How to Draw a Realistic Portrait from Scratch
Portrait drawing can be one of the most rewarding and challenging art skills. Unlike stylized art, with a realistic portrait you’re aiming to capture a real person’s likeness – all those subtle angles and shadows that make them unique. It’s a bit daunting, but with a step-by-step approach, you can create a recognizable, realistic face on paper. I’ll walk you through how I draw portraits, sharing practical tips (and a dash of dry humor) that I’ve picked up over years of sketching people.
Tools and Preparation
Paper & Pencils: Use a decent quality paper (so you can erase without destroying it) and a range of pencils if possible. I like an HB for general drawing, 2B for darker shading, and maybe 4B or 6B for the deepest darks. A harder pencil (2H) can be useful for light guidelines.
Eraser: A kneaded eraser is awesome for lifting graphite gently, but any eraser will do as long as it doesn’t smear too much.
Reference Photo or Mirror: Drawing from life or a photo is essential for realism. If you’re drawing a specific person, have a clear reference image or a live model (which could even be yourself in a mirror).
Good Lighting: Make sure you have even lighting on your paper so you can see your tones properly.
Okay, let’s assume we have a reference photo of someone looking straight at us. Time to draw that portrait.
Step 1: The Basic Head Outline and Proportions
Start with a light outline of the head shape. Generally, the head is an oval – wider at the top, narrower at the bottom (for most people). Lightly sketch an oval on your paper about the size you want your portrait to be. Don’t worry if it’s not perfect; it’s just a guide.
Draw a center line vertically down this oval – this helps keep features aligned. Then draw a horizontal line halfway down the oval; that’s the eye line (surprise: in real life, eyes are halfway down the head, not near the top as many think). Next, halfway between the eye line and the bottom of the chin, draw another horizontal line – that’s the nose line (where the bottom of the nose will sit). Halfway between the nose line and chin, mark a line for the mouth (actually, the line between the lips). You can also mark where the top of the head (hairline) is: roughly one-quarter of the head height down from the top of the skull to the eye line is a typical hairline placement.
So now you have an oval with a bunch of guidelines: it looks kind of like a deconstructed mask. These proportion guides are drawn from classical methods and tend to fit many adult faces:
Eyes at halfway.
Bottom of nose halfway between eyes and chin.
Mouth about one-third (or a bit more) of the way down from nose to chin.
Heads vary, of course, but this gives a solid starting point.
Step 2: Block in the Features (Eyes, Nose, Mouth, Ears)
Using the guidelines:
Eyes: Divide the face width into roughly five equal spaces across the eye line. The head is about “five eyes” wide. The actual eyes will occupy the second and fourth spaces, with one eye-width space between them and half an eye-width at the sides to the head outline. Sketch almond shapes for each eye in the appropriate spots on the eye line. Keep them light for now – just outline the basic shape (we’ll detail them later). Don’t worry about iris detail yet, but mark lightly where the iris goes (it should be cut off slightly by the upper eyelid for a natural look).
Nose: Drop to the nose line. From the inner corners of each eye, imagine vertical lines dropping down – the width of the nose typically falls between those lines. Draw a soft triangle or trapezoid shape centered on the nose line for the nose base. Essentially, a triangle with the tip on the nose line and the top somewhere between the eyes (where the bridge starts). Right now, it may look like a simple geometric shape. That’s fine.
Mouth: Go to the mouth line (midway between nose and chin). The mouth width usually aligns roughly under the eyes’ irises if you drop vertical lines. Mark small vertical ticks for the mouth corners under each iris (adjust if your reference shows a person with wider or narrower mouth). Draw a horizontal line or gentle curve between those marks for the line where the lips meet. Then sketch an upper lip shape (usually like an elongated “M” shape, but subtle) and a lower lip (a softer “U” shape). At this stage, it looks a bit like a flat “bird” drawing for lips – just capturing the idea of two lips meeting.
Ears: If the person’s ears are visible (not covered by hair), outline them now. Ears attach between the eye line and the nose line typically. So draw a oval-ish or C-shaped outline on each side of the head between those two lines. They should angle a little (ears usually tilt out at the top slightly). Again, detail comes later; just place them.
