Art Tips By Helen

SOCIAL MORES

Symbolism can be used to tell truths about society, individuals or a situation. The way the artist chooses to portray these truths will be down to his style and personal approach to drawing, as the following examples show. A good artist will make his values clear in his work, even if he has to present then in code, which is what symbolism provides, as the following examples demonstrate.

ROYAL IS As ROYAL DOES

Symbolism has always been used as a vehicle for reinforcing the images of the powerful. Absolute monarchy became a hot topic in the 17^th century, especially in England where it cost a king (Charles) his head. Here we see a depiction of kingship reflecting political reality.

MAKING THE MOST OF THE MUNDANE

The symbolism in Jan Van Eyck’s Arnolfini Marriage (1434) is so complex that art historians are still unsure of the meaning attached to some of the picture’s content. It is quite certain, however, that the original represents both a blessing and a legal affirmation of the union of the couple portrayed, thought to be Giovanni Arnolfini and Giovanna Cenami. Every movement, position and object in this room underlines the theme of marriage contract produced by an artist.

MODERN VALUES

In this first example of modern symbolism, the figures are very expressive and expressionistic, as many American works were at this time. The reduction in physical solidity emphasized elegance and vibrancy.

The single wedding candle in the chandelier cites traditional annunciation iconography.

POSING YOUR SELF

The most difficult aspect of self – portraiture is being able to look at yourself in a mirror and still be able to draw and look at your drawing frequently. What usually happens is that your head gradually moves out of position, unless you have some way of making sure it always comes back to the same position. The easiest way to do this is to make a mark on the mirror, just a dot or tiny cross with felt-tip pen, with which you can align your head. You might ensure the mark falls between the centre of your eyes, corner of an eye or your mouth, whichever is easiest.

You can only show yourself in one mirror in a few positions because of the need to keep looking at your reflection. Inevitably, the position of the head is limited to full face or three- quarter’s right or full- face. In these positions you can still see yourself in the mirror without too much strain. Some artists have tried looking down at their mirrored face and others have tried looking upwards at it but these approaches are fairly rare.

If you want to see yourself more objectively you will have to use two mirrors, one reflecting the image from the other. This way you can get a complete profile view of yourself, although it does make repositioning the head after it has wandered out of position slightly more awkward. However , this method is worth trying at some point because it enables us to see ourselves the right way round instead of the left to right as in a single mirror. It will also give you a view of yourself.

Drawing your own reflection in a mirror is not too difficult, but you have to learn to keep your head in the same position. It is a very easy to move slightly out of position without noticing it and then find your features don’t much up. Use a marker spot on the mirror and line up something on your dace with it.

The angles of looking are restricted and whichever way you turn the eyes will look straight at you. This means there will be a similar effect in your finished drawing whatever the angle.

Using two mirrors in order to draw your own profile image. Rarely do we see ourselves in these, perspective, so it can be quite interesting visually.

Although a self-portrait is often just an exercise for the artist to learn how to draw, it can also be useful in pictures of large groups. Many Renaissance artists painted themselves into their large-scale figure compositions, partly because they wanted to include a signature but more importantly because a face shown looking out at the viewer – as in this detail from Botticelli – helped to draw the viewer into the picture.

Taken together, these portraits relay some basic truths about the art of the portraits. In the two Spencers we are confronted by penetrating honestly; in the Melendez by a plea for a chance to work more fully; and in the Hockney we appreciate how maximum effect can be achieved through the minimal means.

Luis Melendez was a brilliant still- life painter in 18^th – century Spain who never succeeded in reaching the heights of artistic achievement His self – portrait (1708) looks like an attempt to convince his public that his drawing of figures is a good reason to let him move lucrative and prestigious area of history painting where the human figure was the main figure. Notwithstanding the sill evident in this portrait, he was denied the chance by the Spanish Academy and went on painting mainly still- life subjects.

One of the most successful of contemporary artists, David Hokckney has been able to follow his delight in drawing the human face in an age when many artists have all but forgotten how to even produce a likeness. In this copy of an original he made 1983, the intense gaze makes it clear that he misses nothing. His handling of the form is very spare yet highly effective.

Animals in Portraits

February 14, 2013 Portraits

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Organizing the Composition

When it comes to featuring a favorite animal in portraits, art most certainly does mirror life. The golden rule is: animal first, human second. The composition may be agreed between you and the owner but the animal then has to be coaxed into position, preferably one that it can keep long enough for you to make a satisfactory drawing.

When the situation is as you want it, draw the animal. Don’t worry about the owner at this point, except for making a very rough sketch of the relation between pet and owner. Once you have a good drawing of the animal – and it may take more one attempt – turn your attention to the owner. If the animal is content to stay, put, continue. If it isn’t, just put the owner roughly in the pose wanted for the final drawing, without the animal, and carry on. You can work the two drawings together at this time or later .Obviously it is better if you can progress immediately from drawing the person, because that will give you a very spontaneous record of the event. If circumstances force you to put two drawings together afterwards, it is usually better to re-draw the animal in the correct position in relation to the owner rather than re-draw the owner. The reason for this is that e portrait of an animal is much easier to reproduce in a second than a human being because the animal’s expressions is unlikely to change.

It can be very helpful – and in some circumstances essential – to make a photographic record of the animal. Certainly it is easier to draw animal from photograph that it is a human being. Animals need to be coaxed by their owners. At this time, don’t draw the face, just an outline of their figure, but concentrate on the pet. Giving tidbits will usually entice a dog to keep a good position.

Cats are easier to draw when they are asleep and unaware of you studying gaze on them.

If you are portraying a horse you will probably need several attempts to find a good position in relation to the owner. Some horses are very twitchy and will only stand still when they are in their stall, where it is very difficult to get a good view of them. Photography can come to the rescue in these circumstances.

When you have positioned the animal and drawn it (A) , the drawing of the owner can go ahead. Take into account the position of the animal and link your sitter with it, perhaps by using a mock-up, as in our example (B). After you’ve tried this several times, the composition will begin to look more natural.

Using the Chair as a Prop

The convection of using furniture in portraits has not changed dramatically over the centuries, as the similarities between the following examples show. Sitting back to front on a chair was as popular in the 17^th century as it is in modern portraiture. Furniture is not sacrosanct. Use it to your advantage.

Frans Hals’ subject, Willem Coyman, seems very aware of having his portrait painted. The pose of arm resting very lightly across the back of the chair gets across the rather insouciant quality of the sitter. Coyman’s social pedigree is pointed up by the family coat of arms hanging on the back wall.

This copy of “Mum” by Benjamin Sullivan (2002) shows a room in the artist’s house, judging by the brushes in jam jars on the mantelpiece and the point on the bare broads. However, the chandeliers and convex mirror on the wall behind the sitter remind us of Van Eyck’s portrait of the Arnolfini marriage ( see Symbolism), as does the extreme tilt of the floor’s perspective. The armchair with tartan rug thrown over it might have made a more comfortable perch than the hard kitchen chair she is sitting on, but it would not have contributed the edge that comes out in the woman’s direct gaze. The bookshelves on either side of the chimney-breast help to give space, tone and texture to the background so that the final result looks like a working portrait and not especially posed. The table in the foreground with its opened crisp packet adds a touch of almost humorous texture to the portrait.

