Fundamentalsof

PortraitDrawing

Michael Britton2nd Edition

Character is the essential truth of any natural object, whether ugly or beauti-ful; it is even what one might call a double truth, for it is the inner truth … Everything in nature has character; for the unswerving directness of his [sic] observation searches out the hidden meaning of all things. And that which is considered ugly in nature often presents more character than that which is And as it is solely the power of character which makes for beauty in art, it often happens that the uglier a being is in nature, the more beautiful There is nothing ugly in art except that which is without character, that is to say, that which offers no outer or inner truth.Whatever is false, whatever is artificial, whatever seeks to be pretty rather than expressive, whatever is capricious and affected, whatever smiles without motive, bends or struts without cause, is mannered without reason; all that is without soul and without soul and without truth; all that is only a parade of beauty and grace; all, in short, that lies, is ugliness in artWhen an artist, intending to improve upon nature, adds green to the springtime, rose to the sunrise, carmine to young lips, he creates ugliness because he lies.When he softens the grimace of pain, the shapelessness of age, the hideousness of perversion, when he arranges nature veiling, disguising, tempering it to please the ignorant publicthen he is creating ugliness because he fears the truth.To any artist, worthy of the name, all in nature is beautiful, because his eyes, fearlessly accepting all exterior truth, read there, as in an open book, all the inner truth.He has only to look into a human face in order to read there the soul within not a feature deceives him; hypocrisy is as transparent as sincerity the line of a forehead, the least lifting of a brow, the flash of an eye, reveal to him all the secrets of a heart.

Auguste Rodin

The Problem of Seeing and Drawing

Weallsee,moreorless,thesame.Itisourperception

of what is seen that is the major stumbling block

to drawing what we see. This stumbling block of

perceptionisacceptingsymbolicpreconceptionsfor

whatisreallythere.Forvariousreasons,whenwe

begintodrawwerefusetoaccepttherealityofwhat

weare lookingat.Astudentwillconcentrate their

gazeupon, say, anose, conscientiouslynote every

indentationandpore, scribbledownasymbolofa

nose then wonder what went wrong. Worse, still,

a student will invest hours in a drawing, become

more and more frustrated and eventually convince

themselvesthatthedrawingiscorrectandthemodel

wrong!

Thesesymbolicpreconceptionsareinsidious.Aschildrenwesubscribetoauniversal

codeofsymbols.Everychildutilizesthesamesymbolforatree,alower,aperson

(bighead,tinybody),etc.Asadultswebuildandelaborateuponthesesymbols.In

portraitdrawing,studentswillrenderaneyeaccordingtothislanguageofsymbols.

Thereisnodeepmeaning,otherthanclinicalinterest,inthesesymbols.Theyare

simplyashort-cuttoseeing;paradigms,ormodelsofexperience,ratherthanthe

‘real’.

This problem of perception can be corrected with knowledge and training. The

objective of this course is to employ a methodology that breaks down the human

head to its simplest components and build-up to that glinting expression that irst

appealedtous.

Drawingthehumanheadisnomore,norless,dificultthandrawinganapple.Wewill

beginwithestablishingthearabesqueandtheheight/widthratioofthatparticularhead.

Fromtherewewillestablishthemajorlandmarks(thebrowridge,thebaseofthenose,

thezygomaticarchesandmastoidprocess)and,then,block-in theprimarylight/dark

pattern. Once that is established, thearabesque is reined, the features placed, and

then,and,onlythen,doweproceedwithmodelingtheform.

Ellen–ProilingaHarshMelancholiaThemostpoignantportraitsareofthose

individualswhohavebeendealtadificult

handinthegreatcardgameoflife.Ellen

immediatelystruckmeassomeonewhohas

notfoundmuchjoyinherlurchingjourney

fromcrisistocrisisintheconstanthopethat

happinesslurksaroundthenextcorner,only

toindyetanotherdoorclosingshutoffering

onlyaquickglimpseofblueskiesandlower

carpetedieldsofpeaceandtranquility.Her

gameisSolitaire.

