HOW TO Create a Photorealistic Drawing

Photorealism is reproduction of reality as close to or better than the quality of photography by hand.

By John Potter

Please notice that all examples on this page have been enhanced with software to show the points described better. Lines should not be this dark while the drawing is in progress.

Photorealistic drawing is a test of patience as well as skill. It taxes technical skills perhaps greater than creative ones. It is also very satisfying and develops skills that you can apply to all other mediums and styles.

The example photos shown here are of a drawing I did in 1986, it is 23″X27″. It was done entirely with graphite from a photo I shot myself and took three weeks to complete at about 6 hours a day. It is the second such drawing I did. The first was done in 1983 and measures 19″X28″ (I made a limited edition print of it; if you’re interested please e-mail me).

Using the knowledge you gain from this page, some skill and a lot of patience you can make one yourself. Minimal skill is mandatory; this is more a technical exercise than a creative pursuit. It should be obvious however that drawing experience will show in the result.

The Photo:

• Do take the photo yourself. This is simply to much work to owe half of the credit to someone else. There is also the matter of copyright infringement which would prevent you from selling prints or (technically) the original (since it wouldn’t be very original anyhow).
• Do not shoot the photo with on camera flash. This washes away all shadows and leaves you with very little to work with, so go throw away your on camera flash now. I’ll wait.
• I suggest subjects with lots of tiny detail (it’s easier). People are particularly difficult, especially if you have minimal drawing experience.
• Black and white is easier. When working with a color photo you constantly have to imagine the photo without color. It’s a pain.
• Your photo should show a full range of values (light or dark areas) going all the way from white to black with a full range of grays.
• Do not try to use some kind of acetate over the photo with a grid on it. Believe me, something will happen to it. It always does. Besides it’s just plain easier. Spring for the cost of getting a copy. If you don’t have the negative take it to a photography studio and have them shoot it on a copy board.

The Art Supplies:

• A working surface: I prefer masonite. It’s hard, cheap, available at home supply places, and you can paint on it with oils latter. Just tape the paper onto it firmly with masking tape.
• Paper: Use a good quality printing paper. Not the stuff they use at a commercial print shop; the stuff artists use for wood block and etching prints. I used Rives BFK for my first one and although it’s slightly off-white I liked it. For the one here I used an Arches brand which was good, but a little less toothy and durable.
• Pencils: I don’t pay much attention to brands, but you need a wide range. All the way from 6B to 6H. If you’re not aware, H pencils are harder than B pencils, and Hs get harder the greater the number, Bs Softer.
• Graphite Sticks: These are sticks of pure graphite (no wood). The same holds true as pencils as far as range, but since their kind of hard to get and a little more expensive I tended to skip every other one (6B, 4B ect.). Be sure to get the 6B though, this stick will give you your blackest blacks.
• Shading Stumps and Tortilians: These firmly rolled up pieces of paper are used to move graphite around, smearing it, grinding it into the paper and after much use become saturated with graphite and become a drawing instrument themselves. I will also include in this category paper towels for smearing graphite and cleaning your work area.
• Erasers: A gum eraser isn’t a bad thing to have around but don’t use it unless you have to. they tear up the tooth of the paper something awful. What you really want is kneaded erasers they lift out the graphite without damaging the paper, but this doesn’t mean lay down all the graphite you want and worry about it latter. Try to be as accurate as possible when applying the graphite. All erasing will damage the paper no matter what eraser; no matter how gentle.
• A fine point Technical Pencil: I suggest this to draw the grid on the photo, but you could use something else if you have to.
• A Good Pencil Sharpener: Any brand is good.
• Fixative: If you choose to use it.
• A Straight Edge

 