Mirror Images

Reflecting a view of a sitter in a mirror is a device that many artists have used, sometimes repeatedly. Although by taking this approach you have to produce two drawings for the price of one, the effect achieved is very often worth the extra effort. Somehow the viewer becomes more involved and the method offers opportunities for the artist to include additional information to the benefit if the finished picture. Quite apart from bringing an intriguing quality to a portrait, this approach can also add depth.

SETTINGS WITH A HISTORY

Historic characters have a built-on list of props that could be used to show their importance. The modern portraitist has to try to emulate this example by working out which objects will enhance the history of his subject. If your subject has done something celebrated, you need to show or at least allude to what this was. The achievements of sportsmen, scientists, artists and soldiers are relatively easy to convey visually. More difficult are those of politicians, local worthies and businessmen, and their portraits have to be approached with great imagination.

copy of napoleon by jacques louis david

Dress

February 13, 2013 Portraits

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Dressing for Character

Some compositional set- ups or styles of dress just ask to be drawn, no matter who is the wearer.

Csorati’s Silvana Cerni is wearing a white silk garment that is almost habit-like in its plainness. The sitter appears to be meditating or contemplating. Note how the folds in the clothing help to draw attention to her stillness.

This portrait by Meredith Frampton is a superb statement of fashion without fuss. The white silk dress is completely devoid of ornament to distract from the alert gaze and elegant figure. The cello suggests the young woman’s interests, but it is the dress which tells us about her.

Lady Caroline Scott looks as though she is enjoying wearing this cozy costume in Reynold’s portrait of her, and was probably much more amenable to posing because of the chance of getting to show off her super clothes. Apparently this infant scion of the aristocracy was also adept at keeping the pointer and his friends amused by the chatter.

Edward Carpenter, the charismatic Victorian socialist speaker, was drawn and painted by Roger Fry, the Bloomsbury artist. The idea of wearing the overcoat was probably the artist’s. He referred to it as ‘anarchist’ because of the slightly raffish air it gave Carpenter, who probably played up this aspect.

Putting a sitter in sporting kit can be a very good way of giving a portrait extra individuality. John Biglin was an American rower who was drawn and painted by the famous 19th century American artist Thomas Eakins. Biglin’s outfit is quite practical and yet it looks almost like fancy dress, especially the dramatic, almost piratical scarf around the neck.

Adding a Headdress

A headdress can radically change the appearance of a sitter as well as bring a lot of drama and unusual interest to a portrait. Unless someone wears a hat out of habit or because of their occupation, it is difficult to know beforehand whether it will work in a portrait, but don’t be afraid to suggest it because the results can be very impressive. Such an addition can provide insights into character, as these examples show.

In this copy of Vermeer’s famous painting of the girl with the pearl earring, the turban neatly obscures her hair and helps to show off the jewel, which might have been less noticeable if her head was uncovered.

T. E. Lawrence was acting as advisor to Emir Feisal at the Paris Peace Conference held at Versailles in 1919 when he was captured in a drawing by Augustus John. A passionate and active supporter of the Arab cause, Lawrence wore this style of dress as a matter of course and not as an affectation.

This extraordinary plumed hat is part of the dress denoting a Knight of the Order of the Bath. Instead of following convention and having the headdress shown on a table adjacent to him, the 1st Earl of Bellamont has decided to wear it, perhaps concerned that otherwise his membership of that august company might be lost on the viewers of his portrait (after Sir Joshua Reynolds).

Hair Styles

The greater masters used the styles of their day to emphasize the femininity of their subjects. Good features can enhance the e dramatic effect of elaborate dressing of the hair. However, where the gods have been more sparing in their distribution of looks, artists have to employ more subtle of portraying their sitters. An elegant hairstyle, assisted by good lighting, can help give substance to the plainest individual.

Vermeer used the ribbons and curled hairstyles of the 17^th century with great skill to emphasize the femininity of his subjects as these two examples show.

The ribbons and jewellery of this period enabled hair to become an architectural element in portraiture, which artists had to capture by paying attention to the intricacies of the design. Notice how Van Dyck produces a similar effect to Vermeer with his portrait of Queen Henrietta Maria.When people saw the queen at close quarters they were rather disappointed with her looks, so it is a tribute to Van Dyck’s skill that in this profile she appears gracious and elegant.

By contrast modern hairstyles are less fussy and less structure than styles from earlier periods. Usually you needed only to observe the direction of the combing or, in a more dishevelled look, just allow your pencil, brush or pen to move freely. The direction of the hair it is important, but as there is usually less in the way of braiding or curling the problem is simpler.

This example of a modern hairstyle, taken from a fashion magazine promoting hairdressing, gives a seemingly natural look, although this is sometimes attained at some effort and after a great deal of careful work.

Short hair has been very popular with women since the 19²⁰and like most modern hairstyles is not difficult to draw.

Drawing people at Different Ages

February 13, 2013 Portraits

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Portraying different ages

As a portrait artist you have to assess correctly the age of the face in front of you that it can be shown without causing the sitter to feel that you have made them look older or younger. Making people look younger is not normal a problem because most of us have an image of ourselves as younger then we are in reality. The hardest individuals to draw, oddly enough, are the very young. First and foremost, they can’t pose for you. Secondly, baby faces have very little in the way of distinctive features and therefore are very difficult to make interesting. As I hope you will see from the following series of drawings, the older we become the richer are the opportunities for the artist. (Unless stated otherwise, a B grade pencil was used for all the pencil drawings in these series.)

4 weeks: Drawing a young baby is a very salutary exercise, because the features at this age are not too distinctive. The most sensible way of tackling a portrait of this sort is to wait until the baby is fast asleep and then concentrate on placing the eyes, nose, mouth and ears accurately relative to the whole head.

6 months: At this age the face is becoming a bit more distinctive, because of a widening repertoire of expressions and the addition of hair. Pen and ink is not ideal for drawing a child this young, but as this was a spontaneous portrait I used what was to hand.

In Gainsborough’s marvellous portrait of the Duke and Duchess of Cumberland the arrangement does not attempt to disguise the fact that the young wife is much taller than her princely military husband. The full-length figures stop the picture being intimate. There is a definite ‘swagger’ effect, as the pair seem to be stepping out in public to show themselves off.

This sort of drawing needs a feathery, rather impressionistic touch with the pencil, using loose lines but observing the shapes as accurately as possible so that the lines don’t become too arbitrary. A considered effort to draw in the soft, feathery lines works better than making swift, dashing strokes.

The tall elongated triangle of the duchess makes a strong, vertical base shape for the rounder ellipse of her husband.

3 years: It is not easy to get young children to sit still for long, which is why drawings of them are often small. Luckily this model managed not to wriggle for about five minutes at a time, giving me just long enough to capture his clear, bright, lively expression. His eyes and mouth moved a lot, so I also took a photograph to help me in the finished pencil drawing. The technique is careful and as exact as possible. The expression is easy enough if you get the proportions of eyes, nose and mouth correct within the shape of the head; the proportions at this age is unlike that of the adult head, the chin being much smaller in proportion to the rest of the skull.

4 years: Two tones of conte’ pencil were put in carefully with as light a touch as possible to produce this example on toned paper. The hair is smooth and relatively easy to draw. The main interest is in the face, with the eyes particularly arresting, and the soft blurred look of the snub nose and soft mouth. The tone over the side of the face and around the nose and mouth had to be put in fairly lightly to prevent the surface looking harsh or angular. The absence of sharp edges in the features meant that the pencil had to be gently stroked onto the paper.

