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SECRETS TO DRAWING REALISTIC FACES
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Diana, Shiloh and Aynslee Stuart11" 14" (28cm 36cm)
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NORTH LIGHT BOOKSCINCINNATI, OHIO
CARRIE STUART PARKS
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CARRIE STUART PARKS is an award-winningwatercolorist and internationally known forensic artist andinstructor.
In 1981, Carrie began working as a part time forensic artistfor the North Idaho Regional Crime Lab in Coeur dAlene,Idaho. Four years later she attended a composite drawing classtaught by the FBI, and became the first composite artist in herarea. Soon Carries peers were asking her to share her knowl-edge with them. Carrie developed a sure-fire and condensedinstructional course to teach anyonewhatever age or skilllevelhow to create realistic portraits.
Carrie and her husband, Rick, travel across the nationteaching composite drawing courses to FBI and Secret Serviceagents, law enforcement agencies and civilian adults and chil-dren. Carrie has won numerous awards for excellence for herinstruction and general career excellence.
Carries strikingly realistic composites have helped success-fully identify and capture suspects across the country, includingserial murders, rapists, white supremacists and bombers. Car-ries composites have also been featured on Americas MostWanted and 20/20.
Rick and Carrie (Stuart) Parks reside on a 680-acre ranch inNorth Idaho where Carrie grew up. You may contact her by e-mail at email@example.com or at her Web sitehttp://www.imbris.net/~banjoart/table.html
Metric Conversion Chartto convert to multiply byInches Centimeters 2.54Centimeters Inches 0.4Feet Centimeters 30.5Centimeters Feet 0.03Yards Meters 0.9Meters Yards 1.1Sq. Inches Sq. Centimeters 6.45Sq. Centimeters Sq. Inches 0.16Sq. Feet Sq. Meters 0.09Sq. Meters Sq. Feet 10.8Sq. Yards Sq. Meters 0.8Sq. Meters Sq. Yards 1.2Pounds Kilograms 0.45Kilograms Pounds 2.2Ounces Grams 28.3Grams Ounces 0.035
Secrets to Drawing Realistic Faces. Copyright 2003 by Carrie Stuart Parks.Manufactured in Singapore. All rights reserved. No part of this book may bereproduced in any form or by any electronic or mechanical means includinginformation storage and retrieval systems without permission in writing fromthe publisher, except by a reviewer who may quote brief passages in a review.Published by North Light Books, an imprint of F&W Publications, Inc., 4700East Galbraith Road, Cincinnati, Ohio 45236. (800) 289-0963. First edition.
Other fine North Light Books are available from your local bookstore, art sup-ply store or direct from the publisher.
06 05 04 03 5 4 3 2 1
Library of Congress Cataloging-in-Publication DataParks, Carrie
Secrets to drawing realistic faces / Carrie Stuart Parks.-- 1st ed.p.cm.
Includes index.ISBN 1-58180-216-1 (alk. paper)
ISBN-13: 978-1-60061-495-8 (EPUB)1. Face in art. 2. Drawing--Technique. I. Title.
NC770 .P285 2002743.42--dc21 2002023509
Editors: Mike Berger and Bethe FergusonDesigner: Wendy DunningProduction Coordinator: Mark Griffin
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DE D I C AT I O N
This book is dedicated to the memory ofmy dad, Edwin Zaring Stuart (Ned),and to the everyday heroes in our lives.
I feel like I should say thank you to every person I have evermet. However, if I indulged this idea there would be no roomfor the rest of the text in this book. Instead, Ill try to concen-trate on the folks who made this possible, and I hope that therest of the world will understand. The level of my gratitude isnot to be measured by the location or order of the names.
I am indebted to North Light Books, starting with RachelRubin Wolf, who gave me the chance to write this book. I amso grateful that she opened the door. Thank you to MichaelBerger, who first made sense of it all, and to Bethe Fergusonand the rest of the staff who will bring this book into focus.
Once again, I thank the many people listed in the back ofthe book for their wonderful art and beautiful faces.
I thank my mom and dad for a lifetime of love and encour-agement. I thank my big brother, Steve, and his wife Dianaand daughter Shiloh for their patience. I thank my littlebrother, Scott and his gracious family, Laurie, Jeff, Bentley and
Aynslee for putting up with my camera in their faces for years(smile for Aunt Carrie). I thank Don Parks for his caring andthe gift of my wonderful husband, Rick. I thank Donna, J.B.Cole, Skylar and Cortney Lindsey for their continuing love.