Getting Started: Before you get too far into anything I suggest you take a scrap piece of paper (buy a second sheet if necessary) and become familiar with the drawing tools on it. You may want to tape it to your working surface while you do this to insure you get the same results you will when you go to do the final drawing. First take all of your pencils and make an area (a small rectangle will do) that goes from as light as you can shade with each pencil to as dark as you can shade with that pencil. label these areas as you go so you can use them as reference. Next do the same with the graphite sticks. Now I suggest you do something I would describe as playing with the tools on the same sheet. By this I mean try cross hatching with some of the tools, try hatching with some of the tools, try making dots, circular strokes by twisting graphite sticks, and anything else you can think of as a method of applying the graphite (label these areas as descriptively as you can). This would also be a good time to try out any tools you are not yet familiar with as well. This exercise may seem frivolous, but this piece of paper will serve as a valuable reference tool. This method of drawing is based on a grid system, so establishing the grid comes early on. First establish the percentage of size increase you intend to use. A round percentage is usually easiest. As an example if you want to make one inch squares on the photo and increase the scale by 150% for the final drawing the squares on the drawing should be 1″X1.5. The squares on the photo should be no smaller than about a half inch and no larger than about three quarters of an inch. If you go smaller it gets confusing; larger and it’s pointless to have the grid. On the photo I strongly suggest you draw your grid with a fine tipped technical pen. If you use something else just make sure it won’t smear. Now firmly tape you drawing paper (the one for the final drawing) to the working surface. I prefer to work on a vertical surface because it’s easier to back away from the work and get an idea of how it’s coming along. If you do not own an easel you can just lean your working surface against a wall, a bed ect.. Graphite smears. Because of this you’ll be spending a lot of time avoiding smearing. A good start is to pick where you start drawing based on which hand you favor. I am right handed therefore I begin drawing in the upper left hand corner in order to avoid dragging my arm through the graphite. There are sprays available that help prevent smearing. They are called fixatives. they have pros and cons. The pro is that they do insure less smearing. The cons are that they say they have a chemical reaction with the paper that can reduce the life of the drawing (it will turn yellow), and some feel that they discolor either the graphite or the paper slightly. I use fixative, but whatever you do, don’t let someone convince you to use hairspray. You may save a few bucks, but I am convinced it significantly reduces the life of the drawing. Now select a working area. Lay out all your tools neatly including that scrap of paper with your sketching on it.

Step One:

Draw your grid as lightly as possible. Use a straight edge and try not to score (dent) the paper because it will show when you’re done. I suggest an HB pencil for this. this is one of those times you can refer to your scrap paper reference. Be as accurate as possible.

Step Two:

Start creating a contour line drawing. A contour line drawing is a drawing without shading showing outlines of things. In this case you want to outline value (light or dark) areas as well as shapes and sharp edges. These lines should also be very light. When you encounter a line (an arc for instance) that intersects several grid squares I suggest you measure the approximate intersection points along these grid lines and make small marks to indicate where the line will go; then use a broad sweeping stroke to try to intersect them. Corrections can be made latter, but getting something like a long arc line to look smooth and not choppy by drawing it one little grid at a time is near impossible. Take your time. Mistakes made here are very difficult to make up for latter. This step can well define your final product.

Step Three:

Begin shading in your drawing. The work you have done up until this point should make this final step the fun part. As I suggested earlier, start in the opposite corner of the hand you favor at the top and begin filling in the drawing. Use the different techniques you discovered on your practice sheet whenever possible. Don’t settle for the first blacks you get. Getting the blacks blacker and whites whiter than the photo is what can make it seem more real than the original. You will be surprised how black you can get graphite when you try and it really makes the difference you want. When your done with this step you will have a nice finished drawing.

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AVAILABLE FOR SALE

High quality prints of my engine drawing signed by the artist. Image area 28 1/4″X19 1/2″ on high quality 40″X26″ acid free paper. $20 plus $2 shipping and handling (available in the U.S. only)

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Please have a look at my other illustration work .

If you like the step by step approach of this article you may also like these:

• Details of a Photorealistic Drawing
• How to draw a grid with a straight edge
• The Design Process of One Book Cover
• The Design Process of One Book Cover II
• How Book Covers Are Created
• How To Draw A Tile Floor
• The Painting of a Mural
• A 360 Degree Mural

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