5 years: Ink is a difficult medium for a face as unformed as this and so the style had to be fairly loose and fluid. I used sweeping lines to prevent them looking too dry and technical. Ink does not allow a lot of subtle variations but its very simplicity can give a drawing great strength.

6 years: In this small sketch with a ballpoint pen I was interested in capturing the shape of the head and the dimensional effect of the large area of shadow and the bright areas catching the light. The features are drawn simply in line to show through the overall texture of shadow. At this age the features are becoming better defined, allowing the use of a stronger line.

13 years: In this example in ink the toned paper gives a slightly heavy look to the face which, although still soft and relatively unmarked by experience, has a slightly stronger bone structure and a look expressive of the mood swings that beset adolescents.

15 years : The face has the clarity and charm of youth but in the expression there is a hint of deeper knowledge. Drawing a portrait of this age group is not easy for the artist and is largely a question of what you leave out rather than what you put in. Often you can end up making your subject look older than young adults who are several years their senior. The beauty of the form demands clarity in the drawing. Further than this you have to try to express in some way the expectant feelings that girls of this age experience.

16 years: At this age the features are complete in form and full of life, strongly marked but still fresh and untouched by real anxieties. A light touch is required. Here the features are clearly drawn and there was an opportunity for making much of the hairstyle.

20 years: There is plenty of form to draw at this age and the greater maturity in style and carriage provides opportunities for interest. The beard growth and sculpted bones showing through help to define the age nicely. A 28 grade pencil was used in addition to a B grade.

25 years: The personality is now developed and tends to come through in any drawing in any style. As before the features and head shape have to be kept clear and definite, but you will have to pay careful attention to detail to convey distinctive nuances of expression and attitude.

33 years: In the thirties, experience of the world begins to tell on the face. The artist needs to identify the main characteristics of the subject and then bring into it all the subtle psychological variations that are shown in expression, habitual lines on the face and ambiguity in the projection of personality.

50 years: At the half century mark the artist is presented with a range of experience to emphasize or play down. You can opt for craggy weathered surfaces, volatile expressions of emotion, the more benign influences registered on the face or a more generalized form that reduces the wear and tear to a texture of soft marks. Whatever you decide, it will not be difficult to see how to put down the structure. At this age there is plenty to draw. The media used were B and 28 grade pencils.

70 years: The features show very definite marks by this age. Lines are firmly engraved on the face and dilapidation of the surface textures and hair is very evident. However, if the person’s experience has been in the main of a pleasant nature the face will have wisdom, benignity and, often, good humor. All is revealed and is not difficult to draw.

80 years: This particular subject is very well preserved and sprightly, but with all the lines and wrinkles associated with old age. Her expression shows what she is like; it is almost as impossible to dissimulate at this age as it is at the very youngest. The artist is presented with a map of a whole career, which can be fascinating to draw. Careful drawing is required to get across the texture of the features and the expression. The media used were B and 28 grade pencils and a stub.

Master Strokes

In the following pages we look at some examples of the changing ages of humanity as seen through the eyes of some of the great artists. In earlier periods people may have aged more quickly because life was physically much harder, and so someone depicted in their middle years will look far older than they would now. However, if you study these remarkable portraits purely for the way the subtle signs of youth or age are shown on the human face, you will find them immensely instructive. Some will look almost elementary in their simplicity. Closer examination will reveal the tremendous skill it takes to reduce complex subtle effects to such a degree.

Every mark you make on a drawing gives some information; even if it is just that you are unsure of what you’ve seen. In every observations is paramount. Never forget this: the best results always derive from observation and attention at detail, as the work of the artists proves.

Velazquez’s portrait of the five-years-old infant of Spain captures the innocence of early childhood. The sweetness of her expression contrasts with the dark background and her stiff formal dress, accentuating her innocence. Soft black pencil (B) and graphite stick (2B) were used for this copy. With the exception of the edges of the eyes and the dress, the lines were kept sparse and light. The broad edge of the graphite produced the dusky background tones.

Jean Cocteau’s brilliant line drawing of Jean Desbordes, who was about 17 at the time, captures the softness of youth together with a certain gangly self-consciousness in the downcast head and glance. The slightly wayward hair and loosely tied necktie adds to the air of youthful carelessness. The key to the drawing is the absence of tone and the thin, continuous wavy lines. My copy was drawn with a 01 Japanese pigment ink pen.

This copy of a portrait of Gabrielle d’Estrees by a follower of Francois Clouet was executed by carefully stroking on lines of soft B and 2B pencil. In some areas chalk was carefully put in. Sharp lines have been applied only around the eyes, nostrils and mouth. Clouet reveals her as a wary and self-composed beyond her 18 years, and yet we are not convinced this is more than a pose.

Lucian Freud’s drawing of a young man in his early twenties emphasize large hands and long features, giving an angular awkwardness to an otherwise composed and calm portrait. In this copy the pencil lines are incisive with minimal shading. The herringbone pattern on the jacket was done with a blunter point to achieve softer lines.

Henry Fuseli drew this self portrait when he was in his thirties. It shows the anxieties and self-doubt of someone mature enough to be aware of his own shortcomings. B and 2B soft pencils were used for this copy to capture the dark and light shadows as well as the sharply defined lines depicting the eyes, nose and mouth.

We happen to know that the sitter in this portrait by Jan Van Eyck, the Cardinal of Sante Croce, Florence, was 56 years old. The lines of the eyes, ears, nose, mouth and outline of the face are precise and give clear signs of the ageing process. The technique is generally smooth and light with some cross-hatching in the tonal areas. Although Van Eyck portrays his subject as still powerful, there is also a sense of resignation.

Rembrandt drew himself throughout his life, from early adulthood until just before his death, and has left us an amazing record of his ageing countenance. In this copy of a self-portrait done when he was about 60 years old, a smudgy technique with a soft 2B pencil was used in Imitation of the chalk in the original.

Group and Family Portraits

February 6, 2013 Group and Family Portraits

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Close Groupings

All sorts of arrangements can make good compositions, and in the process tell us a great deal about the sitters. It used to be the case that a portrait would include clues as to what he (invariably) owed his good fortune. Most artists, however, are more interested in incorporating subtle hints about the nature if the relationships between the subjects in the groups they portray. You may choose to introduce an object into your arrangement as a device to link you your subjects. There are many ways of making a group cohere in the mind and eye of the viewer. In these two examples, both after realist painter Lucian Freud, the closeness of the arrangements is integral to the final result.

The central interest is shared between the baby and his parents. Our eye travels from the infant to the couple as they support him and each other on the armchair. In front, the elder son is slightly detached but still part of the group. The connection between the parents and the baby is beautifully caught, and the older boy’s forward movement, as thought he is getting ready to leave the nest, is a perceptive reading of the family dynamic.

This arrangement makes a very obvious wedge shape leaning to the right. The shape is quite dynamic, but also very stable at the base. The slight lean gives the composition a more spontaneous feel.

