Back to Basics -- Facial Anatomy

In this week's lesson for the Back to Basics workshop I demonstrated step-by-step how to create a portrait on toned paper (http://www.strathmoreartist.com/artist-studio/about/). As a supplement to that video I thought it might be a good idea to offer some information about the structure of the human face for anyone who may be interested in this subject but who is approaching it for the first time.

We'll begin with a few general notes: first, all measurements will be based upon the overall height of the head (from the top of the hair -- NOT from the hairline on the forehead -- to the tip of the chin) and overall width (from temple to temple); and, second, this system of measurements is intended as a general "ruler" -- each person is unique in a variety of subtle ways, noting how your subject differs from the "rules" and depicting those differences is how you will achieve an accurate portrait.

centerline of the nose

First vertical measurement -- beginning with the face looking straight-on at you, imagine a line down through the center of the nose, from top of the hair to tip of the chin. Dividing that line in half will give you the (general) position of the eye line.

eye line

Second vertical measurement -- divide the vertical line segment running from the eye line to the tip of the chin in half and you have the position of the base of the nose.

base of the nose

Third vertical measurement -- divide the line segment running from the base of the nose to the chin in half and you have the position of the bottom of the lower lip (not the line between the lips.)

bottom of lower lip

First horizontal measurement -- with the eye line extended from temple to temple, note that the vertical centerline divides the face in half.

pupil

Second horizontal measurement -- divide the eye line segment running from the temple to the vertical center line in half. This gives you the position of the pupil of the eye.

inner corner of eye

Second horizontal measurement -- divide the line segment from the pupil point to the vertical center line will give you the position of the inner corner of the eye.

outer corner of eye

Third horizontal measurement -- divide the line segment between the pupil point and the temple will provide you with the outer corner of the eye.

NOTE: Each eye is one eye width. The distance between the two eyes is one eye width. The distance between the outer corner of the eye and the temple is half an eye width.

"wing" of nose

When the subject's face is relaxed (showing no emotion) --

• the inner corner of the eye lines up vertically with the outer edge of the nostril (the "wing" of the nose)
• the inner edge of the iris (the pigmented part of the eye) lines up with the outer corner of the mouth

corner of mouth

ear alignment

When the subject is looking directly at you, the top edge of the ears line up with the eye brow and the bottom edge of the ear lines up with the base of the nose. (If the subject pivots his/her head up or down though be careful to observe how the facial features also move up or down respectively.)

ear alignment with head rotated down

ear alignment with head rotated up

If the subject turns his/her head partially toward profile, note that measurements on the far side of the nose decrease due to foreshortening.(See the article on foreshortened circles for a review of foreshortening.) while the distance between the outer corner of the eye and the temple increases dramatically.

The neck is half the height of the face.

And, finally, once you have mastered the anatomical proportions of the head you can use it as a "unit of measurement" for the rest of the body (7 1/2 to 8 heads high, depending on the system you subscribe to.)

I hope you find this helpful (and human anatomy just a little less mystifying.) Watch for two more Back to Basic posts (which will conclude this series) soon... along with a sneak peek or two at some of the new adventures we have in store.

Cheers!

Sneak Peek 3 - The Road Less Traveled

"I shall be telling this with a sigh

Somewhere ages and ages hence:

Two roads diverged in a wood, and I --

I took the one less traveled by,

And that has made all the difference."

                                 -- Robert Frost

 the "blocking-in" will take viewers from the initial gesture to the final contour drawing

When I was in the sixth grade I was introduced to three things that have had a profound influence on my life: the Folk Revival Movement (which, in turn, introduced me to the music of Pete Seeger and Woody Guthrie), the Great Outdoors (through our class' two-week "total immersion" stay in Muir Woods), and the evocative poetry of Robert Frost.

The latter taught me the pleasure to be found in seeking out alternatives to the mainstream and the well-warn path. And, in art, that eventually led to a fondness for working on toned paper -- which is a delight to work on, and produces eye-catching works, but has never seemed to be as popular among artists as its white paper "cousin."

the intermediate stage will see the buildup of light and shadow passages

It also just so happens that the Strathmore Artist Paper company produces two delicious lines of toned paper. So, when asked to come up with 4 lesson plans for my "Back to Basics" online workshop, I decided that toned paper might be the perfect subject for the final episode.

