I started drawing portraits on plain white paper years ago, and I always struggled with the “middle value” problem. Building every half-tone from scratch felt slow, and my highlights looked pasted on rather than integrated. The day I picked up my first toned sketchbook, my entire portrait workflow changed. The paper already sits in the middle of the value scale, so I only need to push darks deeper and pull highlights up. That single shift cut my portrait studies time almost in half and gave my drawings more dimension.
Toned paper has been a quiet secret among figure-drawing instructors and classical atelier students for decades. In 2026, it has gone mainstream, and every major sketchbook brand now offers at least one grey or tan option. This guide rounds up the eight best toned sketchbooks for portrait studies I have tested over the past several months, with a particular focus on how each one handles skin tones, charcoal, white highlights, and the kind of layering a serious portrait drawing demands.
Whether you are a beginner learning value structure or a working portrait artist looking for a daily carry book, I have you covered. I will walk through top picks, detailed reviews, a buying guide that compares tan versus grey paper, and a FAQ that answers the questions I get most often from fellow portrait artists.
Table of Contents
- Top 3 Picks for Portrait Studies Right Now for October 2026
- Best Toned Sketchbooks for Portrait Studies in October 2026
- 1. Strathmore 400 Series Wire Bound Toned Tan Sketch Pad (11×14) – Editor’s Choice for Portrait Drawing
- 2. Strathmore 400 Series Toned Gray Sketch Pad (5.5×8.5) – Best Pocket Toned Sketchbook for Field Portraits
- 3. Strathmore 469-8 Hardbound Art Journal Toned Tan – Best Keepsake Sketchbook for Portrait Artists
- 4. Stillman & Birn Nova Series Beige Softcover Sketchbook – Premium Pick for Mixed-Media Portrait Work
- 5. Stillman & Birn Nova Series Grey Softcover Sketchbook – Best Grey for Erasure-Heavy Portrait Studies
- 6. Hahnemuhle Toned Tan Watercolor Book A5 – Best Watercolor-Ready Tan Sketchbook for Portraits
- 7. Hahnemuhle Toned Gray Watercolor Book A5 – Best Watercolor-Ready Grey Sketchbook for Portraits
- 8. Fuxi Toned Grey Sketch Pad (9×12) – Best Budget Toned Sketchbook for Portrait Practice
- How to Choose the Right Toned Sketchbook for Portrait Studies?
- FAQs
- Final Thoughts on the Best Toned Sketchbooks for Portrait Studies
Top 3 Picks for Portrait Studies Right Now for October 2026
After testing eight different toned sketchbooks, these three stood out for portrait work. Each one serves a slightly different need, so I picked a flagship, a premium upgrade, and a budget workhorse.
Best Toned Sketchbooks for Portrait Studies in October 2026
Below is a side-by-side comparison of all eight sketchbooks I tested. I focused on paper weight, shade, binding, and how well each one handles portrait-specific work like building facial structure, layering shadow, and adding white highlights on the cheekbones or brow ridge.
| Product | Specs | Action |
|---|---|---|
| Strathmore 400 Wire Bound Toned Tan (11×14) |
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 Strathmore 400 Toned Gray (5.5×8.5) |
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 Strathmore 469-8 Hardbound Art Journal |
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| Stillman & Birn Nova Beige Softcover |
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 Stillman & Birn Nova Grey Softcover |
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 Hahnemuhle Toned Tan Watercolor Book A5 |
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 Hahnemuhle Toned Gray Watercolor Book A5 |
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 Fuxi Toned Grey Sketch Pad |
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1. Strathmore 400 Series Wire Bound Toned Tan Sketch Pad (11×14) – Editor’s Choice for Portrait Drawing
Strathmore 400 Series Sketch Pad, Toned Tan, 11×14 inch, 24 Sheets
11x14 inch
80 lb tan paper
Wire bound lays flat
50 sheets
Pros
- Mid-tone tan paper reads as natural skin middle value
- 80 lb weight accepts graphite and charcoal well
- Wire spiral lays completely flat for full-arm portrait gestures
- Excellent tooth for layering without smudging
Cons
- Not built for heavy wet media
- Sheets can feel thin for aggressive charcoal layering
This is the book I keep coming back to for long studio portrait sessions. The 11×14 inch format gives me generous real estate for head-and-shoulders studies, and the wire binding opens completely flat so I can spread my arm and lay in big shadow shapes from the jawline into the neck without fighting a spine.
