of the jaw into the palm must also be taken into account.

Employing a sharp pencil you can now further develop the tone and form with cross-hatching, stumping down, and painting out. In this, you will be going back and forth hoping that you know when to stop. Sketching is about making decisions, i.e., knowing what to build up and, just as essential, knowing what to leave out.

In the hand/skull situation you have to be particularly careful how far you develop the hand. The hand should be seen as an extra element, that is, a supporting element that should not be part of the focus. Do not feel compelled to finish every element in your sketch. Everything in sketching is about balance and transferring your intent directly to the viewer’s eye.

In closing, it is essential to see the hand and the shoulder as parts of one whole. Starting your sketch with drawing the complete arabesque will help you greatly with maintaining this cohesion. Treat the hand and shoulder as supporting elements that surround the face. This means that you should sketch them in a subordinate role.

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

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A interesting thing about drawing the profile view is that novices find it much simpler than the other poses. Yet, the advanced artist can find the side view quite demanding.

For the advanced artist the test lies in the effort to affect a three-dimensional sculptured feel.

Looking at the construct in the profile view note how the skull is broken down into straight lines. Using these architectonic lines conveys a firmness of form.

In the start, you should keep the forms plain. Also at this time, do not place all the profiled features. There are 2 reasons for this:

1. It is very likely that even the most accomplished artist will be off, and

2. Once a line is drawn the language center of your brain will consider that association as accurate one. Therefore, it will look right to you but everyone else will see the error.

There is a better way. You begin with striking the arabesque using architectonically straight lines. The key concerns are putting in place the general proportions and form correctly. At a more advanced level you should also consider rhythm and flow.

Instead of at once including the nose into the construct you should utilize the facial angle, i.e., the line from the forehead to the chin that breaks at the base of the nose. The landmark reference for the bottom of the nose is the small ledge-like protrusion.

A plumb-bob is an superb instrument for accurately placing the bottom of the nose. A plumb-bob is a length of thread (preferably black carpet thread) that has a weight attached to it. The plumb-bob is utilized to verify vertical alignments (when working with life models) and their relations to that vertical line. The vertical line is called the plumb-line.

Aligning the plumb-line to the chin allows you more rightly to see the relationship of brow to chin. The brow is set back from the chin. Note that the entire area of chin and mouth is called the “muzzle”.

Having established that the initial arabesque and facial angle are accurate you can now proceed with locating the facial proportions, main anatomical signposts, and the hair-line. So, at this time do not even think about rendering the entire nose. Drawing the nose at this time is a sure remedy for disaster. The angle of the nose and the creation of the tip require a high degree of precision.

Instead, begin to sketch the general light/dark pattern.
The lights are taken out using a kneaded eraser. The effect we are seeking is that of a ghost image. That means, above all, not to add minutia. Also, work from the general to the specific.

Once the general light/dark pattern is developed then the profiled features can be taken on. employing a very sharp pencil you can draw upwards from the chin to the forehead carefully observing the shape. As you sketch mumble the anatomical definitions of each feature that you sketch. You would be surprised at how that illuminates the sketching process. Having an idea of the facial anatomy will set your portrait drawing miles ahead of those who do not.

The end of the nose, particularly, demands anatomical reconstruction to get it right.

A common error novices make with the profile view is placing the eye too far forward. The eye sockets are recessed quite significantly into the head. If you drop a plumb-line from the inner corner of the eye you will see that the eye aligns itself with the corner of the mouth.

Further drawing and hatching tones are accomplished with 2H and 4H pencils. Choosing how far you want to take your sketch is an aesthetic decision you have to make yourself. If you wish, you can leave the portrait somewhat unrefined.

In closing, drawing the side view involves the same general ideas relevant to any view. In this case, the arabesque is particularly important. The significant thing to recall is not to place the actual complete features of the skull too early in the process.

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

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A smile is the consequence of happiness. It lifts and broadens the lower face and the raised cheeks will often crease the flesh just below the eyes resulting in the so-called “crow’s feet”.

To recognize the makings of a smile in its numerous manifestations we must first comprehend the underlying anatomy.

Below we list the 3 critical muscles that add to a smile:

* The Zygomaticus Major - is the major “muscle of happiness”. This elongated muscle originates at the front area of the Zygomatic Arch (cheek bone) and attaches to the corner.

When the zygomaticus major shrinks it bulges and raises the cheek while further deepening the Nasolabial Furrow or smile-line.