Since I had already addressed still life and cityscape as subjects, and weather had temporarily forced us indoors (where landscape wasn't a viable option), I chose portraiture as the subject for my final lesson. (However, participants are encouraged to select subjects based upon their own artistic interests and needs; toned paper will be the true focus of this lesson.)

participants will have an unobstructed view from my "shoulder cam"

The lesson starts off with a discussion of compositional options and an introduction to the paper and the medium used in the video. The introduction is then followed by the step-by-step demonstration -- alternating between over-the-shoulder "peeks"and close-ups of the drawing as it progresses from the initial "blocking in", through the gradual development of tonal areas, to the completion of the finished work. 

With the shooting and initial editing complete on my end (the final running time of each episode will be determined by the team at Strathmore) I can now turn my attention to completion of the "bonus" materials for each lesson. (Two bonus videos have already been completed for Lesson 1, and one for Lesson 3, while samples of alternate media and techniques are planned for Lessons 2 & 4.) And watch for a series of prolifically illustrated, workshop-specific posts right here beginning the first week in March.

you can be there as the finishing touches are added to the portrait demo

And, while we're waiting for things to get underway March 10, I'll be popping into the Forum/chat room at Strathmore (most likely every day) to meet new participants and see how everyone is doing. (We already have over 600 people signed up from 6 continents... although I'm still hoping that someone at one of the Antarctic research stations will decide to join us online.) I hope you'll be there too!

Cheers! 

Sneak Peek 2 (Blown Away!)

"Life is what happens to you while you're busy making other plans."

                                                                             -- John Lennon

Well, sometimes reality steps in and throws us a curve ball when we least expect (or need) it. But, if we're "going with the flow" we can try to take it in stride and use it as a wonderful opportunity for a little "creative problem solving."

My "plan" for Lesson 4 in the Back to Basics workshop originally called for an outdoor demonstration -- with a sculpture of Mark Twain as my subject and the afternoon sun as our light source. Unfortunately, Nature decided to throw in a brisk breeze as a little challenge. Our in-camera mic lacked noise cancellation, and both the tripod and drawing paper were buffeted by the gusts.

Oops! I was so focused on the wind that I forgot I was wearing sunglasses.

My camera person added weight to the tripod for added stability (see both clips). My sound engineer added a portable noise-cancellation system to our equipment inventory. And I experimented with some dubbing during the initial editing. (Although, without an ambient sound bite, that wasn't completely satisfactory.)

"It was quiet... too quiet!"

So, creative solution: do an indoor portrait demonstration video for Lesson 4 (already underway) and shelve the Mark Twain video project till the sunshine/warm temperatures/calm winds return. (Watch for the latter as a possible "bonus" video in March.)

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A few words of inspiration from the delightful Mr. Clemens --

pen & ink on Strathmore Series 400 Calligraphy laid paper

Back to Basics (Strathmore Online Workshop -- March 2014)

WIP image from a bonus video we shot at the Fort Worth Botanical Garden last week

Hi everyone!

As you may recall, I usually spend the winter months re-honing my drawing and painting skills in preparation for the New Year's art adventures (both near and far afield.)

This year Strathmore Artist Papers has invited me to share that experience with others and I have happily agreed to teach a four-lesson online workshop for them in March. My film crew and I are already busy shooting the lesson videos (and several hours of "bonus" video that I think you may enjoy.)

some (but not all) of the papers I'll be working with

We have a number of papers we'll be working with and an extensive range of media and techniques to explore. (And, best of all, registration is FREE!) So, I hope to see you there and, please, feel free to bring a few friends. 

Oh, and watch for a series of "behind the scene" and "making of" articles here, too, as we lead up to the beginning of the workshop. It should be fun!

Tools of the Trade #3.1 -- Toned Paper (The Sequel)

toned paper -- a faster way to sketch form and volume

Later this month (on the 29th) I'll be wrapping up the series of workshops I'm doing for the Fort Worth Central Library with one of my favorite sketching materials: toned paper. So, I thought it might be a good time to visit the subject I first addressed back in August of 2012 -- this time with more of a focus on the techniques of working on toned paper.