Large Interior (after Watteau is reminiscent of that artist’s fetes champetres compositions in which young courtiers are depicted listening to music and enjoying each other’s company. Freud transmits the outdoors to a well-lit indoor scene with three young women, a young man, and a child lying at their feet. As in many Watteau paintings the girls are wearing rather flowery, pretty dresses and the boy is dressed in a white shirt and trousers, rather like a Pierrot. While the whole ensemble makes for a very friendly grouping, there is an element of a more formal mode of arrangement. In Freud’s original the space around the figures produces a very posed, almost artificial effect. Here, even the child lying at the feet of the quartet seems very conscious of her position in the scene.

This is a very solid, composed group. The individuals are just lined up along the same base with some squashing together of the upper bodies. The lying down figure is almost like an afterthought and contributes to the portrait’s spontaneity.

This example might almost be a portrait of the car as much as it is of the family. Obviously very well looked after, polished and shining. It is the centerpiece of the arrangement, if not quite the head of the household. The pride of possession is very evident among the males. The females inside the car are less obvious, although the mother is in the driving seat. This sort of casually posed arrangement is more often found in photo-portraiture. The style makes the drawing of the figures more difficult than it might have been in a different arrangement.

This composition is unusual and rather dynamic, partly due to the position of the car. The three figures outside the car form an acute angled triangle which also gives perspective. The bulge of the car against the longer side of the triangle produces a stabilizing element.

Formal Arrangements

In this example there is an attempt to create a formal pose, but of the kind you get when people have gathered for a snapshot. The father is sitting, as is the mother, who has the youngest child in her lap. The two daughters are perched either side of their parents. The oldest boy only seems to be standing because there is not enough room for him on the same bench, and he is obviously the only one tall enough to look over the top of his father’s head.

Another simple enough composition, with a large triangular shape like a pyramid, with the individual figures radiating outwards from the wide base, like the arms of a fan. Very static and symmetrical.

Obvious Doubles

An artist rarely draws a double portrait unless someone specifically asks for it. Very often parents with two children will choose to have their offspring painted or drawn this way, and it is a favorite method of married couples celebrating important anniversaries.

This close-up faces of these brothers gives an effect of innocence and family unity which we rather expect of twins. This degree of close-up is not easy choice for the artist, however. Because the skin of children of this age ( eight years) is always so smooth and the bone structure is largely hidden by the rounded flesh, there are no lines of stress or tension to help give an accurate rendering. In such circumstances you have to measure out the face- and quickly, because the average eight year-old will not sit for very long, and their faces are also very mobile.

Two round shapes that are seen so close up they only just make a composition.

This drawing was made from an excellent photograph by Jane Chilvers which won a photographic portrait award and now hangs in the National Portrait Gallery in London. The original was a very detailed and rather cool image. I didn’t attempt to put in too much surface detail because, to my eye, the smoothness of the facial surface is part of the charm.

The pose in this father-and-son portrait- taken from a photograph by John Nassari- suggests a sense of humor in the artist and a sort of family complicity about the portrait. However, despite the humor, the effect is fairly cool and detached. The uniform clothing gives the pair an oddly dressed-up quality although what they are wearing is very ordinary. The drawing is simple and mainly concerned with the outline. It demonstrates that if you get the main shape right, individual qualities can shine through.

The two vertical ellipses overlapping in the centre make this a stable and uncomplicated arrangement.

Couples

The reason behind the vast majority of double portraits is that there is a personal or professional connection between the two sitters. Unsurprisingly, most double portraits are of husbands and wives.

This double portrait of Rembrandt and his wife looks a bit odd because she is set back behind her husband. Possibly the artist had to use a mirror to assist in drawing them both and as a result she would necessarily be a bit behind him in perspective. He has tried to balance the effect by showing his own face in shadow and highlighting that of his wife.

The composition is not very obvious. The front shape of the head and arm of Rembrandt acts like a holding shape for the smaller shape of his wife, who gives the appearance of a ventriloquist’s doll.

In Gainsborough’s marvellous portrait of the Duke and Duchess of Cumberland the arrangement does not attempt to disguise the fact that the young wife is much taller than her princely military husband. The full-length figures stop the picture behind intimate. There is a definite swagger effect, as the pair seem to be stepping out in public to show themselves off.

The tall elongated triangle of the duchess makes a strong, vertical base shape for the rounder ellipse of her husband.

Composition and details in drawing a portrait

February 5, 2013 Composition and details in drawing a portrait

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Playing with convention

Here we look at examples of composition from two undoubted contemporary masters of portraiture, David Hockney to borrow from past convections; Freud has m ore obviously struck out on his own. Both approaches make us either question the situation or provoke our curiosity, either of which is a good response any portrait.

David Hockney

David Hackney’s to echo the fashionable color schemes of modern life in his work made him an obvious choice as portraitist of a fashion designed couple. In this copy, Ossie Clarke and his wife Celia Birtwell and their cat, Percy, are shown at home in their flat. The positioning of the figures is normal, almost classical, accentuated by the very dark dress of the woman and the dark legs of Clarke himself with Percy, outstanding in white, making three. There is minimal furniture which might be as it was or because the artist arranged it that way. The white lilies in the vase on the table could intend as symbols of purity. Cats were often symbols for lust, so although Percy’s color might qualify him as another icon of purity, tradition suggests otherwise. The position of both the flowers and the cat is interesting in relation to the main subjects. The shadowed wails adjacent to the bright slot of the window give both space and a dramatic tonality which contrast well with the two figures.

Lucian Freud

In Lucian Freud’s double portrait of himself and his wife in a Parisian hotel bedroom the poses are as informal as the situation is ambiguous. Why is she in bed and he standing by the window? Obviously he needed to be upright in order to produce the portrait but he hasn’t shown us that he is the artist. There is no camera, sketchbook or easel and brushes in his hands. So what could be his intention? There is a explanation that Freud’s wife was ill in bed at the time, so it may have been that he hit on the arrangement because it was the only way he could paint them both. In the hands of a first – class artist this unusual approach has become a ground breaking idea. The slightly accidental look of the composition is very much of the period in which it was painted (the 1950).

POSING

When arranging your subject, notice should be taken of the hands, arms and legs because they will make quite a significant impression on the overall composition. Portrait artists have always been interested on the relationship of the limps because it can make a definite statement about a sitter’s character or state of mind.

In this seemingly very relaxed portrait the frame of the window is also the frame of the portrait. The angles of the limps make for a very interesting composition within this frame. It is not an easy pose to hold for any length of time, and so quick sketches and photographs were needed as reference for the final portrait.

In this copy of Manet, a young woman is sitting draped around her plum dessert, a cigarette in her left hand while her right hand supports her cheek. The naturalistic pose gives a gentle, relaxed air to the portrait.

HANDS

Hands lying in the lap in a passive fashion give an impression of peacefulness and poise. Hands touching the face or hair can bring the attention of the viewer to interesting features of the head. And, of course, by showing hands placed on specific objects in a picture the artist is giving information about the interest, status, of profession of the sitter.

This detail is taken from a portrait of Lady Dacre by Hans Ewroth. Here the hands tell the viewer not just about the learning of the scholarly lady (note the thumb keeping her place in the book in her left hand), but about her creative ability as she moves to write in her journal. Literary and educational pursuits were becoming fashionable in the 16^th century and so these compositional props are very obvious symbols of the sitter’s status. If the book she holds is scriptural work. This would also reflect the lady’s piety, in an age when religion was a serious part of the life of the ruling class.

the hands of Cardinal Manning, by G.F. Watts

The hands of the elderly Catholic prelate Cardinal Manning, after a painting by G. F. Watts. The pose is appropriately peaceful and non – aggressive and is similar to one done much earlier by Raphael of Pope Julius II.