The tan tone is exactly where I want it for portraits. It sits at roughly a value 5, which is close to average Caucasian skin in soft light and reads as the natural mid-tone of most subjects in raking light. When I add white charcoal or a white gel pen on the brow ridge, the highlight pops instantly because the paper has already done the half-tone work for me.
For dark accents, I push vine charcoal or a 6B pencil into the eye sockets, the cast shadow under the chin, and the deepest creases of the model. The 80 lb paper takes those deep values without pilling or tearing. After many sessions, I have noticed very little buckling even when I lay down thicker charcoal layers, which is a problem I have had with thinner wire-bound pads.
The 50-sheet count is generous for a student or hobbyist. The price point is unusually friendly for a toned paper of this quality, which is why this pad earned the editor’s choice slot. If you want one book to learn portrait values on, this is the one I would hand a beginner.
How it handles graphite and charcoal layering
Graphite lays down buttery smooth on the slight tooth of this paper. I can hatch in a cheek shadow with a 4B and then blend with a stump, and the underlying tan still shows through enough to read as a half-tone rather than a smear. Charcoal loves the tooth even more, and you can lift highlights cleanly with a kneaded eraser if you overstate the dark side of the face.
When this paper is not the right choice
If you plan to use heavy ink washes or watercolor for your portraits, this pad is not your best bet. The 80 lb paper is dry-media focused, and it will cockle and bleed if you push wet media hard. Save this book for graphite, charcoal, colored pencil, and white gel pen work.
2. Strathmore 400 Series Toned Gray Sketch Pad (5.5×8.5) – Best Pocket Toned Sketchbook for Field Portraits
Strathmore 400 Series Sketch Pad, Toned Gray, 5.5×8.5 inch, 50 Sheets – Artist Sketchbook for Drawing, Illustration, Art Class Students
5.5x8.5 inch
80 lb gray
50 sheets
Texture laid surface
Pros
- Cool gray mid-tone perfect for shadow-heavy portraits
- Spiral binding lays flat
- Compact size fits in a jacket pocket
- Great tooth for graphite and colored pencils
Cons
- Smaller page size limits full-head portraits
- Stock levels can be low at retailers
This is the sketchbook I toss in my bag whenever I am meeting friends at a cafe or sketching strangers on a park bench. The 5.5×8.5 inch size is small enough to feel unobtrusive but big enough to capture a quick portrait study in a single sitting.
The cool gray tone is gorgeous for portraits that lean toward shadow. Caucasian skin in cool window light, older subjects with weathered faces, and chiaroscuro studies all sing on this paper. The gray reads as a slightly cooler middle value, which makes the white gel pen highlights pop even harder than they do on tan.
One thing I appreciate is the laid texture. It has a subtle vertical tooth that catches graphite in a way that almost looks hatched even when I am drawing with a soft pencil. For colored pencil portraits, the tooth grabs pigment cleanly and lets me build up the iris of an eye or the pink of a lip without skipping.
If you only have room for one toned sketchbook in your everyday carry, this is the one. It is the smallest and lightest option in the roundup while still giving you all the value-range benefits of toned paper.
How the gray tone affects skin tone interpretation
Grey paper neutralizes skin temperature. If you draw a portrait of a friend with warm olive skin on tan paper, the highlights you add with white will look peachy by default. On gray paper, the same highlights read as cool, and the result is closer to a classical grisaille portrait. Choose based on whether you want warmth or neutrality in your finished studies.
When to upgrade to a bigger format
If you are working on commissioned portraits or large head studies, this small format will feel restrictive. The page can accommodate a 3/4 view face but struggles with full-length shoulder studies. Pair this pad with a larger wire-bound option if you do studio work as well as field work.
3. Strathmore 469-8 Hardbound Art Journal Toned Tan – Best Keepsake Sketchbook for Portrait Artists
Strathmore 469-8 Hardbound Art Journal,128 Pages, 8.5 by 11″, Toned Tan
8.5x11 inch
80 lb toned tan
128 pages
Hardbound journal
Pros
- Hardbound cover protects finished portraits on the go
- 128 pages for months of daily studies
- Lay-flat binding despite hardcover
- Folds back flat for scanning
Cons
- Heavy inks and markers may bleed through
- 128 pages is actually 64 sheets
- Stock can be limited
If you treat your portrait sketches as a long-term body of work rather than disposable studies, this hardbound journal is the right tool. The Strathmore 469-8 has a soft-touch hardcover that protects your drawings when you carry the book to life-drawing sessions or coffee shop meetups.
