How to Draw a Renaissance Portrait Easily?

Posted 2 years ago in EDUCATION.

The main principle that distinguishes old masterpieces from modern realism is to use values and shadows to create the illusion of three-dimensional shapes on a two-dimensional surface.

How to Draw a Renaissance Portrait Easily?

The main principle that distinguishes old masterpieces from modern realism is to use values and shadows to create the illusion of three-dimensional shapes on a two-dimensional surface. The principle that came to be known as the Italian chiaroscuro, which means "light and darkness," is surprisingly simple. 

 

When properly illuminated, the shape is divided into two main values   (light and shadow). By learning through online drawing classes to reproduce the exact shapes of light and shadow and paying special attention to the transitions between them, you will be able to capture images and draw everything realistically.

Since its inception in the 15th century, this approach has been successfully practiced by many of the artists we admire today. 

 

How to Draw a Renaissance Portrait? 

Svetlana Cameron is an expert in this five-step demonstration that will show you how to interpret the three-color painting techniques of Italian masters in a modern way. 

 

Required materials

 

  • Paper: Canson Miteintes 160gsm 
  • Moonstone Paper, 41x32cm 
  • Color: Contea Paris 
  • Charcoal Pencil (H, HB, 2B)
  • Derwent's dark charcoal and red chalk pencil - Conté à Paris sanguine and white pencil 
  • Kneader 
  • Mixed paper stamp 

 

Step 1:

Draw the centerline of your face with a red pencil. Find the vertical line that goes through the corner of the eye. These two lines help you set the tilt and angle of your head.

 

Use these guidelines to establish more general proportional guidelines, such as B. Head height and width, and feature placement. Use the visor size method to verify these placements on the model. 

 

It is important to make all ratios accurate as this stage forms the basis for the rest of the portrait. First, apply light pressure to the pen to allow the correction. If you push the pigment too deep into the teeth of the paper, it will not be completely erased. 

 

Step 2: 

Continue building on the draft line, add hints for changing layers, and map shadow areas such as eye sockets,  dark sides of the face,  hair,  shadows projected by the nose and chin. Blend, unify, and connect all shadow shapes with paper stumps, leaving no gaps between the pencil marks. 

 

Step 3:

So far, Sanguine has been used only for intermediate values, so it's time to add black for dark areas and white for highlights to shift the scale in both directions. Identifying both ends of the value scale at a fairly early stage would be helpful as it makes adjusting intermediate values much easier.

 

Everything is relative and anything you add to the drawing changes the perception of other elements. If the mid-tones look dull, you can spend hours fixing them while all you need to do is deepen the drop shadows or brighten the highlights. 

 

Step 4:

Further refine the drawing, gradually add more details and pay particular attention to the color temperature. It is a change in the heating and cooling temperature to make the skin tone look more realistic while balancing the shadows of light to make the drawing look three-dimensional. 

 

If necessary, add more optimism, such as the corners of the eyes, nostrils, lines between the lips,  cheeks, and shadows that the hair casts on the skin. These slightly warm accents bring portraits to life immediately. 

 

Step 5: 

To complete the drawing, carefully review the drawing and optimize the print output. Take as much time as you need to get it to look correct. Add volume and texture to your hair and clothes.

 

Make sure the "catch light" of your eyes is balanced and add reflected light where you need it. Finally, soften or sharpen some of the edges to increase diversity and visual interest. 

 

Why draw on a colored background? 

It is technically possible to work on a white background, but you can get a variety of beautiful effects by drawing on colored paper in shades of blue, grey, light green, and yellow.

 

I especially like the warm grey medium quality Canson Mi Teentes paper called "Moonstone". As the basis for the portrait, moonstone serves many purposes. 

 

First, it effectively adds colors with a limited palette. It shines through a veil of translucent pigments and broken colored particles on paper teeth, creating a variety of optical mixing effects and greatly expanding the palette of skin tones.

 

As a subdued grey, moonstone provides a cooling effect on all warm colors, especially sanguine, which can get too hot and annoying. Left behind in many parts and backgrounds of the drawing, it gives a finished work of unity and harmony of art. 

 

What is the Troyes Colored Pencil Technique? 

These preliminary studies suggested by TangoLearn on multi-figure oil paintings were carefully transferred to beige paper with black, red, and white chalk. I was impressed by the real impact that can be achieved within such a limited range.

 

Fascinated and eager to try for me, I started trying charcoal, rubella, and white cont colored pencils on pastel paper of various colors and textures. When used in a variety of ways, including hatching, blending, blending, and dispersion at different opacity, the three colors allow you to create different textures and highly reliable skin tones. 

  

How does the Trois Crayons technique work?  

The three-color Renaissance technique is logical and simple. I used black chalk for dark and cool tones, red sanguine for warming tones, and white for highlights. This was enough for research and sketching.

 

But for a more sophisticated and finished portrait, warm rubella alone was not enough to achieve all skin tones. Some features, such as the lips and corners of the eyes, often require a cool pink-red, especially in the shadow areas. Add a Dark Derwent Pencil to this and use it with a warm Contesangin.

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