For those of you who are new to toned paper, or who haven't worked with it for awhile, a little review might be in order. First, you may recall that the majority of most tonal (i.e., volumetric) drawings is middle tone. Second, if you are working on white paper (as most of us do) you spend most of your time in any given tonal drawing getting rid of (covering up) the white of the paper. Third, if you begin with a middle toned paper most of your "toning" is already done for you. (That is, drawing on toned paper is faster than drawing on white and involves less "drudge" work.)

But, if the majority (or all) of your drawing experience has been on white paper it is easy to overwork a drawing on toned paper. So, here's a step-by-step demo in colored pencil, and a few sketching suggestions, that you might find useful.

if graphite pencils are what you have the most experience with feel free to start with them

First, if you usually sketch in graphite feel free to do your preliminary sketch in the same. (Just make certain that you use a light pressure.)

be sure and erase any excess graphite before proceeding to the next step

Once you have blocked in your subject lightly define the shapes with a colored pencil. (Here I'm using a Prismacolor Verithin to avoid excess pressure, which would result in getting too bold too soon.)

this visual reminder that your paper isn't white will help avoid fall back 

on "habit" and overworking your drawing

When the shapes have been established with outlines, you depart from the working practice you normally use when working on white paper. On white paper we are working from the white of the paper toward our darkest dark, passing through middle tone along the way. When working on middle tone paper we work from the tone of the paper (middle) toward BOTH our darkest darks AND our lightest lights.

So, as a "visual reminder" that the paper is middle tone, begin to identify and lightly build up those areas that are lighter than the tone of the paper. (Beginning with light pressure will allow you the luxury of making errors in color pencil that can easily be corrected with an eraser. Bold areas of white or black will usually be far more difficult to erase.)

reserve an area of middle tone between areas of light and shadow, and let your lights 

and darks fade away toward the edges of curved forms

Next, begin to identify those ares that are darker than the tone of the paper and, again, begin to build them up with lightly applied color pencil.

to create the greatest volumetric allusion place your boldest highlights and core shadows away from the form's 

outer edge (on the other had, the strongest cast shadows should be against the object casting them)

Once you have established your three tonal areas (and begin to become more familiar with the tonal details of your subject) you can also begin to identify and apply your boldest highlights.

 don't overlook the secondary or reflected highlights -- areas (never actually white) 

where light reflecting off neighboring surfaces "softens" a shadow

Identify and apply your boldest core shadows (the shadows within the shadows.)

increasing the contrast along the near edge of the cast shadow (by making the edge darker and adding a  bit of "highlight" just outside the cast shadow) will help place your object on an advancing/receding ground plain

October 20 Update: (Oops! Sorry folks, I seem to have left out the final stage when I posted yesterday. My apologies for the oversight. Cheers!)

the arrows show where outline has been eliminated or judiciously weakened

Finally, to maximize volume in the drawing we want to eliminate (or at least downplay) the outlines*. The easiest way to eliminate outline is to simply take the tone of the line and blend it out into the neighboring dark area. (Outlines almost always define the border between a darker and a lighter area.) Alternately (if, for example, the "darker area" is merely a middle tone and the lighter area is white) erase as much of the outline as is practical and then apply additional white to the highlighted area.

... And you're done! (See, I told you it was a faster way to sketch tonally.)

*Outlines define shape and are generally an invention of our creative imaginations. (If you don't agree, look for the actual line painted on your subject before you begin that next sketch.) Outlines are excellent at conveying 2D shape and are the fastest tool for that job. However, a dominating outline is like an exclamation point that will often compete with -- if not cancel out -- your efforts to convey 3D volume. By integrating the "tone" of the outline into your volume-building value patterns you move the exclamation point from Shape to Volume.

