Take a reference photo, isolate the shadows, and shade the drawing using only two values: pure white for the light and a single shade of gray for the darks. This builds a powerful command over lighting composition.
While you won't find Chari’s name explicitly on Archive.org, you can find vintage books on Painterly Photography (1900-1950). Since Chari’s techniques are rooted in classical art, downloading a free PDF of "The Art of Lighting" by William Mortensen will give you the same theoretical foundation.
Divide the face from the hairline to the chin into three equal sections: hairline to brow, brow to the bottom of the nose, and nose to the bottom of the chin. aditya chari portrait techniques pdf free
If you find a "free PDF" claiming to hold Aditya Chari’s secrets, verify it contains the following three technical pillars.
: Analyzing facial features—eyes, nose, mouth, and ears—from various angles (front, three-quarter, side, and tilted). Take a reference photo, isolate the shadows, and
Instead of starting with the outline of the face, Chari teaches artists to visualize the skull as a solid sphere. This represents the mass of the cranium. By treating the head as a 3D object rather than a 2D flat shape, you instantly gain control over perspective and tilt. The Jaw and Chisel Blocks
Chari simplifies the nose into a wedge-shaped prism. It consists of four primary planes: the top bridge, the two sides, and the bottom plane containing the nostrils. Master the bottom plane first to establish the perspective of the entire nose. Since Chari’s techniques are rooted in classical art,
Darken the edge where the light completely turns into shadow (the terminator line). This creates an immediate sense of roundness and weight.
Capturing the human face requires a balance of anatomy, value control, and structural understanding. Among contemporary masters of drawing, Indian artist and animator Aditya Chari is highly regarded for his ability to translate three-dimensional life onto a flat surface.
Keep shadows clean. Reflected light bouncing from the environment into the shadow side should never be as bright as any area directly illuminated by the light source.
For pores and stubble, Chari uses a sharp 2H pencil in tiny circular scribbles, then blends lightly. The result is texture without looking like individual lines.