Once the arabesque has been accurately struck the basic landmarks of our subject can then be placed. When I first discussed the primary height/ width proportions of the initial rectangle I mentioned that it would be a good idea to make a mental note that the bottom of the headpiece lies just a small distance from the vertical middle. Now is the time to apply that mental note.

Take your best guess (that’s without any premeasuring which will significantly slow down your learning progress) at the placements of these landmarks: the base of the headpiece, the browline, the base of the nose, and the vertical drape of cloth.

Once these landmarks are indicated you can now sight (I prefer a slender, neutral colored knitting needle) to determine the accuracy of your placements. And correct as necessary – after a short time of studious practice you will find that you need to correct less and less.

Squinting down my eyes so that I can determine the elementary light/dark pattern of my costumed busker I block-in the darks with one even tone using the side of a small piece of black conté.

Resist the temptation to break down your tones into darker and relatively lighter passages. That will come soon enough. The one BIG rule of drawing and painting is: General to Specific!

Using my fingers I stump down the black conté into as even a tone as I can get it. Admittedly this is not a pretty picture and probably not for the faint hearted. Many beginners are fearful that they will lose all of their hard work thus far and the truth of the matter is, well, yes you could. But if you can get it once, you can get it again.

Think of this stumping as if it were pounding a large lump of clay into shape. You’re drawing with a sculptural sensibility now. Just one caveat; use you fingers to stump in, using a tortillion (paper stump) will compress and deaden the conté.