How to Draw Portraits in Pencil (2025)

This is a series of free video tutorials by Steven Bauman that cover the core principles of drawing portraits in pencil. He breaks down complex ideas into practical steps, making it easier to improve your work no matter your skill level.

While Stephen dives much deeper in his paid courses these free classes are packed with real value and easily stand on their own. If you’re serious about drawing better portraits, this is a solid place to start.

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How to Block-In a Portrait

The first video covers the ‘Block In Process’. Once you have understood the importance of mapping out an accurate base, you are ready to add detail. It doesn’t work the other way around. Please don’t skip this section.

Block-Ins for Accurate Drawings Summary

1. Introduction

• Block-ins are the foundation of any good drawing, no matter your skill level.
• They are about mapping out proportions, construction, and placement — before adding value, form, or atmosphere.

2. What is a Block-In?

• A simple, early stage of drawing — only covers structure and proportion.
• Focus: Simplify the subject but still make it comparable to the model.
• Avoid over-simplifying (like drawing just a box) or over-detailing (like jumping into eyelashes too early).

3. Why Block-Ins Matter

• They keep the drawing flexible and fixable early on.
• “The drawing rarely gets better than the block-in” — weak foundations = weak finished drawing.

4. Phases of a Block-In

• First step: Establish composition and basic proportion.
• Draw simple marks for the top, bottom, and sides of the head or subject.
• Second step: Introduce symmetry and three-dimensional structure — vertical center line, big form indicators like cheekbones and nose wings.
• Third step: Double and triple check placements while it’s still flexible (only 20-30 lines on paper).

5. Structural Templates

• Use simple frameworks like the Loomis Head after basic placement.
• By 30 minutes in, you should have a generic head structure placed and proportioned, but still very simple.

6. Transition to Light and Shadow

• Towards the end of the block-in, add simple shadow shapes (no rendering yet).
• Posterized division: Light shape vs. Shadow shape — keeps things clear without losing structure.
• Filling in flat shadows makes the drawing more comparable to the subject and easier to spot mistakes.

7. Tools and Techniques

• Fill shadow shapes with a light flat value (H or HB pencil).
• Keep edges soft or sharp depending on what’s happening at the light-shadow boundary.
• Avoid blending or form modeling — stay flat and simple.

8. Why Frequent Block-In Practice Matters

• Block-ins are like going to the gym — repetition builds real skill.
• Long detailed drawings only give you one block-in per 30-50 hours; practicing many small block-ins accelerates progress.

9. Final Advice

• Spend an hour or two on each block-in when practicing.
• Build a habit of making multiple block-ins instead of only full, finished drawings.
• Good block-ins = stronger drawings later, and much faster improvement.

Do you want to go further? Check This Out

How to Draw Eyes

If you want to get a likeness you must master drawing eyes, they are the most important feature of a face. Stephen has 3 free videos. These tutorials are all you need.

Here’s a bullet-point summary of that YouTube transcript:

• Introduction: Steven Bowman shares tips for drawing eyes better in portraits, with clips from an in-depth lesson available on his Patreon Channel
• Key Anatomical Tips:
  • The upper eyelid is shaped by the cornea pressing against it.
  • The white of the eye (sclera) is usually about twice the distance of the iris.
  • The lower eyelid has a soft boundary with less plane shift; avoid drawing a sharp line.
• Shading and Lighting:
  • The white of the eye darkens as it turns away from the light source (acts like a sphere).
  • Highlights and shading depend on the light direction (in this case, upper left).
  • The iris has darker values around its edge and can have lighter and darker halves.
• Muscle and Structural Notes:
  • Orbicularis oculi muscle affects the shape of the eyelids.
  • Tear duct structure includes the caruncular lacrimalis and plica semilunaris.
• Important Forms Around the Eye:
  • There’s a noticeable indentation below the eye caused by the orbital retaining ligament and fat pads.
  • Lower lid skin crease often appears as a downward crease from the tear duct outward.
• Drawing Eyelashes:
  • Eyelashes curve depending on the eye’s roundness and position (more vertical in the center, more horizontal at edges).
  • Instead of drawing every lash, Steven suggests creating a value pattern and adding selective detail.
• Eye Socket and Overall Form:
  • The eye socket is rounded; shading should show depth.
  • Highlighted areas include parts of the brow ridge and the center of the eyeball.
  • Capturing the roundness of the eyeball beneath the eyelids is crucial for realism.
• Conclusion:
  • Steven invites viewers to explore more lessons on his Patreon, promising great value for improving portrait skills.

These are two comprehensive videos Stephen made a few years back

Eye Drawing and Anatomy Summary (Part 1)

1. Overview

• Steven Bauman explains the eye from both anatomical and drawing perspectives.
• Emphasizes connecting theory with practical application.

2. Eye Socket Structure

• The eye socket is a square hole with rounded corners tilted upward toward the centerline.
• The plane of the socket slopes inward and downward from forehead to cheekbone (zygomatic bone).
• The inner corner of the socket sticks out more than the outer corner — especially noticeable in profile or ¾ views.

