Presentation on theme: "Pencil and Eraser New Page in your Sketchbook. DRAWING A PORTRAIT Next, we’ll learn the basics of drawing PEOPLE! You will learn about basic proportions."— Presentation transcript:
DRAWING A PORTRAIT Next, we’ll learn the basics of drawing PEOPLE! You will learn about basic proportions of facial features on the typical person. You will draw a portrait in profile. Afterwards, we’ll learn about the basic proportions of the human figure and will start regular figure drawing sessions.
20 minute warm-up Find a partner. You are each to draw a portrait in profile of your partner. This is only a contour drawing – no shading is necessary. This is a quick warm-up. Try your best to figure out the distances between features and the proportions of the size of the features. NO ERASING: draw lightly When 20 minutes are up, switch!
A common error One of the most common errors that beginning students make is called the “chopped off skull” mistake. For reasons that are still unclear, most students see the top half of the head as smaller than it actually is. Perhaps this is because we naturally look at the facial features more, and so we instinctively make them bigger, because they are more important to us.
Always take measurements Since you will encounter many of these sorts of inconsistencies in what you THINK people look like, you can never rely on your left-brain information. Always take measurements between the proportions. You must sight angles, sizes, and distances, and more importantly: YOU MUST TRUST WHAT YOU SEE. Even if it doesn’t look “right” to you; look carefully and take sightings, trust what you see.
The basics of facial proportions -- profile Draw the diagram and label it carefully. You will be quizzed on this information.
Portrait drawing from a sketch First, you’re going to draw a portrait from an existing sketch by John Singer Sargent. It is a beautifully done portrait, but is extremely simple. First, I’ll walk you through the entire process. Just listen and pay attention. After I’m done, it’s your turn to draw. Don’t worry though -- I’ll still guide you through the steps.
Profile review Measure the top of the curve of the head to bottom of chin Find the halfway point in that distance. Draw your halfway line. This is your eye line. Find that halfway point of the halfway point (the quarter distance). Draw your quarter line. What do we now know?
Profile review Draw the lips, nose, and eye. Measure the distance from the eyeline to the bottom of the chin. Measure THAT SAME DISTANCE from the back of the eye. Make a mark there. This is the back of your ear. Draw a horizontal line from the top of the eye. This is the top of your ear. The bottom of the ear is at the quarter line.
Profile review The back of the neck meets the head at the quarter line. It is not a vertical line. Instead it slants in to meet the head. The front of the neck (the throat) varies greatly from person to person. DRAW FOUR HEADS IN PROFILE USING THESE CORRECT MEASUREMENTS.
TIPS FOR DRAWING THE EYE The eye is a sphere and has roundness. The eyelids have thickness The shape of the iris does not always stay a circle, especially in profile. The area between the eye and the nose is a depression and will usually be in shadow The area between the eye and the outer edge of the eyebrow is raised and will usually be in highlight.
DRAW AN EYE! Find a partner. You will draw one of their eyes from three different angles: Straight ahead Straight ahead with their head tipped down In profile.
TIPS FOR DRAWING THE NOSE The nose has three main planes: the bridge, the sides sloping toward the face, and the underside above the lips. The nostril does not typically extend to the end of the nose… it will be located within the underside of the nose. The bridge of the nose is almost never a straight line. One of the most important aspects of getting the likeness of an individual nose is to capture its THREE ANGLES correctly: Angle 1: The bridge of the nose Angle 2: The tip of the nose Angle 3: The underside of the nose
DRAW A NOSE! Look at your partner! You will draw their nose from three different angles: Straight ahead Straight ahead with head tipped down In profile.
DRAW AN EAR! Look at your partner! You will draw their ear from two different angles: Straight ahead In profile.
Experimenting with features Find a partner. You are going to draw each other’s features: eyes, nose, and lips. Look very carefully at your partner’s features and draw each feature from three different angles. Emphasize the structure of what it is you’re seeing.
DRAWING A PORTRAIT FROM REAL LIFE Sit in front of your model and compose the portrait. Position the model in proportion on your page, so the head is fully occupying the composition. Next, focus on the basic unit. Your basic unit will be the distance from the eye line to the bottom of the chin. Mark the key points: the back of the head, and the topmost point of the head.
Use the negative space to draw the profile – instead of drawing the features that you see, draw the edge of the negative space shapes. Next, check the angle of the nose relative to horizontal using your pencil as a sighting tool. Place the eye in relation to the innermost curve of the bridge of the nose. Check the angle of the eyelid relative to horizontal. Check the angle of the center line of the mouth. THIS IS THE ONLY TRUE EDGE OF THE MOUTH. The upper and lower contours (the outsides of the lips) only mark a color change. In short, don’t draw heavy outlines around the lips.
The inner line of the mouth often descends relative to horizontal. Check this angle using your pencil as a sighting tool. Don’t hesitate to draw this angle just as you see it. The inner line of the mouth is almost never a horizontal, straight line. Use what you know of facial proportion to place the ear. Remember, eye level to chin equals back of eye to back of ear. If the model is wearing glasses, use the negative spaces to draw the glasses.
In drawing the model’s hair; DO NOT draw hairs. CLUMP IT If the model’s hair is complicated or curly, you might get nervous: It’s not necessary to draw every hair and every curl. Look for the areas where the hair separates. Look for the major directional movements. Draw large areas of value, not each individual hair.
Look at your model’s hair with your eyes squinted. This should simplify what you see into major light and dark shapes. Try to get a sense of the CHARACTER and nature of the hair. Is it smooth? Shiny? Crinkly? Coarse? Rough? Begin to draw more detail where the hair meets the face. (The Hair Line) Notice the shadow and light patterns within the hair. Darken the darker areas and use your eraser to “draw” in the highlighted areas. Complete the neck and shoulders. Make sure to use the negative space to draw under the chin (which varies a lot) and under the collar (which is highly symbolic and will kick in your left brain).
PERSONAL RESPONSE – PORTRAIT IN PROFILE Take 10-15 minutes to write down your personal thoughts about this unit. Include: A description of what we did to learn about facial proportions and how we applied it to drawing a portrait in profile. What you thought about it (good or bad). What were your strengths? What were your weaknesses. Write at least one practical way that you can address those weaknesses.