Good ol' paper

I was given a "blaisedell" by an amazing mentor and friend named Glen.  I'm sure you can figure out who it was.  His last named rhymes with "spleen." Ha ha, anyhow I got the bug to post...

For those of you who don't know what the Blaisedell is read this from Jenny.

Egg heads and head shapes

When working with drawing the heads and faces I've usually told people to use the egg shape method by Walt Stanchfield. It's meant to quickly sketch in the construction of the head because many times people forget the volume. It's an excellent way to lay in the head and figure out the perspective by using the nose and the eyes.

Objective aesthetics come into play as we draw in the nose/eyes placement. We all have our own way of sketching a nose or eyes but this quick sketch beginning should be loose. Plus the intersection of the two egg shapes allows for an easy ear placement.

Inevitably once you've become comfortable with the egg equation you graduate to the next level of attitude and acting that's specific to the model. Our drawings become more unique and individual as we push the acting and attitude given to us as the egg shapes morph into caricatured versions of reality.

A particular jaw shape versus a forehead shape, mixed in with a nose shape builds on all the simplistic scaffolding in the beginning of the sketch. The trajectory.

The idea with all this is to try and sketch economically direct! You want to use your construction lines as your final lines. Or at least lines that are going in the direction of final lines. Which means hopefully you won't have to many lines that are aimless.

Here are a few examples from one of my sketchbooks, hope you like'em.


Cafe smug




FIDM girl


Woman on the train


Eukenuba Judge