Phillip 2 of Spain by Titian

Phillip II of Spain, by Titian, grasps the crest of a helmet while his left hand holds the scabbard of his sword just below the hilt. As he is also in half armor, the inference is clear that this king will not flinch from taking military action to defend and expand his kingdom.

Posing: Arms

Arms often betray a strong attitude that gives the sitter an individual strength. The artist may use the arms to create balance in an off- centre picture, or as a strong statement to reinforce the structure of the position of the sitter.

young princess Elizabeth drawing

The young princess Elizabeth before she became England’s greatest queen, demurely holding her book with a finger keeping the place where she is studying. She was a good scholar in scripture and languages. The arrangement of the arms in their fashionably ornate sleeves suggests some power in the stance. The direct stare is challenging, and she looks every inch a royal personage. The position of the arms is formal and balanced, which gives strength to her slight figure.

Joshua Reynold’s painting

Joshua Reynolds’s painting of the dashing Duchess of Devonshire with her little son was in its time a ground- breaking picture. The hands and arms help up in delight and fun by the child in response to the mother’s playful gesture was a remarkable novelty in portraiture.

The naturalness of the interaction between the subjects stops this being just another fashionable portrait and turns it into a study of the interplay that occurs between any mother and her infant.

POSING: MALE LEGS

Legs rarely receive the attention accorded the other limbs and only come into their own in a full-length portrait. They can, however, be more than just a pedestal for the rest of the body. In the days when men wore close-fitting nether garments the showing off of the legs was a very masculine statement. An aristocrat rode a horse and so his legs were often more elegantly proportioned than those of the lowly peasant, whose limps generally would be shown as more muscular and solid. Many Renaissance paintings use the male form of the legs to tell you something about power, status or wealth, or how fashionable the subjects were as courtiers.

drawing male legs

The insouciant pose of this young man leaning against a tree in a rose garden (after Nicholas Hilliard) suggests a moment of romantic, aristocratic idleness. His casually crossed elegant legs stand out against his dark cloak and embroidered doublet. Although we don’t know who he is, he has become an icon of the lyrical poetic image of the Elizabeth court.

Sir Brooke Boothby drawing

This is a rather unlikely pose for a modern man but in the 18th century it would have been appropriate for a gentleman such as Sir Brooke Boothby, who we must assume was attached to intellectual pursuits, given the book under his hand the the pensive attitude. The pose draws attention to the legs in their smart breeches and stockings and buckled shoes. If Boothby were not reclining in such a thoughtful fashion, the picture would lose much of its power to arrest our attention. The original artist was Wright of Derby.

POSING: FEMALE LEGS

Until the 20th century, female legs were not much evident in portraits. The first glimpses came in the 19^th century, many of them courtesy of Henry de Toulouse-Lautrec, who made a study of the Parisian demi-monde and the famous cabaret dancers of his day. The sort of display we see in the example on the right of a woman’s legs was only acceptable at this time if the girls were both actress of courtesans Note the energy and movement, and how the legs can be central to the impact of a portrait.

Jane Avril drawing

The amazing vigor and liveliness of Jane Avril, a well-loved performer in Lautrec’s Paris.

Popular singer Sophie Ellis-Bextor in a leggy pose that any young girl might adopt; this copy was made from a photo-portrait that appeared in a Sunday newspaper. Although it is unlikely that a model sitting for a painting would remain in this position for long, the pose itself- elegant and gamine- is one that touches modern sensibilities.

SPONTANEOUS PORTRAIT

February 5, 2013 Composition

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You don’t need first – rate materials to produce an effective portrait, as this next example proves. Although I would always advise you to buy the best you can afford, don’t make their absence a reason for not drawing something that catches your imagination. I was on a train journey with my family when I had an impulse to draw my youngest daughter. After borrowing a leaf from my wife’s notebook and a battered old soft pencil from my daughter it took me about fifteen minutes to complete her portrait. The motion of the train prevented subtlety, forcing me to use slashing strokes. As a result the texture is quite strong, mitigated only by the few softer marks for the tonal areas around the eyes, nose and chin.

portrait of a girl

Another example using toned paper, this time with a 2 B pencil that was not particularly sharp. I opted for the simplest exposition of form and let the paper provide much of the medium tone. After putting in the strongest dark tones I added a few in-between tones particularly on the hair, and left it at that. The entire portrait took about six minutes. The sort of spontaneous drawing works best if you can see what you want to achieve in one glance and then out it down immediately without deliberation. The result may not be ideal, but taking a chance is what this kind of drawing is all about. It is asking to take a snapshot with a camera. Practicing drawing spontaneous portraits will increase your expertise enormously.

drawing a portrait with toned paper

Pen and Ink

Pen and ink is ideal for producing minimalist yet revealing studies, such as this copy of David Hockey drawing of Sir Berlin. The spare lines, broken and tentative, are carefully placed to get the shape and character of the features. Each line is a one – off chance, perfectly judged so as not to overweight the surface, as some artists might do.

portrait in pen and ink

Chalk

Chalk always gives a soft, attractive finish and is very popular for portraits, although you need to keep you drawing as clean as possible, otherwise you are liable to end up with a mass of smudges. Chalk makes a mark whether or not you press, so it is important to keep your touch light. In this copy of a David Hackney, the eyes say it all. The other features are rendered very simply, almost as outlines. The texture of the hair serves to give an impression of the shape of the head. The key to Hockney’s brilliant minimalist style is sound judgment of emphasis: nothing is overworked.

portrait-in-chalk

This black chalk drawing on a tinted paper took about 20 minutes. The style is fairly simple and the technique quite easy. The face has been drawn in without much modeling and with the emphasis on placing the features correctly. Interest has been created by the texture of the chalk line and the model’s attractive longish hair.

black chalk drawing

The most dimensions are achieved for the least effort in this example. The reason is the use of three materials in combination: brown and terracotta conte pencil, white chalk and toned paper. These give such a range of tones that they obviate the need to work a drawing too heavily. Notice how the strong emphasis provided by the darker of the conte pencils is kept to a minimum, sufficient to describe what is there but no more. Similarly the chalk is used only for the strongest highlights. The mid- tone is applied very softly, when no area emphasized overmuch. The toned paper is a great asset and does much of the artist’s work, enabling rapid production of a drawing but one with all the qualities of a detailed study. Often you will find it effective to include some background to set off the lighter side of the head, which in this example is the right side as we look at it.

mixed materials portrait

BRUSH AND WASH

Plenty of water has been to keep the tones on the face and the background soft in this example of watercolor on watercolor paper. The strength of color on the jacket and hair is greater than elsewhere in the picture. The eyes nose and mouth need touches of strong tone, especially the line of the mouth where it aspens and the upper eyelashes, eyebrows and pupils of the eyes. This type of drawing can be built up quite satisfactorily, with the lighter tones put in first all over and then strengthened with the darks.

portrait in brush and wash

Scraperboard

With scraperboard technique the artist has to draw back – -to- front, revealing all the light areas and leaving the dark ones. Usually it is the other way round. This subject was ideal for the purpose, her white bathrobe ensuring there were plenty of light areas, although it was difficult to judge how much to work the face. The hair and hair band were made up of darker tones and so required only the addition of highlights. Similar effects to scraperboard can be obtained with white chalk on black paper. Try it as exercise, it will teach you a great deal about gauging the balance of light and dark.

portrait drawing with scraperboard tchnique

Placement in the Frame

Once you have chosen a subject to draw the next step is to look at composition. The most basic compositional consideration is how you arrange the figure in the frame of the picture. The pose or attitude you choose will have a large bearing on this. There are many compositional permutations that can be brought to a portrait, as you will quickly discover when you start to look at the work of the other artist. Each of the arrangements shown here conveys an idea or mood associated with the subject. Before choosing a composition you must be sure it is right for your purposes. Good composition is never accidental.