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A few "rules" you may find useful --

1. Never blend your light and dark pencil together when drawing on middle-toned paper; this would only create a middle tone and THAT is the job of the paper. (Don't overwork your drawing.)
2. Light and dark are only found next to one another when one form overlaps another, or when one plain meets another at a sharply defined edge. In rounded forms lights and darks are separated by middle tone (i.e., the tone of the paper.)
3. Avoid placing your strongest highlights and your strongest (core) shadows at the outer edge of rounded forms; doing so will flatten out the volume.
4. Look for, and include, secondary highlights in your shadows. (Secondary highlights are ares where light is reflected of nearby surfaces and soften shadows. This, in turn, adds a sense of curving form and spacial allusion to a drawing.)
5. Light/dark contrasts will generally be weaker in the background and stronger in the foreground.
6. If you tend to be "heavy handed" or want to straighten out the lines in your hatching, try holding your pencil farther back and "underhanded" (as opposed to the way you hold it when you're writing.) This will result in less downward pressure on the pencil and a longer, straighter stroke.

laying the lead on its side also allows you to use the pencil in a less linear, more tonal fashion

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New from Strathmore!

the softbound cover is a warm rich brown and has the look and feel of nubuck leather

watch for sample images on this watercolor paper in an upcoming blog post!

Strathmore Artist Papers has recently added three softbound artists journals to their outstanding line of Series 400 sketchbooks. Two are toned paper (one gray, one tan) and one is 140 lb. watercolor paper. All are archival, pH neutral, and acid free.

ink is handled with ease: no feathering, no bleed-through

The Toned Tan paper has a warm color that is flecked with darker red and blue fibers rather like a very up-scale version of the brown paper bags we use to wrap our school books in (although those bags never had such a seductively smooth surface to draw on!)

mushroom cap -- w/c, pen & ink, color pencil

mushroom - more mixed media

The paper is heavily sized and handles repeated erasures with ease. It is also receptive to a wide range of media and techniques, and even handles modestly wet watercolor washes with a minimum of buckling and no "show-through."

pen & ink (3 plein air sketches on a humid afternoon and no buckling!)

Best of all, every registered participant in my workshop at Log Cabin Village on October 29th will receive one of these new journals to "test drive" themselves!

highlights can really sing on toned paper

You say you can't make the workshop on the 29th, but would like to try Strathmore's new journal for yourself (or gift it to a friend)? No worries! You can find it here. Happy sketching!

Tools of the Trade #3 -- Toned Paper

watercolor, color pencils, and gold acrylic paint on Arches Cover buff

Paper -- without a doubt the most popular working surface for artists the world over. And, for most people, white is by far the most common color/tone of artist’s paper. However, ask anyone who has spent much time doing tonal drawings on white paper and they will certainly tell you that the majority of time involved in any drawing is spent getting rid of the white of the paper. But there is a faster alternative -- toned paper.

Pros --

Of course, we all know that in a tonal drawing we generally need three tones to convey volume and space -- light, dark, and middle tone. And we also know that the predominant tone in most drawings is middle tone. So, if we begin with middle tone before we even start drawing (i.e., in the paper itself) it stands to reason that the drawing will go much faster and that time tediously spent on white paper in hiding its “whiteness” can be focused on observation, rendering, and the creative process.

Con --

Since the majority of most artists‘ drawing experience has been with white paper, many of us have a tendency to “work from the tone of the paper (usually white) toward our darkest darks.” If this happens when working on toned paper we “overwork” the drawing. The tone of the paper ends up representing our highlights and we have once again drawn in both the middle and dark tones.

Solution --

First, begin with two mark-making tools instead of the usual one -- one light or white, and one dark or black.

toned papers come in a wide range of colors, values & temperatures, and your light/dark tools can be pencils, pens, crayons, pastels, or paints - there's something for everyone

Next, using your dark or black drawing instrument, carefully draw the outline of your subject. (Using a light pressure will make it easier to erase any errors at this stage and reserves the boldest, darkest darks for the end of the drawing, when your observational focus is usually keenest.)

Sakura Pigma Brush Pen on Canson Mi Teintes paper

Now (and THIS is where drawing on toned paper departs from the routine you may have developed working on white paper), put down your dark pencil or pen! Switch to you white/light mark-maker (pen, pencil, crayon, etc.) and begin placing your highlights, working from those areas that most closely resemble the middle tone of the paper toward the brightest highlights -- again, saving the boldest marks (which are generally the hardest to erase) until the end (when your observations are normally most focused and most accurate.)

