Using Correct Proportions
In order to correctly draw the
human portrait
It is helpful to understand what
lies beneath the skin
The Basic Underlying Structure
facial musculature
The Structure of the Neck
The Head in Profile
Proportions of the Face by Leonardo Da Vinci
The face triangle is from the center of each pupil, through the nostrils of the
nose to the point between the top front teeth. To me this is an important
trait, every bodies triangle is a little different.
The smiling mouth lines up under the pupils, the two iris usually equal the
maximum smiling width of the mouth.
http://goldennu
mber.net/neophi
te.htm
Human beauty is based on the Divine Proportion
Center of pupil : Bottom of teeth : Bottom of chin
Outer & inner edge of eye: Center of nose
Outer edges of lips : Upper ridges of lips
Width of center tooth : Width of second tooth
Width of eye : Width of iris
Phi defines the dimensions of the human profile
The human face is based entirely
on Phi
The ear reflects the shape of
a Fibonacci spiral.
The distance between the two eyes is the distance between the 'EYE WHITES'
Golden Proportions Between Teeth
http://drawsketch.about.com/gi/dynamic/offsite.htm?site=http://www.anticz.com/heads.htm
Drawing
the
Facial Features
Drawing the Eye
Step 1 - The Initial Line Drawing
There are two things that you should carefully observe when starting your drawing of
an eye:
1 - The difference in shape between the upper and lower eyelids.
2 - How the upper eyelid covers the top of the iris.
(mouse over the image to view this effect.)
Step 2 - The Eyeball
There are two main elements to consider when drawing the glassy surface of the eye:
1 - A glint of reflected light should be left unshaded at the start of the tonal drawing. This should become the
brightest element in the eye. This reflection is further enhanced by its contrast with the pupil - the darkest
element in the eye.
2 - The iris contains a variety of tones and flecks which radiate to the centre of the pupil. It is usually darker
around its outside edge and lightens towards its centre creating a translucent effect.
Step 3 - The Eye Socket
The final step is to render the solidity of the eye socket and surrounding area using graduated tone.
The upper eyelid casts a shadow which forms a dark curve across the top of the eyeball. This gradually softens
into the shaded areas at each corner of the eye.
Graduated shading is used to cover the linear detail and build up the tone of the eyelids and surrounding area.
Eyebrows and eyelashes are formed by soft, delicate hairs, so draw these lightly and pay particular attention to
the direction of their growth.
Drawing
the Nose
Step 1 - The Initial Line Drawing
The nose is formed by a series of curved planes. This makes it difficult to draw as there
are very few lines to help us describe its shape.
Start by drawing what you can see, namely the inside and outside edges of the nostrils.
Then try to outline the main areas of tone that define the planes of the nose.
Draw these lightly as you want them to disappear under your shading at a later stage in
the drawing.
Step 2 –
The Initial Tones
Simplify your shading into three basic tonal areas - dark, medium and light (the
white of the paper).
Block in each plane of the nose with its appropriate tone. This should begin to
render its three-dimensional form.
Step 3 - The Final Tones
Carefully refine the strength and
subtlety of the tone, softening the lines
that join each plane with graduated
areas of shading.
You must look more closely at this
stage to try to discern the faint
variations of shading within each area
of tone.
Drawing
the Mouth
The mouth is the second most expressive feature of the
face. Great care should be taken in drawing its shape as
it is a key element in achieving a likeness.
Start by drawing the subtle shape of the line that is
formed as the lips meet. This will set a natural
expression for the mouth.
The top lip has its characteristic bow shape which
varies considerably from person to person. The bottom
lip is usually larger than the top and more creased with
vertical stretch lines.
Step 1 - The Initial Line Drawing
Step 2 - The Initial Tones
The upper lip slopes inwards and is normally darker in tone as it is
shaded from the light.
The lower lip is more fleshy with a stronger muscular structure. It
tends to catch the light and is further distinguished by the shadow
below its pouting form.
Step 3 - The Final Tones
In the final stages, tone is used to soften the edges and refine the detail of the
mouth. Not only should it highlight the surface texture of the skin, but it should also
make you more aware of the muscular structure that lies beneath.