* The Malaris - lies on top of the zygomaticus major and is a long, ribbon-like deep-seated muscle. It originates at the temple and attaches to and forms the lower part of the nasolabial furrow.

The malaris is the cheek muscle. It pulls up the cheek in an outwards and back bearing making it bulge and giving it the puffy cheek look.

* The Buccinator - quadrilateral muscle forms the “cheek pad”. It starts on the rear, inside of the jaw and inserts into the “nodes” of the mouth.

When smiling the buccinator shrinks thus drawing at the corners and widen the mouth.

As the mouth is broadened and drawn by both the zygomaticus major and buccinator the lips are stretched and flattened. So is the chin. The philtrum is shortened and the nostrils flare slightly.

Below are still other minor muscles that contribute to the smile:

1. The Risorius - is a curious muscle because not each person has one. Some people only have a risorius on one side of the face. Other people have a large, extensive triangular shaped one.

The Risorius begins in the fatty tissue of the Masseter (whose action is used largely for chewing) and inserts into the node of the mouth.

The risorius subtly heaves the corner backwards and up. Its effect is generally seen in gentle smiles.

2. Incisivus Labii Superioris and Inferioris Superioris - The superioris does the lifting. These narrow, band-like muscles begin just above the incisor tooth area and also insert into the corner.

When fully contracted, a puckering up of the lips (a kiss) is produced.

3. The Levator Labii Superioris is a thin, quadrilateral muscle whose effect on the smile is a bit limited.

But, the upper part of this muscle contributes to the volume of the cheek and the nasolabial furrow.

Over the 3 essential muscles goes the most intricate of all the facial muscles, the Orbicularis Oris which operates throughout a large range of movements and expressions.

During a smile the lower eyelids are also pushed upwards. This is the result of a secondary action where the Orbicularis Oculi (the muscle of the eye socket) contracts.

The nasolabial furrow is deepened as it is simultaneously drawn and pushed upward and outward. It is best to understate the sharp fold of the nasolabial furrow otherwise the smile will degenerate into a scowl.

As the corner of the mouth is heaved out and upward the flesh is gathered into delicate vertical ridges.

The interstice of the mouth curves upwards, expanding and flattening the lips while reducing the philtrum. The nostrils of the nose also extend as they are drawn outwards.

The higher portion of the smile-line is produced by a slender, 3-part muscle named the Levator Labii Superioris Alaeque Nasi. This is the muscle that creates wrinkles in the nose during sniffing.

The elements of this muscle are the furrow portion which inserts into the upper part of the smile-line; the alar section which attaches under and behind the wing of the nose (Alae Nasi); and the lip section which attaches continuously into the ridge just above the top lip and to the philtrum.

When drawing the nasolabial furrow be careful not to over-do it. A subtle suggestion is all that is needed. Otherwise your lovely smile will quickly degenerate into a sneer.

With this we have enumerated and discussed the most essential muscles that are involved in the smile. This should put you on the right path for appreciating the anatomy of the smile.

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Drawing hair is dictated by several aspects: the type of hair, its hue, texture, amount, the arrangement and styling of the hair, the individuality and disposition of the model or the photograph, and the light effect upon the hair.

The contour of the hair is part of the overall arabesque. A correct construct is critical to the likeness of the hair. Many beginning draftspersons start with the face and grow outwards from there. This is however a bad approach and instills bad habits that will prove difficult to break.

In fact, the arabesque is especially important when render a coiffure. Attempting to sketch the hair working from the inside out, bit by bit, is a recipe for failure. The hair will result in being either too small for the skull or too large.

Drawing within the construct of the coiffure, first put in the primary darks. These darks are best seen by squinting down your eyes until a general pattern of light and dark is seen.

Next, you need to blend the graphite in a sculpturally manner following the general gesture and movement of the hairdo. For this you can utilize your fingers, a tissue, or a paper stump. If you use a paper stump be careful not to dull the look. If you utilize your fingers make sure they are dry and also wipe them constantly with a paper towel.

Then, employ your putty eraser like a loaded paint brush to lift out the essential lights. Do not be overly finicky here. A more bravura approach effects a sense of life and rhythm into the hairdo. If you make a mistake just stump down the graphite again with your fingers or stump and do it again.

Sometimes when you block-in the hairdo other light parts of the skull pop out. This is one rationale why working the skull as a whole is necessary.

French braiding is a striking coiffure style, but extremely complex and hard to draw. The idea is to sketch these French braids fluidly and with movement. A balancing act is required here: the complexity of the coiffure’s styling is best handled by first line-drawing the main locks and braids. As you lay out the braids make certain to plumb and carefully size and locate each important lock and braid.