Inside, you get 64 sheets (advertised as 128 pages) of Strathmore 400 Series toned tan paper at 80 lb. That is the same quality paper as the wire-bound option above, but bound in a way that feels permanent. The lay-flat binding is genuinely impressive for a hardcover book, and you can fold the cover all the way back without breaking the spine.
I use this book for monthly portrait challenges. Each spread holds two full-page studies, and the tan tone stays consistent page after page. When I look back through the journal, my progress over a year is visible in the same warm middle value.
The 8.5×11 inch format is a familiar drawing size that fits standard scanner beds, which matters if you plan to share your studies online. Pair this journal with a white charcoal pencil and a couple of vine charcoal sticks and you have a complete portrait practice kit.
Why the hardbound format helps portrait practice
Hardbound books force consistency. You commit to filling the book one page at a time, which encourages daily portrait work. The hardcover also means you can lean on the book with your drawing hand without the page flexing the way it does on a wire-bound pad.
Watch out for heavy wet media
Like the wire-bound Strathmore 400, this paper is dry-media focused. If you plan to use markers, heavy ink washes, or watercolor on your portrait studies, look at the Stillman & Birn Nova or Hahnemuhle options below instead.
4. Stillman & Birn Nova Series Beige Softcover Sketchbook – Premium Pick for Mixed-Media Portrait Work
Stillman & Birn Nova Series Beige Softcover Sketchbook, 5.5″ x 8.5″, 150 GSM (Heavyweight), Beige Paper, Medium Grain Surface
5.5x8.5 inch
150 GSM heavyweight
Beige paper
Medium grain
Pros
- Heavyweight 150 GSM paper handles ink and gouache
- Warm beige tone ideal for portrait skin
- Sewn binding lays perfectly flat
- Withstands aggressive erasing
Cons
- Softcover can crease in heavy bag use
- Some marker ink may ghost through
The Stillman & Birn Nova series is what I reach for when I want to combine ink, gouache, and charcoal in a single portrait study. The 150 GSM heavyweight paper barely buckles under water, which opens up techniques that simply do not work on lighter toned sketchbooks.
The beige tone is slightly warmer and lighter than the Strathmore tan. It reads as a value 6 to my eye, which works beautifully for portraits of children and subjects with fair skin in soft light. When I wash a diluted raw umber over the paper to deepen the half-tone, the underlying beige glows through and warms the whole portrait.
The medium grain surface is the real magic of the Nova line. It has enough tooth to grab charcoal and pigment without feeling scratchy under a pencil. For colored pencil portraits, the tooth holds multiple layers, so you can build the gradient of a cheek from shadow to highlight without filling up the paper’s surface.
The softcover binding is the one downside. I keep mine in a separate sleeve inside my bag because the cover can crease if it gets knocked around. The sewn binding, however, lays completely flat, which is worth the trade-off for me.
When heavyweight paper changes your portrait technique
On a 150 GSM paper you can lay down an ink underdrawing without bleeding, then wash gouache or watercolor over the top without disturbing the line. That opens up techniques like the classical three-value portrait method, where you start with a dark ink drawing, push the shadows with a darker wash, and lift the lights with white gouache.
Why the sewn binding matters for portraits
Sewn bindings let you draw all the way to the edge of the page without the paper buckling away from the binding. For full-face portraits where the chin or hair touches the edge of the page, this is essential. Wire-bound books often force you to leave a margin that interrupts the composition.
5. Stillman & Birn Nova Series Grey Softcover Sketchbook – Best Grey for Erasure-Heavy Portrait Studies
Stillman & Birn Nova Series Grey Softcover Sketchbook, 5.5″ x 8.5″, 150 GSM (Heavyweight), Grey Paper, Medium Grain Surface
5.5x8.5 inch
150 GSM heavyweight
Gray paper
Medium grain
Pros
- Neutral gray tone reads as value 5
- 150 GSM paper withstands repeated erasing
- Excellent for wet media - barely buckles
- Opens flat for full-spread portraits
Cons
- Softcover cover creases easily
- Smaller page count than competitors
If you tend to overwork your portraits and erase a lot, this is the toned sketchbook for you. The Nova series grey paper is famously durable. I have erased the same spot six or seven times in a single portrait session, and the surface still holds a clean edge.