There is a subtle softening around the edges of the lips which helps to blend them
comfortably into the face. Note how the detail at each corner of the mouth diffuses
into a small area of tone.
Drawing
the Ear
Step 1 - The Initial Line Drawing
The ear is a complicated arrangement of ripples and folds of flesh.
You need to organise its irregular shape into some basic forms that are
easier to outline.
You can then use this linear framework to gradually build up its complex
form with tone.
Step 2 - The Initial Tones
Simplify the tonal structure into three areas:
Areas that are mostly light - Leave these unshaded.
Areas that are mostly dark - Shade these with a mid-tone.
Areas that are extremely dark - Shade these with a dark tone.
Step 3 - The Final Tones
Look deeply into each area of tone and try to pick up on the subtle variations that lie
within.
You may have to darken some of the light areas and lighten some of the dark areas to
achieve a balance of tone.
Tonal drawing is simply a balancing act between the elements of light and shade.
In fact, all drawing is a constant balance between your observation, your concentration,
your judgement and your technique.
Now that we know the basic proportions of the
head, how do we apply these concepts to
drawing from life? The trick is to take it a step at
a time, and to trust your eyes. Keep proportion
and perspective in mind, and remember that
what you 'know' about the face may be very
different from what you see, depending on the
angle. Two of the most common faults are
placing the eye too high on the face, and making
the skull too short.
Drawing the Human Head from Life
Observing the subject,
begin with a rough ball
indicating the main part
of the skull. Draw the
line from forehead to
chin, form the plane of
the face, and add the
jaw line and main
features. Note that the
line indicating the nose
shows the base of the
nose, not the tip. This
will help with modeling
the nose later.
Otis Art instructor video
www.youtube.com/watch?v=RiUfVKPEKxU
Place the ear,
construct the nose
(in a frontal view
using two lines along
the length), draw the
jaw line and indicate
the brows, forehead
and cheeks
(depending on the
pose). Position the
eyes carefully.
Erase construction lines.
Improve the line work,
checking the model
constantly, adding detail and
correcting shape. Add hair.
Note that the drawing of the
neck and shoulders must
also be accurate. This
drawing has been darkened
to demonstrate the observed
lines. If you wish to shade
your drawing, keep the line
work light.
Tips:
Practice drawing the head from many different angles.
Observe how the facial muscles change as an expression
changes.
Try taking your own reference photos.
Adults are easier to draw than children, as their features
are more sharply defined.
Try doing some studies of a skull if you can, (try the local
museum, art school or school science department) as this
will help you understand the planes of the face.
Examples
Charcoal Portrait - How to
www.youtube.com/watch?v=Fk3eI3oI0uw
www.wetcanvas.com/Articles2/2514/81/ - 19k
http://www.portrait-artist.org/face/structure.html
This drawing was done in Madrid
many years ago when I was a
young man. I kept it rolled up for
about two decades, then brought
it out again for the show at the
Johnson Art Collection. This was
a portrait done from life, of an
american guy I lived with in
Madrid for a short time.
Unfortunately, he became quite
psychotic and we parted ways
rather poorly. I was grateful to him
for some very kind things he did
for me before he became so
troubled, but it took me rather a
long time to be able to appreciate
this portrait of him. I like it very
much now.
Title: Ray
Artist: Jim Meskimen
The story is this: I encountered a
photo of this man in the obituary
pages of the Times; he was a
well-known street personality in
Montreal, and had died at age 70
weighing over 500 lbs. His name
was Antoine Bareckovitch, but he
was known as "The Great
Antonio". I have asked people
from Montreal, and they knew
who he was. He would do feats
of strength on the streets of that
city, often pulling a bus using his
long rope of hair (he never cut
his hair, apparently) and lifting
heavy things for effect.
I was attracted to his playful
expression, his antique style of
dress, and that strange rope of
hair, capped with duct tape, that
drapes his huge body. He was a
real giant, over 7 feet tall; he
must have really been a
character.
Title: Strongman
Artist: Jim Meskimen