PAINTING THE FIGURE

As we continue looking at the figure please see the example below for inspirational and instructional material.

Ruebens

Poussin

Pearlstein

Freud

Freud

Saville

Sargent

Fischl

Public Painting- Outsized Object

With the emergence of the second Generation Street Artist, we see a revitalization of painting/ art in the public space. Following in the steps of the Grafitti artists (an art form born here in the Bronx), these artists take a guerilla style approach to make their work seen. Often engaging with a specific site, the meaning of their art and the location are interwoven- being stronger for the connection. Often showcasing rebellious flair and political commentary, the work enters into the conversation of art making, politics of public space, and image ownership. Below we will see some examples of contemporary artists painting / installing work in public spaces.

See the artwork of the artist Blu here

Banksy

Banksy

Shepard Fairey

The classic sticker of the 80's Wrestler Andre the Giant- Shepard Fairey.

Swoon

SKULL and HEAD PROPORTIONS

The skull provides the basis for understanding the form of the head. The three large masses of the head are the cranium, the skeleton of the face and jaw. Consider the forms of these masses simply. The cranium as a sphere, the face as a flat plane that descends off the cranium and tapers toward the chin and the jaw as a horse shoe shape that hinges underneath. Notice where the skull protrudes to provide landmarks, where it recedes under the flesh. (Following two examples are from Szunyoghy's Human Anatomy for Artists)

The profile of skull. Notice the ear hole location, not centered but 2/3 of the way toward the back. Also see how the head rests slightly forward on the neck.

Below we have an example from Bridgman's Constructive Anatomy. Here he illustrates some of the muscles in the head. Good to consider as for developing from and gesture in the face.

BEGINNING THE CONSTRUCTION OF THE HEAD

In the construction of the head, it is better to begin with a cube in stead of the familiar oval. The oval is non -specific, the eye won't rest on a curve and cannot find a register point. The cube gives a sense of mass, perspective, foreshortening, angle/ tilt. Also importantly, it gives a sense of the third edge. From this starting point we can begin thinking of planes as they relate to the head - top, front, two sides, back, and bottom.

The basic measurements for the cube are 2/3 wide, 3/3 high. The side of the cube (profile) is 7/8 of the height. ( From the profile it looks ALMOST square, from the front (face) it is a tall rectangle.)

The basic proportions and location of the facial features can be constructed as the example demonstrates (Example is from the website Draw23.)

-A Vertical Line down the center from top of head to chin. Through this line we see the Bilateral Symmetry of the features.

-A Horizontal Line is placed at the halfway point. This indicates the lower lids of the eyes.

- The whole height can be again divided, but this time in thirds. The upper horizontal line indicating the middle of the forehead, the second the base of the nose. In the bottom third, two thirds of the way up to the nose is the center line of the mouth.

- The corners of the mouth line up vertically with the center of the eyes.

- The top of the Ear lines up horizontally just above the eye at the eye brow.

-The bottom of the ear lines up with the base of the nose.

Most of these guidelines can be drawn in on the cube, allowing you to place the head spatially and in perspective.

Below we see an example from Bridgman's Constructive Anatomy demonstrating the planes in the head. These are very basic, but a good way to begin to refine your head form.

Below is an example from Szunyoghy's Human Anatomy for Artists. It further illustrates some of the agreed upon proportions in the head. Included are the space between the eyes equals one eye width. The whole width of the head is five eye widths. Also illustrated is the top and bottom of the ear as they relate to the eye brow and nose (good marker). The width of the nose is also illustrated to be approximately the space between the eyes.

IMPORTANT NOTE*- All these proportions were largely agreed upon during the Renaissance, and are considered guides, not hard and fast rules. they do not necessarily account for the variation of people, races, ages, etc.

Below is another Bridgman example providing some insight into the neck and head the muscles track and connect with the skull. Of particular note is the Streno -cleido- mastoid (#8) a great reference point in figure drawing, spanning from the clavicle to behind the ear.

Student Example

Student Example

Student Example

Click here for a great demonstration of the process of portrait drawing. pay special attention to how the drawing is started and built, large shadow shapes paced, the back and forth of the blurring and clarifying. All this process of patient construction amounts to a very good portrait in the end!

FACIAL FEATURES

The eye is an important yet complex element within a portrait. A great deal of emphasis is placed in the eyes as they relate to likeness and psychology. Understanding its form is the beginning of depicting it properly. In words, think of its structure, a ball settle into a bone socket. The brow bone or ridge overhangs the ball slightly. This ball is then draped, above and below, with two lids that have thickness. To the center of the face and slightly below middle we find the tear duct. These lids do not make an opening like a symmetrical football, but rather peak closer to center on the upper lid, and slightly toward the outside in the bottom lid. In the eye ball we the sclera (whites of the eye) the iris (the eye color), pupil (dark spot the resides in the iris), and the cornea (the lens on the surface). While drawing the eye it is important to remember these structures as light falls across all differently.

