Brow Pencil

Brow Pencil
I got a brown eyebrow pencil for my black eyebrows and it's not working?

I got it because I'm tired of my black brows, so I bought a brow coloring pencil. It's called "Revlon Brow Fantasy". It has two sides: a pencil for coloring and a gel for shaping. I've been trying to make them turn brown for over an hour, and the only results I see are thicker eyebrows. Am I not applying it the right way or did I just waste $7? If I did waste my money, what would you recommend for making them brown?

I recommend you go to a good cosmetic counter, such as Chanel, Lancome, Estee Lauder, Bobbi Brown (try them all) and talk to a specialist there. I don't think you can change the color of your eyebrows that way though. You might have to have them bleached. Clinique has a powder brow color that might help. But, see a specialist.

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Suppose that we have a profile where the head, arm, and fingers are visible and are in contact. Very often, the starting artist will endeavor to draw each of these elements individually. The approach will always lead to frustration and ultimately often to disappointment.

Instead of drawing each item individually, the first step in your drawing should be to draw the "entire" arabesque, i.e., the entire outline of the figure. The entire arabesque which includes parts other than the skull (in this case the skull, fingers, and arms) is called the "construct".

For the novice it is best to reduce the complete arabesque to its simplest shape thereby ignoring all the details such as the bumps in the fingers and the hair. With experience, you will be able to add all these bumps without much trouble as you go along.

A good construct (also known as a complete arabesque) also contains a singular gestural tempo that subordinates all details. In other words, this rhythmic gesture exists independent of the details.

When you are drawing a single entity or skull the checking of the height/width sizing is fairly straightforward. As a universal rule the width of the skull is checked against its length utilizing the base of the chin as the main landmark.

If, for some reason the chin is conceiled (e.g., behind the arm or fingers), an other landmark must be found. The arm, the jaw, or the lines of the fingers are excellent places to find a new landmark.

Once you have sketched a satisfactory construct it must be checked for accuracy. To do this, we can, for instance, look for vertical and/or horizontal distances that are supposed to be the same and see if they in fact are the same. Use all your gained knowledge of sighting. Also use your general knowledge of anatomical placing of the eyes, ears, etc.

Once you are happy that the construct is accurately sketched you can continue to block-in the main light/dark blueprint and take your first tentative stab at drawing the facial area, i.e., the placing of the brow, the eyes, the nose and the mouth. Again, if the usual landmarks for those elements can for some reason not be used you should be imaginative enough to determine appropriate substitutes.

Keep hatching-in all elements as soon as you draw them. This includes the fingers, arms, and hair if any of them are noticeable in the particular profile you are drawing. Remember to always work from the general to the specific.

Also, be sure to use a sharp pencil, take into account your knowledge of anatomy, and constantly look for errors and, of course, correct them.

Next, the pencil portrait drawing must now be worked-up tonally by cross-hatching with 8B, 2H, and 4H pencils, by blening the graphite with your fingers or a stump, and by using your kneaded eraser to characterize the lights. All this should be done in a painterly manner.

Lastly, you can choose how much details you want to put into your drawing or how unfinished you may leave the drawing. For instance, you can leave some parts of the fingers or the arm unfinished. Or, if you want to emphasize a certain part of the portrait, you can add detail in that part and leave the other regions somewhat unfinished.

These are several of many considerations that go into drawing a more complicated portrait that has a construct. One significant thing not to forget is to draw the construct first so you do not end up drawing one entity after another without maintaining unity. Following these rules will surely put you on the proper path of drawing more complicated portraits.

About the Author:

Download my brand new free pencil portrait draw tutorial here: Pencil Portrait Sketching Tutorial . Remi Engels is a practicing pencil portrait artist and oil painter and skilled drawing instructor. See his work at Pencil Portraits by Remi: http://www.remipencilportraits.com

Article Source: ArticlesBase.com - Tips on Pencil Portrait Drawing - the Construct

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