When drawing from a photo there is the pull to duplicate it down to the smallest detail. You may or may not give in to this temptation but you should always make sure that the coiffure retains its liveliness. However, in most cases, you will not need to map out every detail.

Further block-in the darks taking into account the bearing and motion of the essential locks of the hairdo. The most difficult thing is to avoid from plunging into an area of detail. Not to do this demands mental discipline. Best is to follow a layered approach that progressively stacks the arrangement of the hair, lock by lock.

You also should smooth the edges of the hairdo line so that it blends into the forehead and sides of the face. Hair does this naturally.

Be sure to used sharp pencils because dull pencils lead to dull, dead hair.

Having first mapped out and hatched-in the major locks of hair makes the rendering of the finer areas much easier, but is still labor intensive. You should be prepared to spend quite a lot of time on a hairdo.

Also, step back from the drawing to preserve an overview of the key light/dark pattern because detailing can result in a flat chaos in which the values close in on each other.

Hold back from drawing bangs too early in the process. This helps ensure that the hairdo and flesh can be unified into a coherent sense of spirit.

Sketching hair so that it reads naturally and has a rhythmic gesture is hard. Commonly it takes as much time and effort to render the hair as it does the face and neck. You must spend as much care in preparing the hairdo as you would for the remainderof the portrait. If you draw from a model be sure you do the hairdo before your model takes a rest because the hairdo will very likely have changed when the break is over. The strategy, then, is to devote a whole 20 to 30 minutes of a pose segment to the hairdo.

With these procedures you can be certain that in time your drawn hairdos will look real and energetic. Do not forget that sketching coiffure takes time so that you do not get irritated.

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Capturing the subtle, fleeting gestures of individual emotions in portrait sketching is a test for every draftsperson. There are fundamentally six key feelings: disgust, surprise, fear, sadness, anger and happiness.

The expressions of these principal emotions are instinctual, the muscle interactions and actions are involuntary. In general, the facial muscles are delicate, finely attuned and easily seen because they lie just under the skin.

The facial muscles not only portray moods and expressions they also exhibit sympathetic characteristics. For example, when we are threading a needle we usually purse our lips to “help” the thread through the eye.

All facial expressions involve the muscles and other parts of the mouth. Therefore, to recognize the facial gestures we must first grasp the mouth which is more than just the red lips.

The mouth region extends from the bottom of the nose to the Mentolabial Sulcus, i.e., the sulk-line of the chin. The mouth is a convex form and wraps around the muzzle of the face.

Drawing the mouth should always start with the articulation of the Interstice, i.e., the horizontal line where the lower and upper lips meet. The lips wrap around the convex outcrop of the dental arch and the interstice roughly corresponds to the middle segment of the front, upper teeth.

Note that the Nodes in the corners of the mouth are below the middle of the interstice, except in a smile when the facial muscles pull up the nodes.

The lips, or Labia, are composed of mucous membrane whose redness results from the blood capillaries lying just under the skin.

The upper lip consists of three shapes. In the center is the Tubercle which is non-muscular and add to the ‘V’ form of the upper lip where it comes together with the bottom of the Philtrum. The Philtrum is the stretched, vertical channel that extends from the base of the nose to the tubercle of the upper lip.

The philtrum, which means “love drop”, is bordered by ridges on each side. Practically every beginning artist overextends the philtrum, thus placing the mouth too low.

The other two parts of the upper lip are 2, horizontal elongated shapes. The muscles here, however, are the visible ridges of the central vertical fibers of the Orbicularis Oris whose activity results in the puckering up of the lips. The many facial muscles fastened to the corners of the mouth do the pulling and pushing.

The top lip is flatter than the bottom lip. It is a downward tilting plane and generally appears darker than the lower lip. There is a small up-plane on the vermillion border of the upper lip that quite often catches a soft light. For most people, the upper lip tucks into the nodes.

The lower lip generally stops a little short of the nodes. The lower lip is heavier and fuller. It is comprised of two stretched shapes that give it a more squared-off look than the upper lip.

Somewhat below the vermilion border of the lower lip is a elevated edge that develops laterally and is more clear at the nodes.

The vermilion border of the lower lip should not be drawn with a distinct line, it has to be suggested more than drawn. Otherwise it will look like lipstick.

The lower lip is an up-plane and will often catch a highlight. Like the upper lip, the ridges of the middle vertical fibers of the orbicularis oris shape the texture of the lower lip.