In the mouth we find a structure that wraps around the cylinder of the teeth and head. It is composed of three masses in the upper lip, a center flanked by two wings. The lower lip is composed of two masses parted slightly in the middle. The upper lip tappers quickly at the corners and curls down. The upper lip is usually in shadow since its top protrudes and then rolls under as it meets the opening. The lower lip receives light, along the two masses, and sharply descends to shadow along the middle underside, yet descends to shadow slowly along the edges as the lip rejoins the facial mass.

The nose is often one of the hardest features to capture. Again think of its structure as an aid in depicting it properly. There are three basic masses to consider- the ball, nostrils and bridge. It has four basic planes- one top, two sides, one bottom.

FIGURE- Gesture

Student Example

Student Example

Student Example

Gesture drawing seeks to capture the essence of the pose, its action, its distribution of weight, its dynamism. Expressive use of line , and a basic understanding of proportion and anatomy, accomplishes this. The idea is to observe and capture this through minimal but specific use of mark and not over doing it. It is NOT the goal to go after detail.

Bridgman's "Constructive Anatomy"

Here we see an example of the three masses of the body and how they inter-relate. The three are : Head, Chest, and Pelvis. They can be thought of as blocks connected by the spine." In their relations to each other, they are limited to three possible planes of movement. That is, they may be bent forward and backward in the sagittal plane, twisted in the horizontal plane, or tilted in the transverse plane. Almost invariably, in fact, all three movements are present, to different degrees." - George G. Bridgman

Bridgman's "Constructive Anatomy"

Luca Cambiaso- From Robert Beverly Hale "Drawing Lessons from the Great Masters"

Here we see an example of the board planes of the body. Very simply, imagining each body part as cubic will allow the structure to be constructed easier (and value applied). This allows the artist to see the front and side planes as well as up and down planes and directionality.

Francisco Goya

A good example of the dynamic action of the pose. Notice the point of the foreground figures's swing, highest , furthest back before the forward motion- the body in full stretch before release the potential energy.

Degas

A very refined yet simple drawing of the figure in repose. An example of a short pose and what can be accomplished. Notice the attention to anatomy, proportion, and the quality of line and slight use of value.

Raphael

Another moment of action in the pose. Note the relationship of pelvis to chest to head, the twist and tilt can be seen clearly. Also the concentration of values and lines indicating the pressure and compression in the pose.

FIGURE- Basic Proportions

Using the head height as a measurement the figure height is about 6.5 - 8 heads total. Various markers on the body fall along this interval.

A description of the horizontal axis will provide a closer representation of the pose, distribution of weight etc. Notice how the adjustment of the weight causes these Axi to no longer be parallel.

An example of the head measure being used to describe the length of the arm.

COLOR THEORY BASICS

Hue

Hue is the color quality of a pigment or object. Hue and color are interchangeable terms, but in color theory the term hue implies a specific discussion of only hue. For example a “light red” color has the hue of red and a high value.

Value

Value is the amount of light in a pigment or object. Color hues a have intrinsic value qualities.For example, yellow is the “lightest” or highest value hue.Blue-violet is the “darkest” or lowest value hue. Red has a more middle value. The value of a dark hue is made lighter by adding a higher value hue (or white). The value of a light hue is made darker by adding a lower value hue. Imagine the values of the hues below in a black and white picture.

Tints and Shades

Adding white to a color creates a tint. Adding black creates a shade. For example pink is a tint of red; maroon is a shade of red. See the tints and shades of blue below.

Intensity

Intensity is the amount of brightness in a pigment or object. This is a quality of pure hue that creates a visual vibration. Which green is more pure, or intense?

Tone

Tone is a hue mixed with gray.The gray will neutralize or tone down the color. This also decreases the hue intensity. Depending on the value if the initial hue, the addition of gray may also change the value appearance, making the hue lighter or darker.

Warm and Cool Colors

Temperature is an associate quality of color. In general warmer colors are orange, red and yellow. These colors “feel” warm and also emerge or move forward in space. Cool colors are blue, green, and purple. These colors “feel” cool and also recede or move back into space.

Now forget these categories and think more precisely in terms of relationships. A bit of color ying and yang, as warm color is defined by cool and vise versa! This means that in a comparison of red and blue, red is warmer. But in a comparison of red and red, one red will be warmer then the other.

Complimentary Colors

Complementary hues are defined as two hues, which create after-images of each other. Yellow has a blue-violet after-image and blue-violet has a yellow after-image. On most color wheels complimentary colors are across from each other. Placed next to each other compliment hues have the greatest possible contrast. When mixed together the result is a neutral hue.

The After image

The phenomena of after image causes the eye to see the complimentary hue after an extended period focusing on said hue. For example, stare at the yellow dot below for 30 seconds then look immediate at the black dot below.

Contrast of value.

Contrast of color value

Contrast of of hue.