1. This figure is set well back in a room with lots of space around him. In order for the sitter to be clearly recognizable the picture would have to be huge. There would be a reason for choosing this degree of detachment from the viewer.

2-5. In this series of viewpoints the onlooker gets a progressively closer picture of the sitter. Generally longer views give a more detached picture. A tight close-up of the head demands that the artist achieve an accurate likeness, both physically and in terms of psychological insight.

6-8. An off-center position can produce a dramatic, unpredictable effect. The picture becomes more than just a recording of someone’s likeness, and we begin to consider it as an aesthetic, artistic experience. Th space in the picture acts as a balance to the dynamic qualities of the figure or face. It can also be used to indicate qualities about the sitter, especially if they have a retiring personality.

9. Not many faces can stand such a large, detailed close-up and not many people would be comfortable with this approach. However, it is extremely dramatic.

10. In this unusual and interesting arrangement, enough is shown of this figure turning away from the viewer for him to be recognizable.

11. Showing a half figure to one side of the picture with a dark background is a good approach for colorful characters or if you want to add some mystery to a portrait.

12. Firmly placed center stage in an uncompromising pose, this sitter comes across as very confrontational. The well-lit background and foreground ensure that nothing is left to the imagination, accentuating the no-nonsense direct view of the subject.

13 This head and shoulders view is evenly lit with little or no tonal values and absolutely no decorative effects. As such it demands a very attractive face.

14. The rather indirect positioning of the figure suggests a different character, and an almost reluctant sitter.

15. The figure takes up only one quarter of the frame, with most of the space given up to the sitter’s domestic surroundings. The emphasis is here is on lifestyle and the ambiance of home.

16. This sitter is made mysterious and moody by the device of posing him so that he is not looking at the viewer.

17. A soft, slightly out-of-focus effect can be very flattering, and in this example gives a sympathetic close-up of an elderly woman.

18. This close-up of a face floating in a dark void gives a dream-like effect.

19. An off-beat dramatic twist has been brought to this portrait by placing the sitter at the bottom of the picture, as thought she is about to sink from our view.

20. This sitter is presented as playful, by placing her along the lower half of the picture in a relaxed reclining pose.

Your first portrait step by step

February 5, 2013 Portraits

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When you are confident of your ability to draw the features accurately, you are ready to try your hand at a full- scale portrait. If you are very lucky someone may commission you, but it is more likely you will have initiate the event yourself, especially in the beginning. You will need to agree on a number of sittings with your sitter, and how long each of these should last; two or three sittings of between 30 minutes and one hour should be sufficient. It is advisable not to let your subject get too bored with sitting, because dullness may creep into their expression and therefore into your portrait.
Once the schedule has been decided, it is time to start work. First, make several drawings of your subjects face and head, plus the rest of the body if that is required, from several different angles. Aim to capture the shape and form clearly and unambiguously. In addition to making these drawings, take photographs: front and three- quarter views necessary and possibly also a profile view.
All this information is to help you decide which the best view of the sitter is, and how much of their figure you want to show. The preliminary sketching will also help you to get the feel of how their features appear, and shape your ideas of what you want to bring out in the finished work. Changing light conditions and changing expressions will give subtle variations to each feature. You have to decide exactly which of these variations to include in the drawing. Take photographs from left to right. Decide on the pose. If you choose to put your model in a chair, or incorporate some other prop, include the chair or prop in your sketches.

Draw the face from left and right

When drawing a portrait, take photographs from left and right.

The romantic artist of the 19th century vied with each other to produce dramatic landscapes of towering crags and toppling mountains. Gordale Scar by James Ward belongs to this great tradition, its effect so powerful as to almost overwhelm the first-time viewer. Many other painters at this time in Europe, and the sublimes in America, were producing works of staggering size and powerful dramatic effect; painters such as John Mad Martin, Fredich Church and Bierstadt.

Draw a woman sitting

Decide on the pose. If you choose to put your model in a chair, or incorporate some other prop, include the chair or prop in your sketches.

LIGHTING YOUR SUBJECT

Any portrait can be affected by the sort of lighting used, whether natural or artificial. Natural lighting is usually the softer of the two types and is the better if you want to see every detail of the face. However, this can have its downside especially if you want to draw a sympathetic portrait and not highlight the sitter’s defects. Leonardo said that the ideal set – up was in a sunlit courtyard with a muslin sheet suspended above the sitter to filter the daylight and give a diffused light. This type of arrangement will be beyond most of us. However, we can aim to get a similar effect with a cool. Diffused light through a large north- facing window. The artist Ingres described the classical mode of lighting as, illumination the model from an almost frontal direction, slightly above and slightly to the side if the model’s head. This approach has great merit, especially for beginners in portraiture, because it gives a clear view of the face, but also allows you to see the modeling along the side of the head and the nose, so that the features show up clearly.

The light coming from precisely side on produces a dramatic effect, with strong, well-marked shadows to the left giving a sharp-edged effect to the shadowed area.

The three-dimensional aspect of the girl’s head is made very obvious by lighting coming from directly above, although the whole effect is softer than in the previous example. The shadows define the eyebrows, cheekbones and gently soften the chin and lower areas of the head.

Lighting the face from the front and to one side( as advocated by Ingres) gives a very even set of shadows-in this example on the right side- and clearly shows the bone structure.

Artificial lighting is, of course, extremely flexible because you can control the direction and amount of light possible and you are not dependent on the vagaries of the weather. You don’t have to invest in expensive equipment to achieve satisfactory results: several angle poise lamps and large white sheets of paper to reflect light will do very nicely. Lighting from behind the subject has to be handled very carefully and white it can produce very subtle shadows there is a danger of ending up with a silhouette of the light is too strong. Usually some sort of reflection from another direction creates more interesting definitions of the forms. The only directional lighting from beneath the face, because light from below makes the face unrecognizable, which rather defeats the point of a portrait.

Lit frontally and from above, this example also owes a debt to Ingres. The slight tilt of the head allows the shadows to spread softly across the far side of the face.

Lighting the model from directly in front shows the features strongly, subsuming the areas of the hair and the back of the head in deep shadow.

Lighting from behind is not usual in portraiture although it has been done quite effectively. The trick is not to overdo it and end up with your subject in silhouette.

Reflected light can be used to flatten out too many shadows cast over the face. If you want to try this place a large white sheet of card or similar opposite your light source.

Bones and muscles of the head

February 5, 2013 Portraits

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We need to remind ourselves frequently when drawing portraits that what we see is due entirely to structures that are for the most part hidden from view An understanding of the landscape of the skull is necessary if we are to draw good portraits . Look at the features identified on the drawings below and see if you can feel them on your own head.