Sakura Gelly Roll white pen & Prismacolor white pencil

Once you have “mapped out” the highlights with a light-pressured mark from your white pencil you can begin alternating between your light and dark mark-makers -- gradually moving from the tone of the paper toward both your lightest lights and darkest darks -- with greater confidence that you will not “overwork” your drawing.

Sakura Pigma color pens, watercolor & Prismacolor pencils

Important Technical Tip -- DON'T blend your light with your dark! Mixing the two produces middle tones and, of course, middle tones are your paper’s responsibility. (If you’re mixing middle tones, your overworking your drawing.) 

Where to Begin --

OK, you’ve read my article, you’re intrigued (I hope), and you want to give it a try. So, your next question is likely, “What paper do I use?” Fortunately, there are several brands available and I’ll share three of my personal favorites with you today (and one to be avoided.) 

First, the paper type to be avoided, DON’T buy that brightly colored construction paper sold by the ream. It doesn’t have enough sizing to make the surface very receptive to most drawing media. It’s not archival. (In fact, to reduce the cost of manufacturing, this paper may actually be acidic.) And the dyes used to color the paper are usually fugitive and will fade rapidly with exposure to most light sources.

Prismacolor pencils on Arches Cover black paper

For many of us, the most readily available professional quality toned paper will be the exceptional line manufactured by the Canson Paper Company at paper mills that have been located in Annonay, France, since 1557. Canson papers come in two weights -- the heavier Mi Teintes line (with one smooth side, and one mechanically “dimpled” side to give you a choice of working surfaces), and the lighter Ingres line (developed for, and named after, the artist Jean-Auguste-Dominique Ingres) with it’s pronounced, and much duplicated, chain or laid pattern (which it picks up from the screen during the paper-making process.) Even their muted earth-toned papers sparkle due to the presence of small brightly colored fibers dispersed throughout the gray or tanned sheets.

pen & ink with ink wash and acrylic highlights on Canson Mi Teintes Moonstone paper

Ebony pencil, watercolor to create pictorial space, and a little white color pencil on a warmer Canson Mi Teintes 

Another fine line of professional quality toned papers are made by the Italian firm Fabriano, which has been in operation since the late 13th century and include no less than Michelangelo Buonarroti among their satisfied artist customers. While perhaps not as universally available as their French counterpart, Fabriano’s Tiziano line of colored papers are particularly renowned for the use of fade-resistant pigments (instead of more fugitive dyes) as coloring agents and are definitely worth trying.

pen & ink with color pencils on Fabriano Tiziano paper

B&W color pencil over pen & ink on Fabriano Ingres paper 

watercolor over Sakura Micron Pigma color pens on Fabriano Ingres paper  

I take a little liberty as the "third company" in my list isn’t a company at all but a separate (and VERY special) range of papers manufactured by Fabriano -- the Roma line. Roma is unique because it is handmade, heavily sized (hold a sheet by one corner and shake it -- it will rumble like thunder!), with four deckled edges, a pronounced Laid texture imparted by the paper-making screens, and a huge watermark. This remarkable paper is a delight to draw on with pencil, pen, color pencil, or brush. It can be used as stand-alone sheets or crafted into unique, one-of-a-kind books. And (unfortunately), due to its being hand-made, it is the most expensive paper I use ($13.60 from New York Central Art Supplies.)

quarter sheet of Fabriano Roma backlit to show screen pattern and watermark

watermark closeup 

fude brush pen, watercolor, white highlight, and Chinese vermilion on Roma paper

OK, I’ll admit that Roma is not a paper most of us are going to rush out and stock up on. In fact, it can be downright hard to find at times. So, in fairness (and to avoid getting lynched) I’ll add one other company and two toned paper lines to the list. The company is Magnani (which has been hand-crafting premium quality papers since the 15th century and has built a reputation for producing unique paper products for illustrious customers -- from Napoleon Bonaparte to the Bank of Italy), and the papers are Firenze (hmm, do I sense an inter-city rivalry here?) and Pescia. The hand-made Firenza has many of the attributes of Fabriano Roma plus a velvety surface and an ever-so-slightly-less-shocking price tag. But don’t let me fool you. Hand-made papers are labor-intensive and are made by highly skilled laborers. That can’t come cheap -- unless you learn to make your own (or marry someone who will make paper for you. ;-D) 