Cur,thatIam,Ifoundherfutileloundering

intriguing–aquietreposeofsadacceptance

andloneliness,Ellenprofferedanexcellent

study.

Portraitdrawingembracesmuch,muchmore

thanthesimplerenderingofformand

light.Comparetheinisheddrawingtothe

photographofEllen.You’llnoticeafew

differences.Idrewtheeyessmallerthanthey

reallyareandclosedthemabit;melancholia

hasanunslept,withdrawnquality.The

noseisrenderedruddierandredder.The

cheeksgivenaharshedgedquality.There

isamarkedphysiologytosadness,especially

depression.

Depressioncanalsoappearasacold

andangrymelancholia;theancientGreeks

describeditbest–blackbile.

Asartistsourjobistointerpretandopine–

wearemorethanmerecopyists.

Now,towork... Quicklyestablishthearabesque.Slipingunslingermode,squintdownyour

eyesandtakeyourbestshot.

Let’slookmorecloselyatthe

photographofEllentoascertainthe

majorproportionsandtodiscoverthe

uniquequalitiestoEllen’shead.

Well,isn’tthatinteresting,thewidthofEllen’s

headfromthefarzygomatictothebackofthe

hairisexactlyequalfromtheintersectionof

sternohyoideusmuscleandbiventermandibulae

muscletothetopofthefrontalismuscle,orfrontal

bone.(Letmereiterate–youreallyshouldknow

youranatomy.Theportraitisademandingsubject

thatrequiresprecision,knowingallofthelumps

andbumps,theirnamesandfunctionsgreatly

aidsinmeetingthedemandsofaccurateportrait

drawing.)

Nowisthetimetocheckyour

proportions.Itrustthatyouhavetaken

yourbeststabatthegesturalarabesque

beforecheckingyourheighttowidth

proportions.Thatishowyoutrainyour

eye.

Myproportionsareabitoff,butthey’re

closeenoughfornow.

Isensegrumblingintheranks.Somyarabesquewasnotdeadon.Thisisn’tvideo,

it’slife.Thegesturalarabesqueisonlymeanttobreakthetyrannyoftheblankpage,

remember?Let‘smoveon.

Ellen’sbrowridgeisjustalittleabove

thehalfwaypointfromthetopofher

hairtothementalprocess.Thebase

ofthenoseisprettymuchhalfway

betweenthebrowridgeandthemental

process.Notethecenterlineof

theface.Inthis7/8’sposeweare

nearingproile,butnotquite.I

haveencompassedtherelationship

ofthedentureandpyramidalnasiby

arcingthecenterlineoutwardsfrom

thepyramidalnasitothemental

process.

Asmentionedadnauseumthereis

astructuredordertoeverything.It

isourroleasartiststodiscoverand

embracethisorder.

Onceagain,eveninthis7/8’spose,the

squareisfoundencompassingthechin

tobrowandcheektoarticularprocess,

condyle(thebackendofthejawwhere

theearlobemeets).

Thisisacriticalrelationship.Double

checkyourdrawingtoensurethatthese

proportionsarepresent.Ifthey’renot,

correctthembyadjustingthewidthof

theface(cheektoear).

SwitchingGears–BlockingIn

Drawingdoesnotlivebylinealone.

FromthedeepsquintIquicklyand

roughlyblockedinthelargedarks,

includingthelargemassofhair.

Payparticularattentiontotheplacement

ofthealartothefarcheek.Itisdirectly

aligned.

Theplacementofthemouthisa,more

orless,wildguess.Asusual,Iplaced

themouthtoolow.Notenoughchin

remains.

Theemphasisofthisinitialblocking-in

isasarehearsal.Don’tcommityourself

atthispoint.

Thereareplentyoferrorssofar.Plenty

oferrors.Bucketsoferrors.ButI

digress.

Asyoustump,so,too,canyoucorrect

asyoupushthedarksaround.Useyour

ingersaspaintbrushestosoftenedges

andthekneadederasertopickoutthe

lights.

