This came up in another thread so I figured I'd try it and see how it goes. Keep in mind that I'm not a teacher and this would be my personal approach at this particular image. I approach all references differently depending on the content, so this process is unique in its own right.

The point of this thread is for me to post a reference photo, I'll draw the different steps and explain what it is I'm doing and anybody can jump in and follow these steps I'm doing to progress in the same manner that I am. You can post your progress as we go and I can catch any potential mistakes before they become more than just a mistake. I understand that everyone is different and has different ways, but this is a thread of my approach and anybody interested can follow my approach, but it must be my approach. I'll try my best to explain my train of thought, why I'm doing what I decided to do, and what I hope to achieve with it. Any questions are more than welcome. I would appreciate nobody working faster than I am and I'll have the leading example updates, than, you post your update in the same manner as I have, following the same path I'm taking, and we'll straighten it out to try to be on the same page if needed.

This is not a race.

Don't anticipate the end of this drawing. Just let it go as a WIP and thats all it will be. If we race to the end, we'll miss the middle. The end will come at the end.

We're here to enjoy the process of drawing, not the finished drawing.

I have reasons for this particular reference photo. It forces the artist into several corners, such as highly identifiable features, very dark darks, wide range of mid-tones, light highlights, the facial expression, but at the same time, its very simple. I would probably want to do this with charcoal, but graphite is more common so we'll do graphite.

I'll post the image and leave it for a couple of days so others can read this thread and decide if they want to join in with the action. My first update will be my grid method, followed by the very light line sketch, than a light sculpting of the dark values for placement..... etc..

I'll be using Arches Hot Press watercolor paper, 2H, HB, B, 2B Pentel Graph Gear 1000 mechanical pencils, 2H, HB, B, 2B, 4B, 6B Caran d’Ache Grafwood pencils, blending stumps, tortillions of different sizes, kneaded eraser, click eraser, ruler for the grid. I know that the tools will be a bit different with different people, but lets try to stay as close as we can to the same stuff. Cold press paper will work, but it'll leave a different texture to the soft, smooth skin. It'll be cool in its own right though.

Please post if you're interested in joining this and lets have some fun with it. I'll kick this off on Wednesday.

You know I'm joining

this looks like it gonna be a Great learning experience...
i think this will be too hard for me, but i will give it a change...

Due to network problems at school it took me 30 minutes, my whole lunch to print off that small picture

Its good to see you're already taking your time on this one!!!

oh yea

Omg this is driving me nuts I wanna start on it but I'm forcing myself not to yet

Draw one your way, than we'll see how they differ with a different approach. It'll be a good experiment. Just remember that you'll have to make another copy than if you draw a grid on one right now. If you can, make 2 more copies so you can grid one and use the other as a reference with no grid lines.

I also should have mentioned to print it out on a full sheet of paper, full size.

Well I printed it at the size that it was which was not very big (about 4 by 5 inches)

and I also bought a transparent sheet for the grid

Most printers give you the option to print the full sheet. Its a bummer that it took you 30 minutes to print that out. If you can, try to print out 2 or 3 of the full size sheet of paper.

When I do my grid, I put right on the reference paper. For the drawing, I put it right on the drawing paper with an HB pencil as light as possible, by holding the end of the pencil and letting the weight of the pencil do the mark so I don't damage the paper which can create un-fixable damage while shading over the grid lines.

For now if you want to do one, just do it your way. On Wednesday, I'll post my first update. I'll probably do it tomorrow actually.

Ok I'll see if I can btw you've seen what I can do do you think this is one I can do

Sure, we'll just go through it step by step. What I want to get across with this is the build up of values, taking your time, not getting too attached with a drawing because that'll scare someone to not have the courage to expand to new levels and stick with the "norm," think of the tooth of the paper at all times because you're not drawing on the paper, you're drawing on the tooth. We'll take our time and do the best we can. Just remember that this is 1 drawing. Some of this might sound complicated, but we'll take our time and get everyone involved to understand my point of view, which is just that, my point of view. It works for me, so maybe it'll work for some of you.

One of the reasons I'm doing this is to force myself to take a different look at drawing to improve my own skills and look at it in different views. This is an experiment to see if I can actually improve someone elses ability.

I think it 'll work, but I don't know.

ok

Okay, I am inviting myself to this. This is so far above what I can do but it looks like a load of fun!

I know right?

Thanks for joining in!

Don't think of it like its too far above what you can do.

Each phase of this drawing will be treated like a drawing in itself. First, we'll examine the entire drawing to come up with a plan, but than each step will be its own process. So its really going to be a bunch of little, simple drawings (layers) which will add up to a finished drawing at the end.