To the many people over the years who supported us by let-ting us into their homes and hearts, a deeply-felt thank you islong overdue; for Boyd and Cindy Bryant, Kami and GerryHines, Aida and Jim Remele, Kathy and Bob Gonzales, Debbieand Pat Torok, Ed Jany, Jim and Cathy Champion, Toni Red-ding and Norma Shepherd.
I thank my dear friends Frank and Barbara Peretti for theirpersonal and artistic inspiration and love over the years. I amtruly, eternally grateful.
The best for lastI thank my wonderful husband, Rick, forhis constant love, patience, friendship and artistic inspiration.
Most of all, I thank the Lord Jesus for his blessings andgrace.
AC K N O W L E D G M E N T S
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TA B L E O F CO N T E N T S
! Looking the Part: Materials and Supplies 12Pencils and Erasers Other Tools
$The Problem 18Why is Drawing so Hard? Natural Artists
% Site 28SITE TOOL: Measuring SITE TOOLS: Flattening andOptical Indexing
Q Shape 42Train Your Mind SHAPE TOOL: Isolate SHAPETOOLS: Simplify and Relate SHAPE TOOL: Measure SHAPE TOOL: Invert SHAPE TOOLS: Renameand Incline SHAPE TOOL: Negative SHAPETOOL: Question SHAPE TOOL: Compare SHAPE TOOL: Flatten
W Shade 58Understanding Shade Tools SHADE TOOL:Values/Lines SHADE TOOLS: Isolate, Squint andCompare SHADE TOOL: Question SHADETOOL: Seek Accuracy-Checking Techniques
EDrawing Eyes 76Eyes as Shapes Centering Relate EyelidCreases Shading and Filling the Eye Eyebrowsand Eyelashes
RDrawing Noses 94The Nose as a Shape Nose Site Wing Site Basic Wing Shape Nostril Basics Nostril Shapes Nose Tricks
TDrawing Lips and Teeth 106Parts of the Mouth Shading the Mouth Dealingwith Teeth
UDrawing the Head 116The Structure of the Head Head Shapes Cheeks Chins Necks The Female Face Child vs.Adult Head Shapes Drawing Ears
IDrawing Hair 132Creating Different Types of Hair Different Hairstyles
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9For the first ten years of my artistic career Ionly painted animals and used the wet-on-wet watercolor technique. I began paintingbirds, and they all had fur rather than feath-ers! I now use my bird paintings for competi-tions.
Wings as EaglesWatercolorCollection of the Frame of Mind Gallery,Coeur dAlene, Idaho28" 22" (71cm 57cm)
IN T R O D U C T I O N
You will quickly notice in thisbook that I approach drawingfaces from a very differentdirection. It might be easier for you tounderstand if I share some of the roads Ihave traveled down to get here.
My background is similar to that ofmost artists. I was originally trained as acommercial artist in the days beforecomputers did all the layout and letter-ing work. I would sit with my classmatesand peer at a table full of junk that theinstructor called a still life. It wasassumed that we knew what to look forand how to render it in charcoal or pen-cil. The professor would wander aboutthe room and comment, or shudder, at
our efforts. We were in the art depart-ment, which meant that we wereartists, and as such we were supposedto somehow instinctively know how todraw. We were taught a few techniquesand then left to struggle. It was believedthat art could not to be taughtit was anatural talent that people were bornwith. Because I found drawing hard, Ifigured I lacked drawing talent and thatwas that.
I decided to focus my efforts onwatercolor painting. I was an impatientartist and watercolors were fast. I coulddraw well enough to get a few basicshapes into the painting and the rest wasall technique.
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Starting in 1981, I worked part timeas a forensic artist for the North IdahoRegional Crime Lab in Coeur dAlene,Idaho. Id like to boast that I was hiredbecause I had brilliant drawing abilitylike Leonardo da Vinci, crime-solvingskills like Sherlock Holmes and court-room experience like F. Lee Bailey...Well, not exactly. I was hired becausemy dad was the director of the crimelab, and I was the only artist he knew.
My original duties were to sketchcrime scenes and prepare trial exhibitsfor the physical evidence presented incourt. One day a flyer for upcomingcomposite drawing classes at the FBIAcademy came across Dads desk. Dadalways thought FBI training was inter-esting, so in 1985 I started a two-weekclass in composite sketches at the FBIAcademy in Quantico, Virginia. I wasclueless as to exactly what this meant. Iwould be the first composite artist fromIdaho.
I learned that a composite drawingusually is a face created by combiningseparate facial fe