Wearestillworkinggenerally,butat

thispointtheplacementofthedarks

andlightsshouldbemoreandmore

accurate.Doublecheckyourplumb-

lines,especiallytheplacementofthe

pyramidalnasi.Itwouldn’tbeabadidea

toalsocheckboththehorizontaland

verticalplacementoftheear. Again.

...t

hen

stum

p

...andbacktothearabesque

Withstraightlines–straight,architecturally

soundlines;linesthatspeakofstructure–

carefullyreinethearabesque.Ialwayswork

upwardsfromthehyoidwhenreining.If

youareworkingfromaphotographitwill

serveyouwelltoinverttheimageandthe

drawingandreinethearabesqueworking

upsidedown.Thiswayyouabstractthehead

andcanbetteranalyzetherelationshipsof

formandlightwithoutthosenastysymbolic

preconceptionsgettingintheway.

Incidentally,checktheplacementofthe

sternalnotch.Everyonehasthetendency

toplaceiteithertoohighortoolow.The

sternalnotchisusuallyequaltothedistance

fromthementalprocesstotheupperalar.

Nowthedoughismixedanditistimeto

bakethecake;we’rereadytocook!(Mind

you,myanalogiestakethecakeallby

themselves.)

Youarenowreadytosketchthe

arabesqueofthenose.Aspreviously

discussedkeepthisarabesquesimple

andaccurate.Sizeandplacementare

paramount.Don’tforgettoslipinto

gunslingermode,usesofteyetobetter

guagetheoverallproportionofthe

nosetothefacewhileconsideringour

tendencytodrawtiny,symbolicnoses.

Mostofushavebigshnosses.

AcloserlookatEllenTheplacementofthenairandalae

nasiofthenoseiscritical.Look

forthreereferencepoints:irst,the

tipofthealarisalignedwiththe

farcheek.Always,alwayscheck

theplacementofthenoserelative

tothefarcheek.Missthis

criticalpointandyou’velostyour

head!(Nopunintended,ofcourse.)

Second,plumbingdownfromthe

tearductyouimmediatelyseethat

theeyeisfairlyrecessedfromthe

outeredgeofthealaenasi.Third,

theintersectionoftherootofthe

noseandthefareyeisaligned

withthephiltrumandthemental

process.Forgetaboutthemouth

fornow.

Ifyouhaveblockedinthelight/dark

patternreasonablyaccurately,the

featuresshouldsnapintoplace.

Clickety,clack!Justlikeajigsaw

puzzle.Ifyouhavetoforceapiece

intoplace,and/orsmackitintherewith

theheelofyourshoe,thensomething

isamiss.Checkallofyourmajor

proportionsagain.Verylikelyyou’re

browridgeismisplaced;ifthatisthe

case,thenalso,yournoseisoutof

joint,andmostdeinitely,yourmouthis

misplaced.Itisadominoeeffect.

BuildingForm–CrossHatchingIprefertobeginwiththefareye,buildingup

theformsoftonebycross-hatchingwithavery

sharpHBpencil.Iveryseldomstumpatthis

stage,insteadIdeineandmeldmyedgeswith

theveryinelinesofparallelstrokes.

Lookcloselyatthis

eye,notehowboth

thelowerandupper

eyelidswraparound

anddisappearbehind

thelattenedfaredge

ofthesclera.Itis

averycommonerror

torenderthiseye

asifseenfrontally.

Thinkbacktothe

coffeemuganalogy.

Thesamegoesforthe

mouth.Themouthis

cyndricalandwrapsaround

thedenture.I’veyetto

tackletheloweryet.Peas

andcarrots,peasand

carrots.

Buildingtoneandformisthemost

meditativeandsatisfyingpartofportrait

drawing.Aswithallthings,asolid

foundationismandatory.Anexquisite

renderingofdetailswillnothideapoor

architecturalstructure,insteadallofthe

errorsandmiscuesofproportionwillbe

mademoreapparent.