When you sit down to examine the drawing before you even take out your piece of drawing paper, look for this:

1. The extreme darkest value and all the places this value needs to be. This is where a lot of people don't give the dark values credit for what its worth. If its DARK on the reference, than its DARK on the drawing. This drawing has a lot of dark values. The darkest value is consistent throughout the entire reference, this is one of the main reasons I chose this reference for this project. If areas which are supposed to be as dark as the rest of the dark areas are not as dark, than it'll throw off the entire drawing for different reasons. It can create false depth, as dark value is lack of light meaning that its deeper into the shade. Your brain processes this without you realizing it. It will throw off the mid-tones you're laying down as you're using the DARK value as a reference for tone (If the DARK isn't as dark as it should be, than the mid-tones next to it will appear too close to its value and give a false appearance. The darker the DARKS are, the more your drawing will "POP" with the highlights.

2. The extreme lightest value and all the places this value needs to be. This one is easy, its already there (in most cases). The white of the paper is as white as you can get on white paper. Again, you need to be true to this value. Look closely and identify if it really is the lightest value, or a tone just under it. Its important to really know the difference.

3. Look at the FULL RANGE of mid-tones. There will be lighter ones, darker ones, ones inbetween... If you've done 1. and 2. correctly, you'll have the full spectrum to work with on the mid tonal range and you can use the LIGHT and DARK values as reference points to these different mid-tones.

4. Look for key features which identify your subject (I'll call them "key identifiers"). If you were to take the human face and break it down to the extreme simple and everyone's face looked exactly the same, key facial features would be non existent, sort of. Billy would look like Bobby and there are no identifying features. Your brain notices these key features to identify different people. Marilyn has strong key features, the eye brows, the eyes, lips, hair... all make up who she is and also help to create her...

5. ...expression. This is not as important as 4. but it is important for its own reasons. You can get the key identifiers right and its still Marilyn, but she might not end up with the same expression of something is a bit off. The muscles underneath the skin play a large roll in this. Body language is at it's highest in the face. You look at someone and can usually tell what they're feeling just by their facial expression, because of the muscles they're using. The eyebrow muscles, the position of the eye lids and how intense they are, the muscles around the mouth... they all add up to create something. Marilyn in this reference is very relaxed which is a trade mark for her.

6. Texture. Look at the different textures all over the reference. Skin if fairly simple, but it helps to condition the paper a bit before considering the skin layers to be complete. We'll go over that when we get there. The first thing to think about when you're identifying the textures is the paper you'll be using. The paper is the first element in the texture you'll be creating, everything is built off of this foundation. Hot Press paper which is smoother than cold press is better for smoother tones. Most sketch pads are a cold press paper. You can work the tooth of cold press paper down to a smooth texture, but its more difficult and you'll be working the paper harder. I use hot press watercolor paper for just about everything. This is largely personal preference. Experimenting as you do different drawings is a good idea. We'll get more into texture later.

It is very important to be true to what you actually see. If you really look at an image, or even physical reality right in front of you, you'll see that there really are no "lines." Lines can be mis-leading and people often use "lines" as false edges. Like the edge of a face, its not a line, its an edge. The sudden change in value. Look at her shoulder for example, its a light value in contrast to a dark value. It creates an edge, which looks like a line, but it really isn't. An even better example would be her mouth, look at it like value changes which create what it is you see. I think this is very important in the view of an artist. Everything is different values and that makes up the edges.

I'm hoping to go deeper than the paper and the image and go into the brain and change the way of looking at things. Your views and reasons for interpreting a subject are the main influence in the outcome of a work of art. No matter what it is. I have a lot to learn and I'm hoping this process will help me learn things I may have not otherwise learned.

Like I said, we'll go slow with this and enjoy the process as we go. We'll break down this one drawing into several different projects and enjoy the end of each step. Every step is equally important and the following step is depending on the quality of the step before it. Starting with the...

...Grid. If the grid is off, EVERYTHING is off. In my first update, I'll break down my grid method and try to make it as simple as possible. It is just a grid, but it can be a pain in the ... We'll take care in making the grid and we won't rush through it. It is the invisible life of the final project. After you use the grid enough, it makes it much easier to relate things with one another on paper without using a grid. All I used to do was free hand with no grid, once I started using a grid for most of my work, my eye improved and I'm much more able to scale things on paper in a more accurate way. The grid normally takes anywhere from 15 minutes to 1 hour depending on the drawing and how small some of the details are. I'll explain more of this in the first update.

I'll work on this when I can today, I'll have it posted no later than tomorrow morning.

For now, study the drawing and consider what I've mentioned above. I'll normally put the reference in front of me and look at it several times throughout the day and often I'll see different things or get different ideas. I'll even hang it upside down and sideways to get a better look at the "image" and not the "subject." Image meaning shapes, textures, values, edges.... Subject meaning Marilyn.

