What makes textures and skin tones challenging to sketch is that there are no standard features. Each subject has varying colors, composition, and nuances. Though every issue is different, here are a few tips to get textures and skin tones right:
Move from dark to light.
The most practical step to take is to figure out the proper order to apply the right values. Working from dark to light will always fetch the best results. Beyond the first sketch and your clean guidelines, the face’s darkest parts, such as the eyes and the face’s exterior border, will receive the initial values. Start by laying your light value, employing your 4H pencil, to serve those darkest values in your reference subject or photos. This will work best because that initial value will only be opposing the paper’s lighter value. As you start sketching the darker values, using your darker grades of pencils and layering will enable you to move out into the face’s lighter values with the 4H pencil carrying the drawing as it advances to create a necessary foundation. As you work to slowly increase the darkest values by using the darker valued pencils and layering, it will help you sustain your contrast and equilibrium until you are ready to sketch your skin tones. The order and the procedure to follow for our values will continue evolving in the same way. It will help you as you begin the required contrast for the gradations and subtle values, the textures in the face and skin, as well as the dimension and contour.
Thin Stroke
This stroke has a narrow edge at both ends, just as the name indicates. This means that the line should be lighter and thinner at the start and dawn of your stroke. This stroke will steadily increase in value at the center as your pencil makes its highest contact with the drawing cover. This will enable you to extend lines, creating a consistent value, as tapered end flaps tapered end. The sharp stroke will allow you to create unbelievable detail and produce a realistic quality to your rendering through natural shading, textures, illusion, and shadows.
Dark skin values
You might employ more value for darker skin tones, but do not use more than you require. You may still need a darker range of value to demonstrate dimension, shape, and depth in another region. You wouldn’t want a dark skin to be in the same value range you would aim for a black garment, but what exactly would you do if you had nothing more dark to use? They could end up the same. And, if you use a set series of value to show too many areas in your portrait, those regions would start looking flat concerning each other. So, keep your range of values related to what needs to be exhibited in your picture. As mentioned above, apply your values in order of dark to light. Sketch the darkest value first in all the relevant areas so that you will be able to manage their proper relationship with each other, and you will always have a judgment of where you should stop. This will help you keep a suitable contrast with the different values ranges in your rendering.
Contour and depth
Contour and depth are two of the most significant things you want to accomplish within a set of values or areas you are drawing. Dark values should be sketched in the more profound shadowed areas to indicate depth, and this is where even transitions will be a great advantage. Build your gradations by keeping the side of the tapered stroke by the side to produce a range of value that turns lighter as it nears a light source or the top of a curve or contour. If there is a contour that goes around and out of your sight or sinks behind something, you will need to draw a clean edge to your value. This will divide those dimensions and build depth in your drawings. Though we rely on darker values to show depth, exercise developing a contour even within a minimal range of value for best results.