So far, if you did this super roughly, your drawing might resemble a very crude mannequin face – features mapped but not refined. That’s perfect at this stage. You might even be thinking it looks nothing like the person yet. Don’t worry – likeness comes with refinement of shapes and shading.
Step 3: Refine the Shapes of Features
Now that everything is roughly where it should be, we’ll refine each feature one by one, referring closely to our reference for the individual’s unique shapes.
Eyes Refinement: Look at your reference. Are their eyes almond shaped, rounder, more narrow? Refine the outline of the eyes to match. Typically:
Add the tear duct area on the inner corner (a little semicircle or point).
Ensure the upper lid has a distinct curve and perhaps thickness (eyelid fold can be indicated with a line above the eye if visible).
Draw the iris circle in each eye. Make sure to leave a highlight (if present in the photo) or plan to erase one out later. It’s critical for realism to show the catch light in the eyes.
Draw the pupil inside (small black circle).
Lightly shade the iris or indicate its pattern (if you’re going for hyper-realism, you’ll do that in shading phase).
Add the eyelids – a line or fold above each eye if the person’s eyelid crease shows.
Eyelashes: for now just note that there will be some – avoid drawing individual spike lashes (that can look cartoony if overdone). The upper eyelid line you drew can be thickened slightly to imply lashes.
Nose Refinement: Erase the overly geometric placeholder and start shaping the nose. Key parts:
Define the nose tip: usually a ball-like shape. Draw softly around that triangle tip you had. It’s like shading a ball at the end of the nose.
Draw the nostrils: On either side of the bottom of the nose, there’s the nostril openings – usually like two small dark comma shapes or ovals, depending on angle. Place them at the base shape you drew, symmetric around the center line.
Nostrils wings (ala of the nose): the flared parts around the nostrils. From the nose tip, curve around the nostril holes to form those. In frontal view, you see a hint of these curving from the nose tip down to meet the face.
The bridge: Lightly indicate the bridge of the nose coming down from between the eyes. In realism, usually you don’t draw a hard line for the bridge (unless the lighting edges it out). You show it with shading. But to keep track, lightly sketch where it goes. Often there’s a narrowing between the eyes, then it widens to the nose tip.
Noses are subtle – a lot will be done with shading. But ensure your nostrils and tip placement is correct. Frequently check the reference: how wide is the nose compared to the distance between eyes? Adjust as needed.
Mouth Refinement: Erase the generic “M” and “U” and shape the lips realistically.
The line where the lips meet (the one you drew) is usually sharp and dark, as the mouth interior is shadowed. Keep that.
The upper lip has two peaks (Cupid’s bow) in the middle. Draw those according to your reference (some people have very pronounced Cupid’s bows, others flatter). From those peaks, the upper lip slopes down to the corners. Outline the shape paying attention to thickness and shape from reference.
The lower lip is usually fuller. Draw its outline – typically like a gentle curve, flatter in the middle bottom, rising slightly at corners. Think of it as two semicircular lobes joined.
Mark slight shadows at the corners of the mouth – often the corners fade into surrounding skin with a little soft shadow rather than a hard line.
Also note: The upper lip is usually darker in value than the lower lip (since it angles inward). We’ll shade that later.
At this point, step back and check the likeness quickly. Does the spacing between features resemble your subject? Common things to check:
The distance between the eyes – too far apart or too close? (Adjust by moving the irises/pupils if needed or slightly enlarging the eyes).
Nose width vs mouth width – usually mouth is about 1.5 times nose width (varies per person).
Are the features horizontally level? (Both eyes on same line, etc., unless the head is tilted – in which case adjust guidelines to tilt).
Face shape: maybe sketch in a more precise cheek and jaw outline now. Real faces aren’t perfectly oval. Observe your reference – does the person have a wider jaw? High cheekbones? You can lightly draw in where cheek shadows go to suggest the face structure.
Ears Refinement: Add details if ears are seen.
Draw the inner ear shapes: the curve of the cartilage (helix) and the inner folds. Ears are complex, but try to simplify: usually a big curved line for the outer ear rim, a little Y-shaped curve inside for inner ear folds, and the ear hole shadow.