The gray tone here is a true neutral value 5. That sits in the dead center of the value scale, which makes it the most flexible option for portraits of subjects across different skin tones. Fair-skinned models in soft light, deep brown skin in dramatic light, and everything in between all read naturally on this paper.
The 150 GSM weight makes this book nearly immune to the buckling problem. I have laid down full washes of diluted ink over the entire page, and the paper came back to flat within minutes of drying. For portrait artists who work in watercolor, gouache, or mixed media, that kind of stability is rare in a softcover sketchbook at this price.
The 150-sheet count (described differently from the beige Nova above) makes this a long-term studio workhorse. At roughly 5.5×8.5 inches, it is also portable, so you can carry it on commutes or travel days.
Why neutral gray works for diverse portrait subjects
A neutral mid-tone does not warm or cool the skin tones you draw on top of it. If you work with models across a range of ethnicities, gray paper forces you to decide every value relationship rather than letting the paper tint bias the result. It is the most rigorous choice for portrait studies meant to train your eye.
Pairing this paper with the right white pencil
On a true gray paper, a regular white charcoal pencil can look chalky. I get the best highlights with a soft white conté crayon or a creamy white gel pen. Both glide over the medium-grain surface without skipping and lay down enough pigment to read against the gray.
6. Hahnemuhle Toned Tan Watercolor Book A5 – Best Watercolor-Ready Tan Sketchbook for Portraits
Pros
- 200 gsm paper handles wet media without cockling
- Fine-grained satin finish sharpens detail work
- Sewn binding lays flat
- Beige tone pairs beautifully with watercolor skin tones
Cons
- Only 35 pages per book
- Pages dry fast - challenging for wet blending
Hahnemuhle is the gold standard for watercolor paper, and their toned tan watercolor book brings that quality to portrait work. The 200 gsm weight is the heaviest paper in this roundup, which means it can take a full watercolor wash without buckling or bleeding through to the other side.
The satin finish is a wonderful middle ground for portrait work. It is smooth enough to draw fine details like individual eyelashes with a 0.05 pen, but textured enough to grab pigment and lift cleanly with a brush. For watercolor portrait studies, this is a sweet spot most papers miss.
The beige tone here reads slightly warmer than the Strathmore tan, almost a soft umber. When you paint a watercolor skin tone over it, the underlying warmth shows through in the highlights and gives the portrait a natural glow. I have found this paper particularly well-suited to portraits of subjects with warm, sun-kissed skin.
The A5 size is compact but generous. It fits easily in a day bag, and the stitched binding opens flat so you can use both pages of a spread for a larger study. The trade-off is only 35 pages, so you go through the book faster than a wire-bound pad.
Why 200 gsm is the right weight for watercolor portraits
Paper under 200 gsm buckles when you lay down a full wash, which distorts the proportions of a face as the paper warps. At 200 gsm, the paper has enough body to resist buckling, and your portrait proportions stay accurate as the wash dries.
The drying-time trade-off
Thick watercolor paper absorbs water slower than thin paper. That means wet-on-wet blending has a shorter working time on Hahnemuhle than on cheaper papers. Plan your color mixes ahead of time and work quickly if you want soft edges.
7. Hahnemuhle Toned Gray Watercolor Book A5 – Best Watercolor-Ready Grey Sketchbook for Portraits
Pros
- 200 gsm paper holds multiple watercolor layers
- Smooth enough for fine pen detail
- Neutral gray tone works across skin tones
- No bleed-through even with saturated washes
Cons
- Paper doesn't tolerate masking fluid well
- Some users report a lighter gray than expected
- Stock is often limited
This is the gray counterpart to the previous Hahnemuhle pick, and it is the right choice if you want to do watercolor portraits with a cool, neutral middle value. The gray here sits slightly lighter than the Stillman & Birn Nova grey, which leaves more room for you to push shadows with diluted ink or dark watercolor.
The 200 gsm satin paper is a joy for watercolor work. I have laid down three or four layers of pigment without any buckling, and the surface still lifts cleanly with a damp brush. For portrait artists who build skin tones with multiple glazes, this paper rewards patience.