The base of the mouth region is at the mentolabial. Shaping at the lower edge of the lower lip’s two elongated forms are two columnar tubes that radiate diagonally downward. These are the Pillars of the Mouth. This is a down plane and thus will lie into shadow.

With this we end the complete account of the elements that make the mouth and in the end the smile.

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Most people have the set concept that the head is more or less shaped like an egg. Actually, the head is much squarer than we think. The egg ideas is one of those simplified predetermined symbols the mind uses as a means for quick identification.

Most beginning students will usually sketch the face on paper as a flat disk or oval which it is not. Also, compared to the full head, the face is quite petite particularly in babies. Your hand can fit the whole face. Place that same hand on top of your skull and you will know right away how big your head really is.

To grasp planes and thus obtain a sculptural sensibility in your drawing you must appreciate and use simple geometric shapes.

Generally, the skull can be framed within a square box. More correctly, this square box should be adapted to a phalanx-like box with the face on the smallest side. The skull tapers towards the front which is the face. This is the basic shape of the head in the front view.

In the profile view the head is in general a cube. The difference is the facial angle (the “muzzle”) that slopes somewhat forward at the chin. In the 7/8 profile, the cube has simply been rotated in space.

Again, it is very significant to think about the skull in terms of simple geometric shapes. Once you have located the big plain shapes you can start situating the smaller shapes inside the big ones. Pretty soon that group of simple forms becomes quite intricate and starts resembling a head.

Keeping the above in mind you can start with drawing the complete arabesque which is the entire outside outline of the head, hair included. Then you break down the complete arabesque into its different sections such as the hair, ear, jaw and neck.

As you hatch-in the darks and think of the head as an assortment of simple geometric solids you will by now begin to see the three-dimensional outcome, even at this early time.

The key is to think simply and large. At this early time, do not pay attention to the details - they tend to delude your sense of distance and direction.

Once the important items are established placing the features (eyes, nose, etc.) becomes relatively easy. However, if you do not establish those elements correctly you will never be successful.

The front view of the portrait poses a exceptional test. If you are not cautious you can end up with a flat, two-dimensional face. In this view, the plane changes are often quite subtle and difficult to locate.

Be sure to notice all plane changes in this frontal view and render them carefully in your sketch:

- Showing the forward tapering of the sides of the head is major to reaching a subtle three-dimensional result in this frontal view.

- The front of the face lies approximately in one plane.

- The plane of the foreskull changes bearing as you move towards the top of the skull.

- The plane along the cheek has a different direction than the neighboring one along the temple.

The idea is to carefully note the directions of all the different planes that make up the skull and take these differences into account when you sketch. If you do, your sketches will possess a sculptural, 3-dimensional sensibility. It is not necessary to draw out the geometry of the actual planes, but the differences in direction must be clearly drawn.

In closing, it is very critical that you are aware of the fact that a model’s skull consists of planes with different bearings and is not just an oval. This sculptural structure should be reflected in your drawing because it is important to the likeness and to the illusion of three-dimensionality.

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Suppose that we have a pose where the skull, arm, and fingers are visible and are in contact. Very often, the beginning artist will attempt to draw each of these elements individually. The approach will invariably lead to frustration and in the end often to disappointment.

Instead of sketching each element separately, the first step in your drawing should be to draw the “full” arabesque, i.e., the entire outline of the figure. The whole arabesque which includes parts other than the skull (in this case the head, fingers, and arms) is called the “construct”.

For the novice it is best to reduce the construct to its simplest form thereby ignoring all the details such as the bumps in the fingers and the hair. With practice, you will be able to add all these bumps without much trouble as you go along.

A good construct (also known as a complete arabesque) also contains a singular gestural tempo that subordinates all details. In other words, this rhythmic gesture exists free of the minutia.

When you are drawing a single object or head the examination of the height/width sizing is fairly straightforward. As a universal rule the width of the skull is checked against its length making use of the base of the chin as the key marker.

If, for some reason the chin is conceiled (e.g., behind the arm or fingers), a different signpost must be found. The arm, the jaw, or the lines of the fingers are excellent places to find a new marker.

Once you have sketched a suitable construct it must be examined for correctness. To do this, we can, for instance, look for vertical and/or horizontal distances that are supposed to be the same and see if they in fact are equal. Use all your gained knowledge of sizing. Also use your general knowledge of anatomical placing of the ears, eyes, etc.

