The position being decided, the outlines are lightly sketched in with long, sweeping lines, following the general direction of the head without any attention at first to details of any kind. Let these lines next determine the oval described by the face, sketching at the same time the lines of the throat, and ascertaining the action of the body in relation to the head by one or more long, sweeping lines across the bust from shoulder to shoulder.
Next draw a line with the charcoal point across the oval of the face where the hair meets the forehead, one through the middle of the eyes, one at the base of the nose, through the center of the mouth and the lowest point of the chin.
These lines determine the proportions of the face, and are drawn very lightly with the charcoal, sharpened to a fine point, as they are erased when the features are drawn in. Next proceed to place the features on these lines, blocking them in only in their general forms at first with very little detail, and draw these forms as squarely as possible, seeking for angles and avoiding curves.
It is easy to turn angles into curves in finishing a drawing, but if we begin with curves we have nothing to depend upon, and the drawing loses strength, becoming soft and weak in the end.
Having ascertained that the features are in the right place, go back to the outline and bring that into shape, though without trying to finish it carefully as yet.
The next step is to block in the shadows in their general forms, dividing the whole head into two distinct masses of light and shade. To do this, make a faint outline of the exact form of the shadows where they meet the light; now fill in with charcoal all the mass of shadow within the outline, making one flat, even tone of dark without variation of shade. To do this draw the charcoal in straight parallel lines slightly oblique, almost touching each other, until the whole shadow is covered. No special care need be taken in putting in these lines, as the main object is to get the paper sufficiently covered with the charcoal. The largest paper stump is now used, to unite these charcoal lines into one flat tone of dark.
The stump is held in the fingers, so that about an inch of the point lies on the paper, not merely the tip end. With this the charcoal is rubbed in until no lines appear, only one simple even tone of dark filling the outline of the shadow.
Put in the eyes, nose, mouth, etc., and in the same way drawing the form of the general shadow first without any detail, as already mentioned, and putting in the flat tone with the charcoal and stump.
When the principal shadows are thus laid in, look at the head from a distance and see if the proportions are correct. Any mistake will be easily seen in this stage, and should be corrected at once before proceeding further.
To correct a line or erase the charcoal in any way, use the crumb or soft part of stale bread. This is done by taking a small piece between the fingers, and rolling it into a little ball, then shaping it to a point. Be sure the bread is not too fresh or made with butter, as greasy bread will ruin the paper, so that it is impossible to work nicely on it. If, however, such a grease spot becomes evident when the drawing is somewhat advanced, it can be remedied in the finishing, by touching carefully with a sharp-pointed crayon, and rubbing with a pointed rubber stump; working with both alternately, making fine, small touches, until the spot is even in tone with the rest.