Block In Phase 2

In portrait drawing, phase two of the block-in shifts from defining the flat planes of the face to focusing on the three-dimensional aspects. Join artist Savannah Tate Cuff as she explains the process, showing how her adjustments become more refined as the drawing progresses.

Reflecting on the completed first phase, Savannah notes that the details are not yet fully defined. She begins to refine these details starting with the forehead, considering it anatomically and using shadow terminators (the boundaries between light and shadow) to define the form. After closely observing her model, Savannah works on deepening the shadow shapes and verifying the relationships between facial features as the drawing becomes more specific. As in phase one, she uses model breaks to fill in the shadow areas.

Savannah continues to add depth to the facial features, describing the form of the lips and paying attention to both cast and form shadows. In this stage, the shadows may appear a bit harsh, but they will be softened in the modeling phase. She advises being cautious not to smudge the drawing (using a mahl stick can help).

Next, Savannah moves on to detailing the left eye and ear, thinking ahead to the modeling phase. The artist has the flexibility to determine how much articulation to include before moving into the modeling stage. Savannah re-checks measurements and proportions relative to the head height as she refines the hair, neck, and shoulder area, adding a graceful gesture to the hair shape.

She adds more detail to the eyes—still working on placement in this phase—and explains how the shapes within the eye interact in three dimensions, preparing for the modeling phase. With the shapes articulated and properly placed, the block-in is complete, setting the stage for the smooth transition into the modeling phase.