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Drawing the Mona Lisa

Drawing the Mona Lisa and if you want to draw from the picture right click and Drawing the mona lisathen click on save picture as and save it onto your hard drive, don't forget where you saved your photograph. In drawing from a coloured photo we need to half close our eyes and in this way we can see the darks and lights a lot better.

 



 

 

Drawing the mona lisaThis can be a good exercise in that you are seeing tone in a painting and interpreting it through your pencil drawing. A basic oval shape of the head has been indicated and the shapes of the eyes are blocked in, the nose, mouth and hair are just suggested at this point.


 

 

Drawing the mona lisaAfter all the features have been put in we can start to shade certain areas of the portrait like the left side of the head, above the eyes and side of the nose because the light is coming from the front and to our right. If you want help in drawing the features of the face please see how to draw portraits.

 

 

 

Drawing the mona lisaMore of the features have now been put in like the chin and neck areas and the hair has been shaped and shaded in following the form of it with our pencil strokes. Half closing your eyes is the best way to see darks and middle tones, you can distinguish them from the lights more easily.

 

 

 

Drawing the mona lisaMore of the figure has been indicated now and making sure all proportions are correct before carrying on with the rest of the portrait.



 


 

 

Drawing the mona lisaHere darker tones are now added like in the left and right side of the hair, all the features have been made a little darker now and I am always building up tones from light to dark.

 

 

 

 

Drawing the mona lisaMore of the figure is now stated including the hands and the thing about drawing hands is getting the largest overhaul shapes in first and making sure that they are related to the face and you can do this by holding your pencil vertically and measuring at certain points on the face to the hands. Here I am leaving the fingers till last and then I will put them in by following the contours of each finger and observing their thicknesses. Always draw lighter at first and gradually increase the intensity of your tones, this holds true throughout the portrait.


 

 
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