3. Eyeball and Eyelids

• The eyeball pushes outward from the downward-facing socket plane.
• Upper eyelid = three major planes; its thickness shows as a thin downward-facing plane.
• Lower eyelid = thin upward-facing plane that’s easier to spot.
• Upper eyelid covers about halfway down the eyeball — its down-facing plane is usually hidden.

4. Anatomy of the Eyeball

• Eyeball = sphere cushioned by fat pads in the socket.
• Sclera (white part) is rarely pure white — values change based on lighting.
• Cornea is a clear, dome-shaped layer over the iris that catches highlights.

5. Light and Value Relationships

• Light coming from upper left shows a highlight on the cornea.
• Iris shows an inverse light/dark pattern compared to the cornea — important for realistic shading.

6. Materials and Tools Used

• Graphite pencils, kneaded erasers, Tombow Mono Zero erasers, and paper stumps.
• Paper: stretched Stonehenge off-white paper.

7. Drawing Process Tips

• Start by blocking in basic proportions — tear duct, eye corners, brow crease.
• Aim for a recognizable yet flexible block-in — balance between abstract shapes and recognizable forms.
• Avoid getting trapped in details too early (like eyelashes or iris striations).
• Create a geometrical breakdown of forms to better understand structure.

8. Value and Pressure Control

• In early stages, use minimal pressure on the pencil — don’t scar the paper.
• Hold the pencil further back and balance your hand on the paper to reduce pressure.
• Keep the drawing soft and flexible to allow for adjustments and better composition decisions.

9. Big Artistic Takeaways

• Softness and breadth are more important than early precision.
• Flexibility in the early stages makes a huge difference later in the drawing.

Eye Drawing and Value Building Summary (Part 2)

1. Entering the Value Stage

• Focus shifts to building values carefully to make the drawing technically strong.
• Establish a clear hierarchy of edges — not all edges (like iris and pupil) should be super sharp.

2. Edge Control

• Compare edges across the drawing to decide how sharp or soft they should be.
• Sharper edges = important focal points (e.g., upper eyelid crease), while iris edges should stay softer.

3. Simplifying Features

• Eyebrow: treat it like a value mass, not a bunch of tiny hairs.
• Eyelashes: group and soften them — avoid over-detailing individual lashes.
• Squint to simplify value shapes for more structural clarity.

4. Building Value Carefully

• Start darkest areas first, but build them up slowly — early darks should still be light!
• Values are all relative; leave room on the scale for lighter areas to exist.

5. Pencil Hardness Choices

• Use the full range of pencils:
  • Hard pencils (4H–H) for lighter planes.
  • Soft pencils (HB–2B) for darker areas.
• Choose lead hardness based on what value you are trying to build.

6. Refinement Stage

• Focus on creating structure even in the lightest areas — not just blending everything smooth.
• Light planes need as much form and structure as darker planes.

7. Subtle Half-Tones

• Subtle value shifts in light areas often only reveal themselves later as the drawing develops.
• Long observation helps you move beyond superficial detail to deeper subtleties.

8. Wrapping Up the Drawing

• Drawing is a blend of theory and technical practice.
• Build a flexible drawing process that evolves with your experience.
• Insert knowledge of structure gradually, stage by stage, not all at once.
• Aim for a naturalistic and accurate finish, not a flat or overly diagrammatic one.

9. Final Assignment

• Push your values to full expression.
• Maintain harmonious edges — darker doesn’t always mean sharper.
• Practice patience and restraint as you finalize your drawing.

How to Draw Ears

Ear Drawing and Anatomy Summary

1. Introduction

• Steven emphasizes that ears are beautiful and important to draw well.
• Lessons come from his Features in Focus series on Patreon.

2. Initial Block-In

• Start by blocking proportions — top, bottom, and sides of the ear.
• Remember: in a standard anatomical position, the ear tilts backward, not perfectly vertical.

3. Main Anatomical Landmarks

• Helix: Outer rim of the ear.
• Anti-helix: Inner raised form inside the helix.
• Earlobe: Easy to spot, connects to the jaw.
• External auditory meatus: The actual ear hole behind the tragus.
• Tragus: Little flap in front of the ear hole.
• Anti-tragus: Opposite the tragus, across a notch.
• Concha: Deep central bowl of the ear, leading to the ear hole.
• Fossa triangularis: Small triangular depression inside the anti-helix.

4. Shadow and Light Dynamics

• Helix casts a shadow onto the anti-helix.
• Cast shadows are soft, not hard-edged.
• Different shadow types overlap at the bottom edge of the anti-helix (form shadows + cast shadows).

5. Value Building

• Fill the ear with consistent halftones early on.
• Use gradients carefully — light should roll smoothly around forms, not break abruptly.
• Build up value slowly to maintain the feeling of roundness and depth.

6. Important Lighting Observations

• Highlight locations reveal plane shifts — top edge of the helix is not the brightest; highlight is slightly below the very top.
• Rounded forms should show darker edges and softer highlights.
• Be careful not to over-light areas that are turning under.

7. Common Mistakes to Avoid

• Don’t push the highlight on the anti-tragus too far up — it’s lower and more subtle.
• Avoid adding too much halftone where the ear naturally holds light (like along the helix).