Once you are pleased that the construct is accurately sketched you can continue to hatch-in the prime light/dark pattern and take your first tentative stab at drawing the facial area, i.e., the placing of the brow, the eyes, the nose and the mouth. Again, if the usual signposts for those items can for some reason not be employed you should be imaginative enough to determine appropriate substitutes.

Keep blocking-in all entities as soon as you draw them. This includes the fingers, arms, and hair if any of them are visible in the given profile you are drawing. Remember to always sketch from the general to the specific.

Also, be sure to use a sharp pencil, take into account your knowledge of anatomy, and constantly look for errors and, of course, correct them.

Next, the pencil portrait sketch must now be worked-up tonally by cross-hatching with 8B, 2H, and 4H pencils, by blening the pencil dust with your fingers or a stump, and by using your putty eraser to define the lights. All this should be done in a sculpturally manner.

Finally, you can choose how much minutia you want to put into your sketch or how unresolved you may leave the drawing. For example, you can leave some parts of the fingers or the arm uncompleted. Or, if you want to emphasize a particular region of the portrait, you can add detail in that region and leave the other regions somewhat unfinished.

These are a few of many considerations that go into drawing a more complicated portrait that has a construct. One critical thing not to forget is to sketch the construct first so you do not end up sketching one item after another without maintaining harmony. Following these rules will surely put you on the correct path of sketching more complex portraits.

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

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

In this article we assume that you sketch directly from life or from a appropriate photo. In other words, we assume that you do not use the so-called grid method. This process relies on a grid drawn both on the photo of your subject as well as your sketching paper.

If this is the case, the first thing you will do is to produce a line-drawing. And the very first part of your line-drawing will consist of sketching the so-called arabesque.

In pencil portrait sketching, the arabesque is defined as the entire positive shape of your subject’s skull. In other words the arabesque is the outer contour of the head.

The arabesque includes the proportions, the shape, and the symmetry of the skull. This means that the arabesque expresses pretty much an overall likeness of your model and often a great deal of expressive content.

In trying to realize the arabesque we meet our first challenge as a draftsperson. That is, the test of “seeing the reality”. Indeed, when we note an object a complex mental process is initiated which in part falls short of the level of accuracy necessary to create an adequate portrait.

The mind, for good reasons (one is to sustain our sanity), instantly replace the very complex subject with the an icon it has stored since childhood. For instance, we all know how a child draws a house. It really is more like an icon of a house. But this is what the mind tends to bring up and often even grown-ups draw a house like they did as a child.

Clearly, it is these symbolic preconceptions (a left brain occurrence) that are the enemy of the draftsperson. You must teach yourself to ignore those symbols and really see what the reality of, for example, a house is.

In general, learning to sketch is about the reprogramming of the mind’s eye. To this end, there is a skill-set that has been developed over the ages since the Renaissance.

Applying this new found technique to the arabesque is particularly essential. “Striking” the arabesque is probably the most essential element in the creation of a first-rate likeness. Once you have this skill down path all the rest will follow reasonably effortlessly.

The first step in drawing a proper arabesque is to force your eyes a bit out-of-focus. This condition is called observing with a “soft eye”. With a soft eye proportions and form are more easily seen. It also helps you to avoid the invocation of the symbolic preconceptions we mentioned.

To train your eye to improve your powers of observation you must always sketch first and check second. There is not much to gain from pre-measuring. The habit of pre-measuring of the height and width of your model’s head will hold you back in the long run.

When striking the initial arabesque at all times use short straight, i.e., architectonic lines. This will impart a sense of the skull’s structure and the form of the underlying tissues and bones. Note that round or curving lines are symbolic preconceptions.

Also keep in mind the symmetry of the head. The term “symmetry” in the context of sketching and painting does not so much refer to the correspondence of two parts but more to the attractiveness that comes from correct proportioning and rhythm.

After striking the arabesque (without doing any measurements) you can correct the proportions. Take a measure of the largest width (i.e., the width of the arabesque across the brow line) and set it off vertically beginning at the bottom of the chin. The end point of the width typically ends up somewhere close to the middle of the hair.

The idea is to decide exactly where that end point is situated. Best is to judge the smallest of the following two distances: (1) the vertical length from the brow line up to the end of the measure; (2) the vertical distance from the end of the measure up to the arabesque. The shortest length is likely to be the most accurate. Do not forget, the arabesque includes the entirety of the skull including the hair.

With practice your eyes will develop this critical technique. Then, once the proportion and shape of the arabesque have been established you are prepared to proceed with placing the so-called landmarks.

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

Remi Engels is a pencil portrait artist and oil painter and skilled sketching teacher. See his work at pencil portraits.

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