Instead of sketching each element one by one, the first step in your sketching should be to draw the "inclusive" arabesque, i.e., the inclusive outline of the figure. The inclusive arabesque which encompasses parts other than the head (in this case the head, fingers, and arms) is called the "construct".



For the novice it is best to reduce the complete arabesque to its simplest shape thereby ignoring all the minutia such as the irregularities in the fingers and the hair. With practice, you will be able to add all these bumps without much difficulty as you go along.

A good construct (also known as a complete arabesque) also contains a singular gestural rhythm that subordinates all minutia. In other words, this rhythmic gesture exists free of the minutia.

When you are sketching a single entity or head the examination of the height/width sizing is fairly easy. As a general rule the width of the head is checked against its length employing the base of the chin as the principal signpost.

If, for some reason the chin is conceiled (e.g., behind the arm or fingers), a different signpost must be located. The arm, the jaw, or the lines of the fingers are good spots to find a new signpost.

Once you have drawn a satisfactory construct it must be checked for precision. To do this, we can, for example, look for vertical and/or horizontal distances that are supposed to be the same and see if they in fact are the same. Use all your acquired knowledge of sizing. Also use your general knowledge of anatomical placing of the ears, eyes, etc.

Once you are pleased that the construct is appropriately drawn you can continue to hatch-in the principal light/dark pattern and take your first tentative stab at sketching the facial features, i.e., the placing of the brow, the eyes, the nose and the mouth. Again, if the usual signposts for those entities can for some reason not be used you should be creative enough to determine proper substitutes.

Keep blocking-in all entities as soon as you sketch them. This includes the fingers, arms, and hair if any of them are visible in the particular pose you are sketching. Remember to always sketch from the general to the specific.

Also, always use a sharp pencil, take into account your understanding of anatomy, and always look for mistakes and, of course, correct them.

Next, the pencil portrait sketch must now be worked-up value-wise by hatching with 8B, 2H, and 4H pencils, by blening the pencil dust with your fingers or a stump, and by using your putty eraser to characterize the lights. All this should be done in a sculpturally manner.

Finally, you can settle how much minutia you want to put into your sketch or how unresolved you may leave the sketch. For instance, you can leave some parts of the fingers or the arm unresolved. Or, if you want to emphasize a particular part of the portrait, you can add detail in that part and leave the other regions slightly unresolved.

These are a few of many considerations that go into sketching a more complicated portrait that has a complete arabesque. One critical thing to memorize is to sketch the construct first so you do not end up sketching one element after another without preserving cohesion. Following these rules will surely put you on the correct path of sketching more complicated portraits.