8. Finishing Touches

• Adjust half-tones around the anti-helix and inside the concha to balance the final highlights.
• Final gradients must support the roundness and depth without flattening forms.

How to Draw Noses

Nose Drawing and Anatomy Summary

1. Introduction

• Steven covers essential tips for drawing noses better.
• Content comes from his Features in Focus series for Patreon students.

2. First Steps: Major Angles

• Block in the top plane, bottom plane (septum), and side planes of the nose.
• Use highlights, not just shadows, to find plane shifts.
• Top side plane is narrower; lower side plane is wider.

3. Key Anatomical Landmarks

• Nasal bone meets the gabella (forehead bone).
• Major alar cartilages sit on either side of the septum, forming most of the nose’s roundness.
• Alar fibro-fatty tissue forms the wings of the nose and outer nostrils.
• Filtrum connects the septum to the upper lip.

4. Value Building and Shading

• Darken the bottom plane and nostril recess (ambient occlusion = very dark value).
• Smudge light halftones across the top plane to build form gradually.
• Left side of the nose usually has slightly darker halftones than the right (depending on the light source).

5. Subtle Shading Techniques

• Hatch with a relatively hard pencil (2H recommended) for smoother halftones.
• Smudge lightly to blend areas but keep the plane separations clear.
• Highlight the 3/4 edge of the nose for a sense of roundness and structure.

6. Fat Pads and Surrounding Forms

• Nasolabial fat pad softens the outer transition from nose to cheek.
• Radix fat softens the upper bridge between forehead and nose.
• Gabella area (between brows) is darker, helping the nasal bridge stand out.

7. Final Refinements

• Darken the eye socket area behind the nose for contrast.
• Adjust the halftones near the nose/cheek transition for a natural form turn.
• Finish by refining values and edges but keep the nose looking natural and structural, not over-blended.

8. Final Advice

• Draw noses from multiple angles to fully understand and internalize the forms.
• Patience, careful value control, and knowledge of structure = better portrait drawing.

How to Draw Lips

Lip Drawing and Anatomy Summary

1. Introduction

• Steven says lips are the hardest feature to draw — even after 20 years of experience.
• This is a condensed version of a full lesson from his Features in Focus series on Patreon.

2. First Steps: Blocking In

• Find left and right endpoints of the lips to determine width and tilt.
• Establish the bottom edge of the upper lip tubercle (the V-shaped dip below the philtrum).
• Measure where the lower lip turns into the chin for proportion checks.

3. Key Anatomical Landmarks

• Philtrum: indentation between nose and upper lip.
• Tubercle: central bulge of the upper lip.
• Orbicularis oris: muscle surrounding the mouth, creating lip forms.
• Muscular nodes: cause depressions and diagonal halftones at lip corners.
• Vermilion cornice: small raised ridge at the lip edge (creates highlights).
• Vermilion border: transition between lip skin and surrounding skin (less form-based).

4. Structure and Proportions

• The lower lip can be broken into three sections: a central form and two side forms (like a “peanut” shape).
• Highlight on the lower lip usually sits in the upper third, not the center.
• Pillars of the mouth descend from corners of lips to the chin.

5. Light and Shadow Relationships

• Upper lip faces downward = generally darker.
• Lower lip faces upward = generally lighter and catches more light.
• Lips cast shadows on the chin and on each other.

6. Building Values

• Maintain the horizontal centerline throughout for structure.
• Merge cast shadows and form shadows carefully without flattening the form.
• Highlights show plane shifts, so understand what’s lighter or darker around each highlight.
• Watch for soft transitions, especially where lips meet skin — no outlines!

7. Texture and Surface Details

• Indicate vertical striations on lips with a patterned texture, not by copying each line.
• Be subtle — overstating texture can make lips look pasted on.

8. Final Refinements

• Subdue the front-facing plane of the lower lip (it’s not the brightest spot).
• Focus on transition speed (how quickly values shift) to make lips feel natural and three-dimensional.

9. Final Advice

• Everything is about transitions, not outlines.
• Understanding volume and how light wraps over the lips is key to making them look real.

How to Draw a Portrait: Final Thoughts

If you want to sharpen your portrait drawing skills without spending a penny, these drawing tutorials are a great resource.

Stephen is classicly trained and has an academic approach to drawing. He breaks down the component features of a face like no one else I’ve seen on the web.

Stephen is one of the best.

This is Stephen’s portrait course. Check it Out

Now take a look at these articles:

• Can You Copy Art and Sell a Painting of a Painting? I Found Out
• How to Find Your Drawing Style: 8 Ways to Develop Your Skills
• How to Get Better at Drawing: 15 Ways to Improve Your Art -FAST
• How to Draw Realistic Shadows in Pencil: Light and Shade
• How to Draw Realistically: 11 Realistic Drawing Tips
• Best Drawing Pencils for Beginners: How to Choose Brands
• What is The Best Paper for Graphite Pencil Drawing?
• Best Erasers for Drawing: The 9 Eraser Types for Artists
• Best Mechanical Drawing Pencils For Artists

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