In this article we will discuss the blocking-in of large masses of tone or value. Tone or value is generally thought of as shadow. Beginners usually first draw 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 result is a flat mish-mash of non-cohesive darks and lights.
There are two distinct ways of viewing tone: in Western culture we see tone as shadow; in Eastern culture tone is seen as color.
A Western viewer seeing a Chinese drawing will be struck by its flatness. Conversely, Chinese connoisseurs in the 18th century seeing for the first time European portraits were perplexed by the “dirty scuff-marks” under the nose.
Applying, or more accurately, 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 forms with varying intensities of tone while manipulating their edges thus defining the forms present in the head.
A portrait drawing from life or from a photograph starts out with the striking of the arabesque. Two things must be accurately drawn in this first step: 1. the shape of the entire head; and 2. the proportions (i.e., length and angle relationships). This is a learned skill that no one is born with.
Once the arabesque has been struck, the entire head is then broken down into two parts: a big light and a big dark. No more than that. At this point, do not worry about whether one area is darker than the other. Only the major light/dark pattern counts.
Note that squinting is a good way 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 uniform in value divide it in two and block-in the two slightly differing values. Before long a complex yet cohesive matrix of values will appear.
From the blocking-in of the primary darks you can then easily sketch in the features. Over time you should try to memorize the entire anatomy and sense of structure of the head so that you can “feel” the form 3-dimensionally. This, too, is an acquired skill.
You must know your anatomy to succeed in drawing portraits even at the most basic level. Learn the anatomy in bite-size portions as you draw along. It really is the best way to learn.
A good way to draw is to toggle back and forth between line drawing and tonal drawing or hatching. Another way is to first do a complete line drawing of the subject. That is, to draw a “map” of the head that includes all planes and marks the boundaries of the various tonal areas. As a second phase you can then hatch-in the correct values.
While you hatch be constantly aware of the planes of the head and the direction of the light source.
Another skill to be acquired is the ability to cross-hatch areas in a flat and even manner. Otherwise you will never be able to stump it down effectively. There is nothing more distracting than scratchy 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 expansive while black is contrastive. The result is that the white area looks larger than it is while the black area will look smaller.
In conclusion, the rule of thumb is to keep the blocking-in process simple. Look for large masses or forms first and then for the smaller ones within the larger ones. It is always better to work from the general to the specific. Also, at this stage, ignore the details.