SKULL AND FACIAL MUSCLES

Movement and expression are two principal elements of portraiture and both are governed by the muscles. It is important to know where the bones and muscles are and how they behave if we are to produce portraits of character and individually. Study the following illustrations and the accompanying annotations. Don’t worry about learning the names, although you may find that giving each muscle an identity helps you to remember where it is the function it performs.

Corrugator: Pulls eyebrows together
Orbicularis oculi: Closes the eyes
Quadratus labii superioris: raises upper lip
Orbicularis aris: Closes mouth and purses lips
Mentalis: Moves skin of chin
Masseter: Upward traction of lower jaw; energetic closing the moth

The Face and Head- How to draw a portrait

September 28, 2012 Drawing the head and the face

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Usually the most distinctive part of any portrait, the face is where the likeness and characteristics of the sitter are shown most easily and, as such it should be your starting point. The head should be dealt with as a whole so that the sitter’s face has a solid basis.

Full face, from the same eye level as the artist, is excellent for capturing the expression in the eyes, but the shape of the nose is less obvious.

The head seen in profile allows clear definition of the features. Generally, though, portraits from this angle are less expressive, because the eyes are not clearly seen.

The three-quarter view is probably the most popular position. It gives a clear view of the eyes and enough of the shape of the nose to give a good likeness.

DRAWING THE HEAD: BASIC METHOD

The basic shapes and areas of the head have to be taken into account when you start to draw your portrait. There are five steps. These will give you a strong foundation which you can then work over to get the subtle individual shapes and marks that will make you’re drawing a realistic representation of your sitter.

First ascertain the overall shape of the head or skull and the way it sits in the neck. It may be very rounded, long and thin or square and solid. Whatever its shape you need to define it clearly and accurately at the outset, at this make everything else easier later on.

Decide now how the hair covers the head and how much there is in relation to the whole head. Draw the basic shape and don’t concern yourself with details at this stage.

Now ascertain the basic shape and position of the features, starting with the eyes. Get the level and size correct and their general shape, including the eyebrows, straight, aquiline, board or narrow), its tilt and the amount it projects from the main surface of the face. Now look at the mouth, gauging its width and thickness and ensuring that you place it correctly in relation to the chin.

The form of the face is shown by the tonal qualities of the shadows on the head. Just outline the form and concentrate on capturing the general area correctly.

Work in the tonal values over the whole head, noting which areas are darker and which are not so dark, emphasizing the former and softening the latter.

DRAWING THE HEAD: ALTERNATIVE METHOD

An alternative method for beginning a portrait is to work from center of the features and move outwards towards the edges. This approach is appropriate for both fairly confident draughtsman and beginners, and I very helpful if you are not too sure about judging proportions and measuring distance. For this exercise we will assume that we are drawing a three-quarter view. Start by a drawing a vertical line on a sheet of paper and then make a mark at the top and bottom of it. Now follow the steps shown in the following series of illustrations. Look carefully at your model throughout the exercise.

Phase one: Making out the features
Make a horizontal line for the position of the eyes halfway between the top and bottom marks .Roughly draw in the relative position and shapes of the eyes.
Make a mark halfway between the top mark and the level at the eye for the position of the end of the nose. Draw in a very simple shape to give you a clear idea of its shape. The top mark denoting the top of the head will appear rather to one side of your vertical line.
The bottom line marks the point of the chin, which will be on the vertical line.
The position of the mouth has to be calculates next. The mouth is nearer to the nose than it is to the chin so don’t put in halfway between them.

Phase two: Defining the features
Draw in the shapes of the eyes and eyebrows, ensuring they are correctly placed. Notice how the eye nearest to you is seen more full-on than the eye further away. You can try to define the point where the further eyebrow meets the edge of the head as seen from your position
The nose now needs to be carefully drawn in: it’s outside shape, and also-in lightly drown lines- how the form creates shadows on the unlit side.
Positionally the ear fits between the levels of the eye and the nose, but is off to the side. Gouge haw the between the eye and ear relates to the length of the nose and put in the outline shape of the ear.
Shape the mouth. The half of the, mouth on the further side of the face will not look as long as the half mouth on the nearest side. The centre of the mouth must be in line with the centre of the nostrils. Draw part of the chin.

Phase Three: Outlining shadows
Trace out the shape of the shadows running down the side of the head facing you. Don’t make the lines too heavy: just outline the edge of the shadow faintly from the forehead down round the cheekbone, the outside of the mouth and onto the chin, indicate the neck and its shadow outline.
Put the shadow around the eyes nose and, where they are needed, the mouth. Softly shade in the whole area including the hair area and the neck. Define the edges of the back of the head and neck and on the opposite side where the brow stands out against the background. Complete the shape of the top of the head.
Put in the whole of the shape down the edge of the face furthest away from you; be careful not to make the chin just out too far. Check the accuracy by looking at the distance between the line of the nose and the outline of the cheekbone and then the corner of the mouth on the further side and the edge of the face and chin related to it. Make any corrections. At this stage your drawing should look like an outline version of your sitter.

Phase four: Applying Tonal Values
Begin by darkening the areas that stand out most clearly. Carefully model the tone around the form so that where is a strong contrast you increase the darkness of the tone and where is less contrast you soften it, even rubbing it out if necessary. Build up the tonal values with care, ensuring that in areas where there is a gradual shift from dark to light you reflect this in the way you apply tone. The most highly defined features should be the shape of the eyes, sometimes the eyebrows, and the corner between the nose and eye and around the nostrils. The most defined part of the mouth is where it opens and sometimes the area just below the lower lip. The edge of the chin is often quite well defined depending on the light.
Mark in the clearer stands in the hair; and the outer and inner shapes of the ear. Look at the setting of the head on the shoulders, noting how the shoulders slope away from the neck on both sides of the head.
You may find that the background behind the lighter side of the head looks dark and the background behind the darker side of the head looks lighter. A darkest background can help to project the face forward. Finish off by applying delicate touches either with the pencil or a good rubber – to soften the edges of the tones.

THE MALE HEAD: WORKING OUT PROPORTIONS

For beginners especially, it can be very helpful to use a grid as a guide on which to map out the head, to ensure the proportions is correct. Despite the variety of faces found in the world, the proportions shown here are broadly true of all adult humans from any race or culture, and so can be used for anyone you care to use as a model. Obviously there may be slight differences but so minute as to be safely disregarded. The only proviso is that the head must be straight and upright, either full face or fully in profile. If the head is at an angle the proportions will be distorted.

The number of units varies depending on whether you are drawing the head full on or in profile. Study each example with its accompanying notes before trying to use the system as a basis for your portraits.

Horizontal Reading: Full face for the full face examples a proportion of five units across and seven units down has been used. Before you begin to study the individual units, note the line drawn vertically down the length of the face between the eyes, and centrally through the nose, mouth and chin.

The width of the eye is one-fifth of the width of the whole head and is equal to 1 unit.
The space between the eyes is 1 unit.
The edge of the head to the outside corner of the eye is 1 unit.
The outside corner of the eye to the inside corner of the eye is 1 unit.
The inside corner of the left eye to the inside corner of the right eye is 1 unit.
The inside corner of the right eye to the outside corner is 1 unit.
The outside corner of the right eye to the edge of the head is 1 unit.
The central unit contains the nose and is also the width of the square base of the chin or jaw.