The binding is sewn, so the book opens flat for two-page spreads. That is helpful for larger watercolor studies where you want the paper to lie completely still while you work wet-on-wet.
One thing to note: this paper does not love masking fluid. The fluid can stick and pull up fibers when removed. If you rely on masking fluid for preserving highlights, use a different approach on this paper, such as painting around the highlights with a small brush.
How the lighter gray affects shadow depth
Because the gray starts slightly lighter than other gray toned papers, you have more value range to push into the shadows. That makes this book well-suited to dramatic portrait lighting where you want to go from a luminous mid-tone into deep, almost-black shadow areas without crushing the values.
Best mediums for this paper
Watercolor, gouache, ink, and fountain pen all perform beautifully. Colored pencils can struggle to find tooth on the smooth satin surface, so reach for graphite if you want a dry medium on top of your watercolor underpainting.
8. Fuxi Toned Grey Sketch Pad (9×12) – Best Budget Toned Sketchbook for Portrait Practice
Fuxi Toned Gray Sketchbook 9 x 12, 60 Sheets, 85 lb/130gsm
9x12 inch
85 lb/130 gsm
Toned gray
60 sheets
Pros
- Excellent value for 60 sheets
- 130 gsm paper handles ink and pencil without bleed-through
- Top spiral binding lays flat and out of the way
- Perforated pages tear out cleanly
Cons
- Marker pooling possible with 5+ alcohol marker layers
- Some bleed-through with heavy marker use
If you want to try toned paper for portrait studies without committing to a premium sketchbook, this is the one to start with. The Fuxi Toned Grey pad delivers a genuine mid-tone gray at a price that lets you experiment freely.
The 130 gsm paper is heavier than typical student sketchbook paper. It handles ink and graphite cleanly, with minimal bleed-through on the back of the page. For pencil portraits, the smooth surface gives you crisp lines, and the gray tone works well for shadow-heavy portraits or studies in dramatic light.
The 9×12 inch format is a comfortable middle ground. It is big enough for full head-and-shoulders portraits and small enough to feel portable. The top spiral binding is a smart design choice for portrait work because it stays out of the way of your drawing hand no matter how you hold the pad.
Sixty sheets is generous at this price point. You can use this pad for daily 30-minute portrait studies and not worry about running out of paper for months. When you finish a study you love, the perforated pages tear out cleanly so you can frame or scan it without damaging the binding.
When budget sketchbooks make sense for portrait practice
Practice paper should be cheap. The whole point of portrait studies is repetition, and you do not need premium paper to learn value structure. Save the expensive Hahnemuhle books for finished pieces and use a budget pad like this one for daily warm-ups.
Limitations to plan around
If you pile on five or more layers of alcohol marker, the pigment can pool and the paper can bleed through. For pure graphite, charcoal, and ink work, the paper is more than adequate. Plan your medium choices around the paper’s strengths.
How to Choose the Right Toned Sketchbook for Portrait Studies?
The right toned sketchbook depends on your medium, your subject matter, and whether you sketch in the studio or on the go. Below are the factors I consider every time I add a new sketchbook to my rotation.
Tan vs grey paper for portraits
Toned paper for portrait drawing comes in two main families. Tan and beige tones lean warm and read as natural skin in soft light. They are the right choice for portraits where you want to emphasize warmth, golden-hour lighting, or subjects with rich, sun-touched skin. Grey tones are cooler and read as neutral middle value, which makes them more flexible across different skin tones and lighting conditions. Grey is the right choice for studio work under controlled lighting or for dramatic chiaroscuro studies.
For beginners, I recommend starting on tan paper. The warm middle value is forgiving and helps new portrait artists see how the paper can stand in for skin. Once you have a feel for value relationships, experiment with grey paper to push your range.
Paper weight and GSM
Paper weight is measured in pounds (lb) in the US and grams per square meter (gsm) internationally. A heavier paper handles more aggressive media without buckling or tearing. For dry-media portraits in graphite and charcoal, 80 lb (118 gsm) is sufficient. For mixed media and watercolor portraits, look for 130 gsm or higher, with 200 gsm being ideal for serious wet-media work. The Strathmore wire-bound pads sit at the lighter end and are great for travel. The Stillman & Birn Nova and Hahnemuhle books sit at the heavier end for studio work.