Questions are more than welcome.

I have a question .. Because the reference photo is so dark wouldn't the Grid lines need to be white or another color that would show up?..

There are situations where I would like to see the lines in a dark area, so I use the reflection off the pencil lines to see where it is. I move my drawing light around and get the graphite shine off the grid lines.

i've read it.. It all looks very difficult for me, but i will try this...
i will print it tonight..

okay thanks

I'm not sure if you read my reply before or after I edited it.

Yes I read it and I think I understand what you are saying .. I have done grids before and the way I did it was to place the photo inside a plastic sleeve with grids drawn on top of the plastic.. This would be my reference grid.. The grid in scale would then be drawn out on the paper I will use to do the portrait .. That one I would use pencil as you suggested.. The plastic sleeve is the one I think would need a line that could be seen.. Red or white or a lighter color to see opposite the black background.

Ok, I just wanted to be sure.
You use the same grid sheet for several drawings? When I draw the grid onto the reference, I'll often do a custom grid for that drawing. It might be a tighter pattern, I'll often split sections of the grid in half and tighten up the spots which need more detail like the eyes, nose, mouth, ears...

For me, its easier to just draw the reference grid and the drawing grid at the same time, but I can see how your method could also be handy.

One advantage I have is I have a drafting table equipped with a drafting machine, but for this drawing, I'm just using a ruler because I know that most people aren't set up for drafting.

Hiya Poe

Its great that you are providing this tutorial, I have wanted to draw Marilyn for quite a while but the thought of drawing her blonde hair kinda scares me lol, but I will give this one a go!

I have several Grids on plastic..some large some small.. and yes they are good for closer reference drawings.. I really hate using Grids but for this tutorial.. I'll be a the student and try not to grit my teeth too much..
I think what you are doing is very brave and Very Needed.. Thanks so much for your devotion..

I bought this grid kit called GridArt, it's a bunch of see-through plastic sheets with various size grids on them. You choose the size grid appropriate for your reference picture and lay it over a print-out, or even tape it to your computer screen. On top of the main grid, you can also overlay a more detailed grid for eyes and such. It also comes with a handy ruler for making the grid on your paper, with pre-measured marks for whatever size drawing paper you have. It saves a lot of time, although determining which sizes I need can be confusing sometimes. It's also supposed to be good for making paintings and murals.

I'll try to follow along with this WIP, Poe, thanks for taking the time to do it!

Mindy ,that's pretty much what I have only not as elaborate ...more homemade.. took some time but it worked for me at the time. I don't use them as much as I use to.. dragging them back out for this .. I really need to get back to basics..

I don't know, maybe its just me, but I don't see it as the "basics," but more of a tool like a ruler or even a reference photo for that matter. Several hundred year old masters who are still famous used grids. Holding your pencil up in front of you with your thumb to scale an object is a form of measurement, like a grid.
A light bulb over your drawing table is a tool. ****, the table itself is a tool. Different grade pencils, the several different uses for an eraser, or an erasing shield, a blending stump, a paper towel, a nice cold bottle of beer

I've done figure drawing and still life for years and love it. There is no grid involved, but the objective is slightly different IMO than realism and photo replication.

Some people use plastic sheets and put a grid on it which I've seen several people do, I think its a great idea, and it works for many. As for me, I spent the $ on a drafting table so drawing a custom grid for every drawing I want to grid, which a lot of them are larger than 11" x 17" is as easy as drafting can get. It is extremely difficult to get the accuracy out of a drawing with no grid or reference related to the grid method. A customer isn't going to be happy when you give them something that doesn't look like their kid, but you say "yeah, but I didn't use a grid."

Bottom line, its a very common tool which is used by many, many, MANY of the graphite masters.

One would think the pencil and thumb method would be for the more seasoned ...I have seen it used but I would fail miserably.. we all have our methods of madness and whatever works for one may not for another,,or whatever is available to them,, but as a tutorial setting I will do as everyone else does.. well minus the beer and drafting table ,, lol , maybe a nice wine and a big ole' sketch board ?..

lol too bad I'm under 21

I used to do the pencil and thumb measuring a long time ago and didn't care for it much. I was always pretty accurate with just eyeballing and comparing/relating distance to other distances in the subject. I started using grids a year ago and appreciate its usefulness. I don't always use a grid, but to draw something without one, knowing that I could be more accurate and achieve a better end result by using one, it became a norm in photo replication type work for me and the end result is more predictable. Especially if the time invested into a piece is upwards of 60+ hours for a larger piece.

Wine goes great with a sketch board, but not with a drafting table.