Don’tbetooupsetifyouhavetocorrect

thearabesque,again!Thereisnoshame

incorrecting.EdgarDegas’friendsfelt

compelledtohidehispaintingwhenever

hevisitedtokeepEdgarfromreworking

hisdrawingsandpaintings.William

Turnerhadthesameurge;notonly

toreworkhispaintingsbutalsothose

paintingsofotherartistsdisplayed

nearby.

Theheadisfurtheredmodeledbycross-

hatching,usingavarietyofpencil

hardnesses.IusuallybeginwithHBover

theoriginal8B,thenalternatewithBfor

thedarkertonesanda2Htodelicatelyfuse

thesoftlutingedgestheformshadows.

Agraphiteblackenedkneadederaser(you

know,thedirtyonesatthebottomofyour

drawingkitthatyouusedtotossout)isalso

utilizedtocrosshatchoutthelightervalues

whilebuildingtexture.

Tofurtherenhancethefeelingofstoic

sadnessIrenderedthenairandalarruddier

thantheyactuallyare.Coloursensecanbe

expressedwithgraphitetone.Matissewas

amasteratthis.

Thiseyealsolattensoutasitturns.The

pupilissetback,off-centerwitharagged

edge.Tobetterunderstandthis,holdup

atea-cupsaucerverticallyandturnittoa

3/4’sproile.Theinnerindentedcircleis

nolongercentered;justlikethepupilinthe

soupbowlthatistheiris.

Hair:Structure&Rhythm

Hairisanuisance,muchlikeadisobedientchildwhoneverdoeswhatitistold.Most

artiststreathairasifitwereadistastefulchore,somethingtobepromptlydispatched.

Don’t.Thesamecaretakentodevelopthefeaturesshouldalsobetakeninthe

treatmentofthehair.Enoughsaid,nowlet’sdoit.

Hair,whetherdiligentlycoiffedortangledintoashockofbewilderment–usually

thatearlymorningsurpriseandamazementathavingsurvivedthenighthasadeined

structureandrhythm.Hairstylistsarekeenlyawareofthis(atleastIhopethatmine

is).InFigureXIhavedividedthehairintoitsmajorlocks,muchlikemyhairstylist

woulddo.Ellen’supperhairlocksaresweptbackandtiedatthebackofherskull.

Thelowerhalfofherhairfallandrestonthebackofherneck.

InFigureYthesupportinglocksareblockedin.MystrokesaredirectedasifIwere

actuallybrushingEllen’shair.Doublemileageisattainedhere.Notethehairlineat

thetemple,itissoftandtransparent.

Figure X Figure Y

Theremainderofthehairisblocked

inwithafewstrandssuggestedby

liftingoutwithachisel-edgedkneaded

eraser.Avoidobviouslyparallel

strands–parallellineshavenolife.

Therewasalotofadditionalcross-

hatching,stumpingandliftingout

goingonhere.Agrandtimewashad

pushingform,strivingtoachievethe

fullstretch.

Theearwasresolvedatthistime.Pop

quiz!Pointoutthetragus.

Asalways,inishingisthemost

dificultandsoulsearingofourmany

tasks.Weveryseldommeetthegoals

setoutfor;insteadweareleftgrasping

andsullenlypeeringatoureffortswith

disdain.Thatisourlot.Ithink,in

theend,thisdiscouragementisagood

thing.Ifyouarealwayshappyand

crowingaboutyourworkthenIwould

beconcerned;youareprobablynot

reachingoutfarenoughandcheating

onlyyourself.

Fullydisgustedwithmyself,completelybereftofanytalentorability,yetgentlysavouring

thismomentoflagellation,IsensethatthistreatmentofEllenasavignettedoesnot

completleywork.Thedrawingrequiresgroundingtoarticulatethefeelingofmelancholia

initiallystrovefor.

Abackgroundwasblockedinwiththelongedgeofa4Bgraphitestick,stumpedinand,

inally,texturedwithpainterlystrokesofmykneadederaser.

There.Done.Anothersadsoultopopulatemykingdom.

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