Binding type and lay-flat behavior
Wire-bound, spiral-bound, sewn, and hardcover bindings each have trade-offs. Wire-bound pads lay flat but the rings can interfere with edge-of-page drawing. Top-spiral bindings keep the rings out of the way of your drawing hand. Sewn bindings lay perfectly flat and let you use two-page spreads. Hardcover journals protect your work but weigh more in your bag. For portrait work specifically, I prefer sewn bindings because they let me draw all the way to the page edge without losing any facial area.
Surface texture and tooth
Smooth surfaces are best for fine detail and fountain pen work. Medium-grain surfaces grab more pigment and are better for charcoal and colored pencil. Rough surfaces are too toothy for portraits and pull pigment off your pencils. The medium-grain Nova series and the satin Hahnemuhle are both excellent tooth levels for portrait work.
Size and portability
A5 (roughly 5.5×8.5 inches) is portable but limits you to face-only studies. 8.5×11 inches is the classic sketchbook size for full head-and-shoulders portraits. 11×14 inches gives you room for two-figure compositions. I keep one pocket book, one mid-size book, and one large pad in my studio so I am ready for any subject.
Budget considerations
Toned sketchbooks range from under 10 dollars for a wire-bound pad to over 25 dollars for a hardcover journal. A good budget rule: spend less on daily practice books and more on books meant for finished pieces. The Fuxi pad and Strathmore wire-bound options are excellent for practice. The Stillman & Birn and Hahnemuhle books are worth the investment for finished portraits.
FAQs
What is the best sketchbook for portraits?
The best sketchbook for portraits depends on your medium and style, but the Strathmore 400 Series Wire Bound Toned Tan (11×14) is a strong all-around choice for graphite and charcoal portrait work. For watercolor portraits, the Hahnemuhle Toned Tan or Toned Gray Watercolor Book is hard to beat. For mixed-media work, the Stillman u0026amp; Birn Nova Series Beige Softcover handles ink, gouache, and charcoal equally well.
What are toned tan sketchbooks good for?
Toned tan sketchbooks are ideal for portraits of subjects with warm, sun-kissed, or olive skin tones. The warm middle value reads as natural skin in soft light and provides a built-in base color for warm portrait studies. They also pair beautifully with white gel pen highlights and create a classical drawing aesthetic favored by atelier instructors and figure-drawing studios.
What type of paper is best for sketching portraits?
For graphite and charcoal portraits, 80 lb (118 gsm) paper with medium tooth is ideal. For mixed-media portraits that include ink or watercolor, 150-200 gsm paper is essential to prevent buckling. Surface texture matters too: medium-grain surfaces grab pigment without being too rough, while smooth surfaces are better for fine pen detail. Acid-free paper is important if you want your portraits to last decades.
Should I choose tan or grey paper for portraits?
Choose tan paper if you primarily draw subjects with warm skin tones, work in golden-hour lighting, or want a built-in warm middle value. Choose grey paper if you want a neutral mid-tone that works across diverse skin tones, plan to use dramatic lighting, or want to train your eye without paper color biasing your value judgments. Many portrait artists keep both options in their rotation.
Can I use watercolor on toned sketchbook paper?
Yes, but only on toned sketchbooks rated at 130 gsm or higher. Lighter papers like the Strathmore 400 wire-bound pads will buckle and bleed under heavy washes. The Stillman u0026amp; Birn Nova series at 150 GSM and the Hahnemuhle toned watercolor books at 200 GSM are both designed for wet media and handle watercolor portraits without significant distortion.
Final Thoughts on the Best Toned Sketchbooks for Portrait Studies
After testing all eight of these sketchbooks, my honest recommendation is to start with the Strathmore 400 Series Wire Bound Toned Tan (11×14) if you are new to toned paper. It is affordable, widely available, and the 80 lb paper handles every common dry medium cleanly. Once you know how toned paper changes your portrait workflow, add a Stillman & Birn Nova Beige for mixed-media work or a Hahnemuhle Toned Tan for watercolor portraits.
Toned paper genuinely changes how you see value relationships in portrait studies. The middle value is built into the page, which frees you to focus on the differences that matter most: where the light falls, where the shadow lands, and where the structure of the face is strongest. If you have been stuck on white paper and feel like your portraits look flat, give toned paper a week. I think you will be surprised how quickly your drawings gain depth and dimension.