Vertical reading: Full face

Eyes: halfway down the length of the head
Hairline: 1 unit from the top of the head
Nose: one and a half units from the level of the eyes downwards
Bottom of the lower lip: 1 unit from the edge of the jawbone
Ears: the length of the nose, plus the distance from the eye line to the eyebrows is 2 units.

THE FEMALE HEAD: WORKING OUT PROPORTIONS

This example has been drawn to exactly the same size as that on the facing page. Generally the female head is smaller than the male but the proportions are exactly the same. (Also see Proportions of the human Figure for information on the head proportion of children, which at certain ages are significantly differently from those of adults.)

Horizontal Reading: Profile
- The head in profile is 7 units wide and 7 units long, including the nose;
-The front edge of the eye is 1 unit back from the point of the nose;
-The ear is 1 unit in width. Its front edge is 4 units from the point of the nose and 2 units from the back edge of the head;
-The nose projects half of 1 unit from the front of the main skull shape, which is about six and a half units wide in profile;

PRACTICE: DRAWING THE HEAD AND FEATURES

In this exercise we are going to practice drawing different views of the hands. You can either use the model shown or choose another to draw. Make sure the features line up horizontally across the three views; otherwise there will be discrepancies in their relationship. Before you begin you will find it helpful to define the form of the face by marking in the edges of the planes on the face, particularly the outlines of the eye sockets and eyelids, the mouth and the formation of the bridge, length and tip of the nose.

The exercise can also be used to practice getting the shapes of the features right. Detailed drawings of the principal features – eyes, nose and mouth – provided opposite. Periodically check your effort against the drawings and the accompanying annotations.

Profile View:

The nose projects much further than the rest of the face;
The jaw projects no further than the forehead;
The ear is positioned well back past the halfway work of the profile;
From this viewpoint the line of the mouth is quite short;
Study the shape of the eye.

Three quarter view:

The farther eye has a slightly different conformation to the nearer eye, mainly because you can see the inside corner of the near eye, so the length of the eye is more obvious.
The mouth shape is shorter on the far side of the central line.
The same observation applies to the eyebrows.

Full Face View:

The eyes are one eye-length apart.
The two sides of the head tend to mirror each other.
The widest part of the head is above the ears;
The widest part of the face is at cheekbone level;
The ears are less obvious from this perspective.

THE FEATURES CLOSE UP:

Seen in the profile the eye is a relatively simple shape to draw, and yet many people get in wrong, tending to draw something they recognize as an eye instead of the actual shape.

1. Profile View :

The eyelids should project beyond the curve of the eyeball: if they didn’t project, they eye could not close.

2. Three quarter view:

Note a marked difference in the shapes. The farther eye is closer to the profile view in that the eyelid projects past the eyeball on the outside corner. On the nearer eye, because the inside corner is visible, the shape appears to be more complete. The far eyebrow appears shorter than the near one.

Frontal view:

From this angle the eyes are more or less a mirror image. The space between them is the same as the horizontal length of the eye. Note that normally about one- eighth to one-quarter of the iris is hidden under the upper eyelid, and the bottom edge just touches the lower lid.

The nose at different angles presents marked differences in shape. In very young people the nostrils are the only areas that stand out.

1. Profile view:

The main observation here concerns the shape of the nostril and its relationship to the point of the nose.

2.Three quarter view:

The outline shape is still evident but notice how its relationship to the nostril has changed.

3. Frontal view:

The only shapes visible are the surface of the length of the nose and the point. The nostrils are the most clearly defined areas, so note their relationship.

Mouth come in myriad shapes. Start to notice them, and sketch the many types around.

1. Profile View:

The line of the mouth (where the lips part) is at its shortest in the view. Note whether the upper lip projects further than the lower lip, or vice versa, or whether they project similarity.

2. Three quarter view:

The angle accounts for the difference in the curves of top and bottom lip. The nearer side appears almost as it does straight on, whereas the farther side is shortened due to the angle.

Frontal View:

This view is the one we are most familiar with. The line of the mouth is very important to draw accurately- you need to capture its shape precisely or the lips will not look right.

MEASURING THE HEAD

The surest way of increasing your understanding of the head, and becoming adept at portraying its features accurately, is to practice drawing it life size, from life .It is very difficult to draw the head in miniature without first having gained adequate experience of drawing it at life size, but this is what beginning artists tend to do, in the mistaken belief that somehow it will be easier. Getting to know the head involves mapping it out, and this means taking measurements from clearly defined points. For the next exercise you will need a live model, a measuring device, such as a ruler or calipers, a pencil and a large sheet of paper.

Measure the length of the head from the highest point to the tip of the chin. Mark your measurement on the paper. Measure the width of the head at the widest point; this is usually across the area just above the ears, certainly if viewed full on from the front. Mark this measurement on the paper. The whole head should fit inside the vertical and horizontal measurements you have transferred to your drawing paper.

Measure the eye level. This should be about halfway down the full length of vertical, unless the head is tilted. Decide the angle you are going to look at the head. Assuming is a three-quarter view, the next measurement is critical: it is the distance from the center between the eyes to the front edge of the ear.

Measure the distance from the outside edge of the nostril to the front edge of the ear. Mark it and then place the shape of the ear and the position of both eyes. Check the actual length of the nose from the inside corner of the eye down to the base of the nostril. Next measure the line of the center of the mouth’s opening; you can calculate this either from the base of the nose or from the point of the chin. Mark it in. Now measure from the corner of the mouth facing you to a line projecting down the jawbone under the ear. Mark it.

ASSESING THE FEATURES

The measurements you have taken in the previous exercises will provide very accurate proportions for you to work to when drawing the features. When you have sketched out roughly where every feature begins and ends, look carefully at the shapes of each of them and then carefully at the shapes of each of them and then draw them in. The eyes are paramount, because often they are what make a person recognizable to us. The mouth and nose are next. The pecking order of the rest depends on the characteristics of your subject. The illustrations below show the main points and relationships to consider when drawing the features.

The curve of the mouth- Is it dead straight?…up?….down?

The angle of the eyes as they appear in relation to each other- Do they look straight across from corner to corner?

Do the inner corners look lower than the outer corners?

Do the outer corners look lower than the inner corners?

The lips- Are they thin? Are they full?

The eyelids: Are they narrow? Are they broad?

The eyebrows: Are they curved…or straight?

The ears- These come in a variety of permutations, here are a few for you to consider.

The hairline: is it straight or uneven?

Drawing Tips by Helen

Symbolism

ROYAL IS As ROYAL DOES

MAKING THE MOST OF THE MUNDANE

MODERN VALUES

POSING YOUR SELF

Animals in Portraits

Organizing the Composition

Using the Chair as a Prop

Mirror Images

SETTINGS WITH A HISTORY

Dress

Dressing for Character

Adding a Headdress

Hair Styles

Drawing people at Different Ages

Portraying different ages

Master Strokes

Group and Family Portraits

Close Groupings

Formal Arrangements

Obvious Doubles

Couples

Composition and details in drawing a portrait

Playing with convention

POSING

HANDS

Posing: Arms

POSING: MALE LEGS

POSING: FEMALE LEGS

SPONTANEOUS PORTRAIT

Pen and Ink

Chalk

Scraperboard

Placement in the Frame

Your first portrait step by step

LIGHTING YOUR SUBJECT

Bones and muscles of the head

The Face and Head- How to draw a portrait

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