Goal
Paint a small head study (5×7–9×12) with three clear value groups and simple plane changes before features.
Palette & surface
- Titanium white, yellow ochre, cad red light (or Venetian), ultramarine, burnt umber.
- Toned panel/canvas (neutral gray or warm earth).
- Solvent-free medium, paper towels, palette knife.
Block-in plan
- Indicate head angle with a simple envelope and centerline.
- Group shadow shapes as one value—no detail inside shadows.
- Place features only after planes read correctly in light vs shadow.
Step-by-step
1
Drawing envelope
Place top/bottom, brow/nose/chin proportions. Keep lines straight and adjustable.
2
Shadow map
Thin umber wash: connect all shadow shapes (sockets, under nose/lip, jaw). One value only.
3
Average lights
Lay a single light-family note per plane (forehead, cheek, nose top). Hold highlights for later.
4
Temperature shifts
Warm lights / cool shadows. Small shifts per plane make the form turn.
5
Edge hierarchy
Sharpen only at the focal area (eyes/nose). Soften hairline and far cheek.
6
Accents & highlights
Place darkest darks + tiny highlights last. Stop before over-blending.
Tips
- Value beats color for likeness — squint often.
- Keep shadow family thin; lights thicker and opaque.
- Save detail for last 10% — big shapes do the work.
Troubleshooting
- Muddy color: Wipe, remix clean puddles, repaint once.
- Plastic look: Add more edge variety—soften turning edges.
- Dead skin tones: Over-neutral—add small warm/cool plane shifts.