Make sure the ear size looks right relative to the face. Ears often equal the length from eye to nose.
Step 4: Hairline and Hair Outline
Before diving into shading, sketch the hair. The hairline (where forehead meets hair) should have been marked; now refine it if visible. Then draw the major shapes of the hair. Treat hair as masses first:
Outline the overall shape of the hairstyle: is it long and straight (flowing past shoulders), short and curly (rounded around head), etc.? Draw the silhouette.
Remember hair has volume – it doesn’t sit flat on the skull. So above the scalp, give it some lift. For long hair, draw it coming off the head and falling with gravity.
Indicate partings or major waves. Don’t draw every strand (you will go crazy, and it rarely looks good). Instead, draw locks or clumps.
For now, a somewhat detailed outline and a few interior lines to show direction is enough. The real look of hair will come with shading and strokes later.
Step 5: Start Shading – Turning the Drawing 3D
Now the fun part: shading to create realism. Lighting is key – identify the light source in your reference. Let’s say in the photo light comes from above and slightly to one side (a common scenario). That means:
The eye sockets will have shadows (especially under the brow ridge).
One side of the nose will cast a shadow on the cheek.
The area under the nose (philtrum and above upper lip) will have a shadow.
The upper lip is darker; the lower lip catches light on its top surface but shadow under it on chin.
The chin and jaw will cast a slight shadow on the neck.
The side of the face opposite the light will have overall more shadow (cheek, temple area).
The sclera (whites of eyes) are not pure white; shade them slightly, with darker corners or where under eyelid.
Don’t forget a dark shadow inside the eyeball for the pupil and a medium tone for the iris (with radial pattern or gradient).
Using a softer pencil (2B), begin shading the darkest areas first:
The pupils: fill them dark, leaving the highlight dot white. This immediately gives life to the eyes.
The line between lips: dark.
Nostrils: dark inside.
Eyebrows: depending on person’s brow, lightly shade or stroke in the eyebrow hair direction. It might be dark too if hair is dark.
Then go to large shadow areas:
Shade the side of the face not facing light. Use the side of your pencil for smooth shading or small circular motions. Keep it lighter than your darkest darks, of course.
Shade under the cheekbones if visible: typically there’s a shadow under cheekbones that gives the face structure. Look at your reference for the subtle darker patch on the cheeks.
The eye sockets: lightly tone the upper half of the eye area to convey depth (unless your reference’s lighting blows that out).
The nose: This is critical. Carefully shade the planes of the nose. One side plane is in shadow – fill that in a gradient (darker near the edge that meets cheek). Under the nose tip is shadowed – a little crescent of tone there helps. Blend these shadows smoothly for a natural look. Leave the bridge mostly just a mid-tone except where it catches light (often the bridge has a highlight down it).
Lips: Shade the upper lip moderately dark (especially if the person has lipstick or naturally darker lips). The lower lip will usually have a highlight on the middle where it juts out, and shadow toward the corners. Also shade just under the lower lip on the chin – a shadow edge there makes the lip pop.
The chin: likely a highlight on the chin if light is above. Surround that highlight with slightly darker tone (but not as dark as deep shadows).
Neck: Shade the neck, likely quite dark if the chin is casting a shadow. Usually the area right under the chin is one of the darkest regions in a well-lit portrait. Draw that shadow shape and fill it.
Hair: Use confident strokes following the hair flow. Shade the masses of hair – typically hair shines where it faces light, and is dark in recesses. If hair is dark, leave highlights by not shading some streaks. If hair is light, you will instead shade the shadows and leave a lot of paper white. Draw strands in clumps, and make the outer silhouette of hair clear against background. Pro tip: don’t outline every strand at the end; use shading to convey clumps and softness. A few stray hair lines can add realism if done lightly.
Blend as needed: You can use a stump or your finger gently to smooth some areas (like cheeks or forehead) for even tone, but be careful not to smudge everything. Real skin has a soft look; harsh pencil lines should be blended out except where a sharp edge is needed (like maybe the crease of an eyelid or edge of nostril).
While shading, constantly compare to reference:
Where are the darkest darks? Make sure those in your drawing match.
