Work In Progress, Savannah, Update 1

Work In Progress: Savannah, Update 1

            It’s a bit hard getting too much done at this time of the year, what with two new grandchildren on top of an already busy holiday season. And probably most of you are too busy right now to even read a Work in Progress Update.

            But, I have gotten some work done on this portrait and I’d like to discuss the steps I’ve taken to get to this point. Doing a portrait requires attention to detail and a methodical approach. My method of choice until this portrait has been a very mechanical one, using the grid method to copy the portrait from a photo to gridded tracing paper, and then transferring that to the drawing paper. I wanted to do a portrait using a method involving more eye – brain – hand coordination, observation and knowledge of and feel for anatomical features. To me it’s a more satisfying way of creating a likeness. It sharpens the senses and develops an appreciation of anatomy. I also don’t have to worry about drawing the portrait twice and being able to transfer accurately.This way of creating a likeness is used by all artists who undertake portrait and figure drawing using sitting models. Their skill and the confidence it creates is to be admired.

            My method, then, is not new, but incorporates many of the same techniques used by artists using live models. It involves measuring angles and triangulation, making use of dividers and a triangle as well as freehand measurements. The portrait likeness is developed like any landscape, by proceeding from the general to the specific. The figure is first roughly blocked in using simple straight lines to get the general shape of the head. All curves are eliminated. Once the figure is blocked in, the rough shape is refined by adding more reference points and corners. Next, the placement of the features are roughly indicated, again through triangulation and measurement. The shading can also be roughly mapped out at this point and filled in lightly.

            After double checking angles and measurements of as many features as possible, and making adjustments, work begins on refining the features – the eyes, moth, nose and ears. After all the features are drawn in accurately, tonal work begins, modeling the figure and making it look three dimensional.

            I made a couple of copies of the original photo of Savannah, one showing the pose I plan to create, another with the size of the head I will re- create (that can be used to take measurements off) and third with the head larger so details can be seen. I chose Strathmore 300 series Bristol Vellum for the portrait and will do all the blocking in with a light touch and an HB pencil so I can erase easily when necessary.

            The first task was to lightly draw in the major axis from chin to the highest point on the head. From there, by using triangulation, I marked the furthest extents of the Savannah’s head both right and left. Again, using triangulation and the dividers, I built the shape of the head, adding more and more corners until I had the shape roughly drawn in.

            Next I drew a light centerline from the center of the chin to the top center of the forehead, dividing the face into right and left halves. Using triangulation and dividers I roughly blocked in the inner and outer extent of the eyes, the nose, the mouth and ears. I also lightly indicated shadow placement for further landmarks.

            Now that everything is roughed in and a fairly good likeness has been established, the next stage in developing Savannah’s portrait will be developing the features more accurately. The contrast on the drawing has been necessarily increased so you can see the image. The pencil sketch is really very light so construction lines, etc can be erased as the drawing progresses.

           

            I’d like to wish all a great holiday season and a healthy and prosperous new year, filled with all sorts of inspiration and creativity.