Let me show you the first gesture of the stroke. It will be the classical one. Building the portrait using lines in an evenly and smooth texture. I hold the pencil in the air in each line touches the paper only once. I don't go like this because each beginning and end of the stroke collects more graphite, it makes an evenly texture and now go transitions in shading. I will begin with to be for the shadows zone.

Input the first layer of darkness, it will be my lighter one, the layer of reflection. The lines are as much as possible close to one another without gaps. I will cross them a little bit to date built an evenly soft texture. Let's be now a bit in this layer. I do not seek to work out any data Else My goal is to separate light from darkness only. In this way, I will define the light and shadows on of the face.

I'm not going to do any graded turns of darkness to in the beginning, only light and shadow are needed. The reference photo itself is very favorable for this kind of stroke because the light is very soft. All the transitions as well as shadows are very soft to also, the character of the face is softer. That's why we can stay the reference photo is in perfect match with using the classical stroke for building the portrait. Now I will work with six B in the hair and put the layer of darkness, it will be my lighter one, but in comparison to the face, it's of course much darker. Again, I'm not looking for any details or shading.

I need only one tone of darkness for the hair. For the sake of a clean drawing, I will help myself out using paper as a frame. It is very useful. Now I'm going to use for B for the second layer of darkness. My goal is to put the form shadow. Each layer will be gradually drone that's mean I will gradually darken.

Now, I can begin to work out the elements of the face, but still gradually. I do begin with the darkest place like Drop Shadow of the lips and setting slowly the core shadow to the mouth is not finished yet. I do move to the nose where I will do the same. I will build the core and cast shadow and the same again into zone. You see, I have already put the darkest value in the eyes. That's why the other part of the face looks lighter at once.

Now I'm going to darken again I will change the pencil with six B now Be precise in building the core shadow, find the right form where it gets thicker or thinner. How it describes the form the form of the lips, the nose, the eyes, make smooth transitions. Examine the form very accurate. If you're uncertain in the form, you will be uncertain in building not only the core shadow, but all elements like form shadow and reflection. translate the light in the right values of the grayscale. That's why building layers and layers is important.

On the in this way, you can control the scale of the shading in this classical manner of drawing is not favorable to use the eraser because the texture is confused. It's not evenly and smooth anymore. That's why all the layers are gradually built and darkened. This is an essential part of this manner. examine all parts of the face equally determined. Once again, darken.

Now I'm going to put the last layer of darkness in the hair using the same manner, but more detailed. For the single hair strokes, prepare the pencil with a very sharp lead. For the last layer, HB pencil will be you Now, when I have the utmost intensity in the hair, there is a need for more darker values interface. I'm going to gain and make Now the final darken. It's finished now The character of the stroke is very even small. It transmits account filling, and it transmits knowledge of depiction.

The reality to there is neither for stroke gesture, nor any kind of uncertainty. This is the classical way of the old masters.