A step by step journey of the drawing process for a commissioned portrait.
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Step 1: Plan sketch. I looked at a lot of sketch artists and drawings to influence my work such as Geof Darrow who worked on The Matrix films
and french cartoonist Jean Giraud also known as Moebius. With feedback from my client I produced a roughly detailed drawing from a
photographic reference.
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Step 2: I fleshed out the lines with colour pencils, working with my creative influences (Geof Darrow & Moebius) to add and create more details.
The colour choices do not reflect the final design but instead act as a way of separating the elements and in turn drawing the eye to each one. |
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My working environment.
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Step 3: Using my lightbox with the colour pencil drawing as a guide I began a new ink drawing with 0.3 & 0.5 fine liner pigment pens.
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Step 4: I introduced a brush pen for filling and adding weight to the mark making.
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Step 5: As the detailing became more and more intricate I introduced a 0.1 fine liner for smaller artifacts with a 0.8 fine liner for filling and
applying volume to the line art. |
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Step 6: I began to utilise cross hatching and pointillism as a means of creating form, tone and shade to the faces with 0.2 & 0.3 fine liner
pigment pens. |
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Step 7: A 0.05 ultra fine liner was needed for the smallest of details as the features started to come together. I used Tipp-Ex correction fluid
to add highlights to the eyes. |
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Step 8: At this stage I have used all my fine liner pens ranging from 0.05 to 0.8 and continue to build the features with dots, marks, dashes,
broken lines, solid lines, hatch lines, cross hatching and filling. |
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Step 9: My main focus at this stage was pointillism and using the method to subtlety apply realistic lighting and form to the man's head.
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Step 10: ... Moving on to the female's head and making adjustments to the entire piece as I work.
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Macro zoom close up.
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Step 11: To complete the faces the mouths, teeth and ear are added with the same attention to detail matching the overall visual language.
I took this opportunity to look over the piece and analyse it for any mistakes I may have overlooked so far. |
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Step 12: I wasn't completely happy with the eyes so I touched them up slightly and adjusted their lines. I also touched up the lip's black and white
spaces. The remaining skin areas are shaded as before. Time came to tackle the clothing textures with cross hatching, bold lines and marks. I decided to include the top of the wineglass she is holding just out of shot, it's not an integral part of the composition but it does offer a creative opportunity to add an extra dimension to the piece. |
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Step 13: After refining the folds and texture of the male's clothes I decided the original lines and overall look of the female's clothes I drew
earlier were all wrong and needed changing. The wineglass became almost invisible so I defined it's appearance with some tiny dots and lines. To finish off the drawing I used Rotring Centro stencils to create the line motif travelling behind the figures heads. This was a conscious decision to not leave any large area of white paper unattended at the same time adding a symmetry to the romance between the two of them.  |
For more Art & Design work find me on Behance:
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