The problem with this approach is that there is absolutely nothing structural about the eyes, nose, and mouth.
The classic mistake I see everywhere with portraits is people starting out by drawing the eyes, nose, and mouth. Remember that the nose is just one small component of a head, and that for a nose to work, it has to fit in with and relate to everything else on the head. Once I started to block out my mental concerns of achieving a likeness, and started to focus exclusively on seeing abstract forms and relationships in the face, the painting immediately got better. Naturally, this was counter productive, as the more I worried the less and less of a likeness I was able to create. I would worry and stress the whole time as I was painting about the outcome of the finished piece. I used to put unnecessary pressure on myself to achieve a perfect likeness, which of course was hugely problematic because that’s the whole point of being a portrait painter. I was a portrait painter for a few years after I finished my undergraduate degree.
HOW TO DRAW A NOSE SERIES
Instead, look at the nose as an abstract series of forms that you’re observing, and don’t let yourself get distracted by how it looks as you draw. The next time you sit down to draw a nose, forget that you’re drawing a nose. I would draw a rabbit using the same strategy as I would if I were drawing a lemon or a bicycle. (read this article I wrote on gesture drawing for drawing tips) Many people think that each subject demands a strategy specific to that subject only, when really your strategy for every subject should be fundamentally the same. Instead, you need to be focusing on the basics of drawing that will get you there.Īpproach drawing every subject the same way. If you’re having an issue drawing a specific subject, it’s because you are thinking too much about the end product and on achieving a convincing likeness. People tell me all the time that that they can’t draw _.
“I have a really difficult time trying to draw noses.
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