I built my own drafting table and it's built to survive more then just a spill

The image I've printed out is 8" x 10 3/4" from edge to edge of the actual ink, not the paper. This happens to work out great for using 1" squares. DOUBLE CHECK THE BLACK BACKGROUND SQUARENESS WITH AN ANGLE SQUARE OR THE EDGE OF A PIECE OF PAPER TO MAKE SURE ITS REALLY SQUARE. If its not square, than square it off with new edge lines where needed so its a true rectangle around the image. Some printers are goofy. I measured to the center of the image at 4" and put a mark, than went 1" out from there each way and marked every inch at the bottom of the image just under where the ink is. I than did this at the top as well. When I went down the side of the image, I just started at the top of the ink and went down every inch and put my small mark, this left 3/4" at the very bottom. Do this on both sides of the image. Normally, I only have to do the bottom and one of the sides and my drafting machine does the rest.

I than carefully connect the top marks to the bottom marks and the left marks to the right marks. Nice and dark for the reference photo. After these lines are done, I looked at where the eyes, nose, mouth and any other tight spots are that should have a tighter grid and I split those squares to half an inch and mark those. I just add the little marks where I've done the previous marks and connect in the same way as the regular grid lines, but I only did this in the required squares, as shown in the image.

The pressure of the grid lines on the drawing paper should be extremely light. Just light enough for you to see. Use your semi-sharp HB or F pencil by holding it at the butt end and letting the weight of the pencil (maybe a tiny, tiny bit of pressure) at an angle so the tip won't damage the paper. Its very easy to damage the tooth of the paper even if you don't realize you did, but when you go to shade over it, you'll know. Using a harder pencil like a 4H, even though it comes out lighter in value, will dig deeper into the surface of the paper because of the hardness of the graphite.

When doing the grid on your drawing paper, I taped the paper right next to the reference photo so I can draw the horizontal lines right off of the reference photo and onto the drawing paper. I'll usually do this while I'm doing the horizontal lines on the reference photo. This should take care of all of the horizontal lines. I measured to the center of the drawing paper and put my mark at the bottom (the 4" mark) and did the same measuring as I did on the reference photo. Making sure I'm square with a plastic angle or the edge of a piece of paper, which is square, I do one of the vertical lines, usually one of the edges. Now that you have this nice, squared off vertical line, you can measure the top marks off of this line and connect the vertical grid lines. Than add the half inch marks in the same places you did on the reference.

This all might seem like a pain in the ***, I promise the rest of this won't be at all like this. Its important to take your time in this stage as the entire drawing revolves around this. You can probably just look at it and do it, but I thought I'd explain it anyway.

I've posted a few images to give examples and one to show the reflection on a dark surface and just how easy it is to see the pencil on the smooth printer paper with a light source in the right spot. I just move my head so I can see a reflection if I need to. I left 1 or 2 large so you can zoom in on it because its hard to see as I went very light.

I have that printer paper taped there because I always use a piece of printer paper as a shield for my hand and a surface to load and unload my blending tools. I'll get into that later.

Once we're past this stage, it'll all be fun from there. I hope this doesn't discourage anybody.

Do you have the file of the larger image because the printer could not enlarge it and all I had on the computer I was using was Paint and Microsoft Picure Manager and using that made the picture blurry and without a program like gimp I could not fix it.

I'll see if I can find one

This one is larger.

Ok I will try to print it off asap but is this the right size you want us working with

Take a look at the photos and you'll see that it takes up the entire sheet of printer paper. The image itself is 8 inches by 10 and 3/4 inches. It just needs to be close, if your grid lines are a little different because of the size being slightly off, it doesn't matter.

ok I'll try to print it off tomorrow

IRFANVIEW

This a great re-sizer and editing tool Jonathon... be sure and download the one that fits your particular computer... ie.. Windows XP,2000,etc.

Does it upsize images and keep them clean and crisp?

Nice, I just looked at your link and thats a nice program for free! Thanks for sharing!!

I use this one a lot.. It does help in clearing some pictures but if they are bad to begin with it doesn't work miracles but helps .. You have to just play around with the correction section until you get what you want .. be sure and save the new corrected one after the changes.. it gives you the option to override the original or save it on it's own..just rename it before saving if you want to keep the original... I really like it ..

I have drawn my grid

K, I'll get the line sketch done tonight... Can you post your grid?

...and don't start the sketch until after I can post mine and I'll explain what I did, why, and how.

Oh ..oops didn't know we had to post our grids... Give me a bit to get it scanned..

I'll post it tommorow It's too late tonight

I don't think I'll be getting to this tonight anyway, I have to finish a commission by the end of the weekend... and I'm just now starting it..