Block-In Phase 1

In portrait drawing, the block-in serves as a detailed framework or blueprint for the composition, outlining the linear structure on the picture plane. Join Savannah Tate Cuff as she demonstrates the process of blocking in a portrait drawing from a live model, aiming for a precise likeness and gesture. With several sharpened pencils ready, Savannah starts by sketching the envelope—the overall shape that contains the entire portrait. Working from larger to smaller masses, she uses light, erasable pencil strokes, keeping them broad enough to allow adjustments. At this stage, nothing is defined yet, but she marks the angles and tilts of the features.

Next, it’s time for measurements. Savannah compares the width and height of the face, as well as the width and height of the head. Using her pencil, she makes these comparisons and adjusts the block-in accordingly, adding a center line and indicators for light and shadow shapes. She lightly fills in key shadow areas during model breaks, continuously checking proportions. Savannah develops the block-in further, sketching in the hair masses and creating highlights in the hair by erasing certain areas. When working with a live model, she emphasizes making thoughtful decisions about hair placement to enhance the composition.

As the block-in progresses, Savannah refines the edges and uses a brush to soften the shadows. She advises not to linger too long in any one area and to step back regularly to assess the drawing. Once the block-in is more developed, she refines the contours and cleans up the drawing. Savannah then applies white chalk (General’s Charcoal brand) to add highlights to her toned paper. She continues to fine-tune the drawing, aiming for the most accurate likeness possible with minimal changes in later stages. With the shadow shapes well-established, the block-in phase is complete.