Is there a unique shadow shape, like maybe a shadow of the nose on one cheek – include that accurately.
Gradients: The forehead might go from light to slightly darker near sides. Shade gradually for realism.
Also, check the values: Often beginners leave drawings too light. Don’t be afraid to get rich darks where needed; it will make the highlights appear brighter and the drawing more dimensional.
Step 6: Detailing and Likeness Tweaks
At this stage, the portrait should be looking quite realistic in form. Now refine details:
Go back to the eyes: add fine details like the eyelashes. Draw eyelashes as quick confident strokes, curving out from the eyelid. Upper lashes tend to curve up and are longer at the outer corners. Lower lashes are much sparser and shorter. Don’t draw 50 individual lashes evenly spaced – vary spacing and grouping for natural look.
Refine the iris: maybe darken the rim of the iris, add some slight radial shading or spokes to mimic the texture.
Add skin details if needed: perhaps a hint of a dimple, freckles, or the subtle line of the philtrum (the groove from nose septum to lip).
If your subject has facial hair (stubble, etc.), use tiny dots or dashes, very lightly, in the appropriate areas (chin, cheeks) to hint at it.
Highlights: you can use your eraser to pull out highlights if you shaded over them. Dab the eraser to brighten the tip of the nose, the cheekbones, the forehead top, etc. A kneaded eraser shaped to a point works great for this.
Background: A trick to increase realism – if you lightly shade the background on the side of the face that’s light, it will make the face’s light side edge stand out (contrast). And on the shadow side of face, leave background white or lighter so the dark head edge stands out. This is optional, but a slight tone behind can make the portrait pop.
Now assess likeness. Realism can be there but maybe it doesn’t quite look like the person. Common fixes:
Check distances: e.g., is the nose drawn too long or short? If too long, the area between nose and mouth might be too large – you could slightly raise the mouth (erase and re-shade if minor change). If eyes are too high/low, adjust if possible.
Check angles: sometimes a slight tilt or asymmetry in eyebrows or mouth corners gives expression – match that.
Edges: Sharpen up any edges that define the face’s unique shape (jawline, etc.). If jaw needed to be a bit rounder or chin more prominent, now’s the time to refine that shading/line.
Contrast: Sometimes increasing contrast (darker darks, cleaner highlights) magically makes a portrait more convincing. Don’t overdo, but ensure a good range.
Be patient; tiny adjustments can suddenly click the likeness into place. I often take a short break, then come back with fresh eyes to spot what’s off.
Step 7: Finishing Touches
We’re nearly done. Last touches:
Emphasize the sparkle in the eyes: ensure those catchlights are clean (erase a speck if needed to pure white). The eyes are often the focal point, so they should be crisp where needed (iris detail) and deep.
Finalize hair: maybe add a few flyaway hairs or extra strokes to break any areas that look too pattern-like. Real hair has random stray strands.
Sign your work discreetly if you want – you earned it!
Finally, put your portrait next to the reference and appreciate what you’ve achieved. Even if it’s not a 100% photographic likeness, you’ve learned a ton by observing and drawing. Realistic portraits take practice; each one gets better. Always celebrate the parts you got right – maybe the shading on the nose is nice, or the eyes look lively.
Bonus Tip: Sometimes looking at your drawing in a mirror (or flipping the image horizontally) can help you spot disproportion or skewed features because it gives you a “new” perspective. It’s a classic artist trick to check work.
Conclusion
Drawing a realistic portrait is a journey of observing and translating those observations into pencil marks. We went from an oval and some guidelines to a nuanced face with depth – pretty cool, right? Sure, it’s a lot of steps, and your pencil might be a tiny nub by now, but the result is worth it. Keep practicing with different faces – you’ll discover every face has its own rhythms and shapes. The more you draw, the more you’ll train your eye to see accurately.
Remember, if at first your portrait looks like a distant cousin of the subject rather than a twin, that’s normal. Accuracy improves each time. The key is seeing – once you truly see what makes that person’s face theirs, you can draw it. So go ahead and draw lots of faces, and enjoy the process of bringing them to life on paper. Happy portrait drawing!