Siren’s Rest

I first created the drawing using the grid technique to ensure accurate proportions.

After completing the grid drawing, I transferred it onto Fabriano paper.

Before beginning the shading process, I applied masking tape around the edges of the paper to secure it to the drawing board and create a clean white border around the finished artwork.

As with all of my portraits, I always begin by drawing the eyes because they are the most expressive part of the face.

For the first time, I introduced color into one of my artworks using Faber-Castell Polychromos colored pencils.

I used:

Phthalo Blue (110)

Cobalt Green (156)

By gradually layering these two colors, I achieved realistic blue-green eyes while maintaining the overall monochrome style of the portrait.

The eyebrows and eyelashes were drawn using a Lumograph graphite pencil sharpened with both a cutter and a sharpener to create extremely fine lines.

I then softened them slightly using a Size 2 soft brush, creating a more natural appearance without losing the sharp details.

The skin was created using a combination of graphite powder and charcoal powder.

To prepare the graphite, I shaved graphite sticks using a cutter and sandpaper until they became a fine powder.

The graphite powder was used for the lighter skin tones, while charcoal powder was applied only in the darker shadow areas.

Before applying either powder to the artwork, I first blended it onto a separate sheet of paper to remove excess pigment. Then, using soft brushes, I blended the powders onto the portrait with gentle circular movements, gradually working from the darker areas toward the lighter ones to create smooth, realistic skin.

The freckles were created using a blending stump dipped lightly into charcoal powder.

After placing the freckles individually, I softened them gently with a Size 2 soft brush to help them blend naturally into the skin rather than appearing as harsh dots.

The white seashells resting on the skin required several different techniques.

I first drew their outlines using a Size 0 stiff brush and charcoal powder to establish their shapes and shadows.

Afterward, I applied White Conte to create the bright surfaces of the shells, allowing them to stand out naturally against the skin.

The small starfish in the hair were also colored using White Conte.

The hair was first developed using Conte powder applied with soft brushes to establish the overall dark values.

I then drew individual strands using a Conte pencil before blending them gently with soft brushes.

Finally, I used a small mechanical eraser, sharpened to a fine point, to lift highlights and create realistic light-colored hairs.

The soft highlights across the face were created using a combination of kneaded eraser and brush eraser.

These tools allowed me to gradually lift graphite and charcoal from the paper, creating soft transitions and natural-looking highlights.

I also used a soft brush with charcoal powder to gently shade beneath the chin, increasing the depth and giving the face a stronger three-dimensional appearance.

The natural lines and texture of the lips were created using charcoal powder applied with a blending stump.

I then used a brush eraser to lift the brighter lines and highlights, creating realistic lip texture and softness.

In my opinion, the most challenging part of this artwork was drawing the hand and fingers.

Hands require accurate proportions, subtle shading, and careful attention to anatomy.

I created the darker lines using charcoal powder with a Size 0 stiff brush.

The lighter areas and highlights were then lifted using a brush eraser, helping define the fingers while maintaining smooth transitions.

The background was created using a very light layer of charcoal powder.

After blending it smoothly with soft brushes, I used a brush eraser to gently remove charcoal and create fine linear textures that resemble sand.

This subtle background helps keep the focus on the portrait while reinforcing the beach-inspired atmosphere.

Before completing the artwork, I carefully compared every section with the original reference, making sure the proportions, textures, values, and details were accurate.

After the artwork was finished, I carefully removed the masking tape by peeling it back slowly at a low angle to avoid damaging the paper.

This revealed a clean white border around the completed drawing.

Finally, I applied several light coats of fixative spray to protect the graphite, charcoal, Conte, and colored pencil from smudging and to preserve the finished artwork.

Always spray the fixative in a well-ventilated area, holding the can approximately 30–40 cm away from the paper and applying several light coats rather than one heavy coat.