Choose a subject who’s sitting close enough to clearly see their face and is in three-quarter profile.

When you have an emotional connection to someone, it can be difficult to see their face as a collection of abstract shapes. I suggest starting with drawing strangers.

I draw whoever interests me. Everyone has a story that’s worth telling. If you’re lacking inspiration, zoom the room.

To practice making candid portraits of strangers, look for places where people spend some sitting or standing still and are close enough to see the details of their faces, such as libraries, cafés, public transportation, airports, malls, parks, and building lobbies.

1. Notice the shape of the nose. Is it hooked, angular, straight, or sloped? Draw the nose in one line. Place your pen at the bridge of the nose (which begins at the innermost point of the far brow) and trace the topography of the nose, working down around the tip, the inside edge of the nostril, and continuing around to the outer edge of the nostril.

2. Depending on the nostril’s size and your perspective, you may need to draw some of the far nostril arch or interior. A little linework goes a long way to suggest these details. Start with small marks and add more if you need.

The eyes convey a lot about the subject, but you don’t need a lot of linework to capture that essence. Communicate the basic shape of the eye in two lines: one representing the upper eyelid fold and the other representing the upper lash line.

1. Continuing to work from the far side of the face to the near side, draw the far eye. Using a single motion and working inward toward the nose, draw the shape of the upper eyelid fold. Next draw the upper lash line. If you’re overthinking this feature, abstract the eye into basic shapes like semicircles, almonds, or half ovals.

Draw the near eye next. Start close to the nose and work to the outside. The closer eye is drawn slightly larger to show perspective. Match up the inner corners of the eyes to keep them on the same plane.

2. Add the iris. The iris is usually slightly covered by the lid, so draw it as a semicircle below the lash line. You can connect both ends of the semicircle to the lash line or leave the semicircle unattached on one end, which brings more life to the eye.

Partly color in the semicircle, leaving some white space in the middle. Experiment with how much you color; leaving some white space off-center captures a glint in the eye. Next, add details such as eyelashes or eyeliner.

3. The line of the bottom eyelid can add a lot of character. Don’t feel the need to trace the whole bottom lid line, which can make the subject look overly tired or old. I added a bit of the outer corner of the bottom lid to give some smile to the eye.

4. If your subject has hooded eyes (where the eyelid is still visible when the eye is open), or their eyes are closed, you can still draw the eye in just two lines.

1. Draw the top lip. Position this on the face by using the bottom of the nose as a reference to judge the distance between the nose and mouth. Observe the shape of the top lip’s outer contour and draw it, keeping in mind the basic shapes of the lips, such as triangular points, rounded cupid’s bow arcs, or more of a straight line.

2. Draw the outer contour of the bottom lip, which conveys its fullness. A longer, more rounded line suggests a fuller, more protruding bottom lip. Don’t connect the lines of the top and bottom lip, as this can look cartoonish.

A slight curl at the outer edge of the upper lip can turn a passive expression into a smiling or friendly one. Experiment to find more varied expressions.

If someone has a pronounced philtrum (the little groove that runs between the nose and top lip), draw that as well.

Just two or three lines can suggest the chin, jawline, and cheeks and enclose the shape of the face. You can draw the chin and jaw in a single line to give the impression of a firm jaw. Or draw the chin and jaw in two lines to express subtle details in that part of the face, such as a pronounced chin or a softer jawline.

1. Position the chin relative to its distance from the line of the bottom lip. Draw the chin, working from far side to near, keeping in mind the basic shape: square and angular or soft and round? You can extend the chin line to include a bit of the jawline as well.

2. Draw the jaw with a line that picks up a short distance from the chin. In this case, I wanted to suggest the edge of the jaw, so I drew a slightly curved line to show where the jaw turns toward the ear.

Experiment with making this line short, long, or even omitting it. These variations can suggest a soft face; a leaner, more chiseled face; or a determined expression.

3. Now draw the cheekbones. For the cheekbone on the far side of the face, a short, curved line can indicate cherubic cheeks, while an angled line suggests high cheekbones.

1. Map the placement of the ear by noting the relationship of the top of the ear to the brow line: is it lower, higher, or in line? Determine the size of the ear by noting where the earlobe attaches. Does it align with the bottom of the nose or perhaps the corner of the mouth?

Draw the ear, connecting the top and bottom points by tracing its outer contour, starting from the top.

2. Draw the ear’s inner folds. I like to have fun with these. A few squiggles is enough to suggest this detail.

1. Using a single line, trace the edge of the hairline, using the eyebrows as a reference to place the line. The hairline defines the forehead size and suggests the curve of the head. I drew just enough to suggest the peak of her forehead and her temple.

2. Add volume and shape by tracing the outline of the hair. I added a few lines to suggest the hair swirling into a spiraled bun.

Glasses add personality and frame the eyes, but they can be confusing to draw. Whether you’re drawing glasses straight on or in profile, block in the shape of the frames before drawing the brows, nose, and eyes. This sets the scale and makes it appear that the glasses are resting on the face. As you draw the brows, eyes, and nose behind the glasses, any details obscured by the frames are naturally left out.

Here are my tips for embracing your inner spy:

• - Don’t stare for too long and don’t look someone directly in the eyes.
• - Practice observing your subject using a soft-focus gaze; relax your eyes and take in a wide-lens view of the world. Observing someone in your peripheral vision allows you to sketch them without looking straight at them.
• - Someone engaged in a task such as reading a book or talking to a friend is less likely to notice you. Other great options include sleeping subjects or people who are zoning out.
• - Hold your sketchbook so that your subject can’t see what you’re drawing.
• - Stand out of the way or off to the side of your subject, so you’re out of their direct line of sight.
• - If someone catches you looking at them, pretend as though you’re looking past them. I imagine I’m a spy, and I practice acting naturally when I draw in public. The more normal you act, the less people notice you.

If someone is curious or unhappy about what you’re doing, simply smile and be friendly. Offer to show them your sketch and let them know they inspired you to draw them because they are inspiring. This is usually enough to turn anyone’s concern into a nice moment of connection, especially once they see what you’re doing. That said, use common sense and don’t sketch people who seem dangerous or clearly don’t want to be drawn. If you’re drawing someone official like a police officer or soldier, ask permission first.

Treat your subjects with curiosity, rather than being judgmental or making fun. This approach reflects back on you: Appreciating someone else’s unique characteristics makes you appreciate how unique you are. Remember: You are a work of art, and you’re sitting next to a masterpiece.