And the Pescia? There are five colors in this paper range, but the only one I regularly use is their unique (and truly beautiful!) pale blue. Originally developed as a printmaking paper, Pescia is a “waterleaf” (i.e., no sizing.) So, don’t use watercolor or ink washes on this paper. But, when used with Prismacolor Indigo and white color pencils, this paper is a one-of-a-kind delight to work with.

Should you decide that you want to explore the creative potential of toned paper, don't be hesitant to experiment. Can't find a stockist in your community? Think about making your own paper. Your local art supply shop doesn't have the color that's right for you? Try toning your own paper. (Hot Press watercolor blocks are perfect for this, by the way. And the toning wash will raise the tooth of the paper ever so slightly -- which I find enhances its drawing quality.) Working on a tight budget? That's not a problem. That's "the Mother of Invention"!

hand-made paper (the color and texture options here are limitless)

Here are four examples of toned paper which may convey some of the creative options you might want to explore. The pale blue is the Magnani Pescia mentioned earlier. The sheet on top of the Pescia is Arches HP watercolor paper that was toned with strongly brewed tea. (I favor PG Tips or Trader Joe's Irish Breakfast.) The next paper up is another piece of Fabriano Roma -- this one was one of their creme-colored sheets before I poured tea on it too. (Notice that different papers will react differently to the same toning agent. Bottom line: experiment!) And the final sheet is another piece of HP watercolor paper that was first toned a pale tan and then spackled with thinned acrylic ink.

extreme close-up of the toned and spackled w/c sheet (magnified larger than life to make it easier to convey here) 

Well, hopefully I’ve wet your artistic appetite for the creative possibilities of toned paper and given you a few more options for ways to further deplete your bank account (like any artist has a shortage of those! ;-D) So, now all you have to do is run down to your local art supply shop and pick up a few sheets of Canson Mi Teintes in the color(s) of your choice. If that's not practical, or if you don't like the color choices, not to worry. You can create your own toned paper by mixing up the color of your choosing in water-based paints (watercolor if you will be working in pencil or pen & ink, a very fluid acrylic if you in ten to overpaint with ink or watercolor washes) and using it to "stain" a sheet of Hot Press watercolor paper. 

paper scraps can be a great excuse for experimentation. here it's a new apricot-colored toning on HP w/c paper, silverpoint (with silver wire in a vintage mechanical pencil) and gouache highlights. the results are delightfully subtle (though perhaps a bit difficult to convey digitally)

toned paper can be an excellent alternative to the usual white paper in nature 

studies field work, frequently producing much bolder results in far less time

So, ladies and gentlemen, let the fun begin!

   

         

A Very Brief History of Paper --

Even in the Digital Age we still have a long way to go to become a “Paperless World” -- paper is everywhere. And (thankfully) it’s part of our daily life. But, in the west, it wasn’t always so. In early times wet clay tablets were frequently used to permanently record information. The fibers of a water plant called papyrus was soaked, beaten flat, and woven into thin mats, which -- when dry -- could be written or drawn on. And for centuries the prepared skins of goats (parchment) and calves (vellum) were the predominant surface for writing and drawing. (In fact, so valued were parchment and vellum that it was fairly common during the Middle Ages for writers of one era to scrape away the words of earlier writer’s in order to “recycle” a book structure.)

The Chinese revolutionized writing, printing, art-making (and, no doubt, the lives of untold numbers of future bureaucrats, bean couters, and other “paper shufflers”) in the early 2nd century AD with the invention of the modern paper-making process. And Cai Lun produced the earliest known illustrated guide to the “five seminal steps” of paper-making in 105 AD.

First paper and then paper-making made its way along the Silk Road to Samarkand, Baghdad, and Damascus. There Arab papermakers further refined the paper-making process. And, during the Crusades, at least one Christian (Jean Montgolfier) learned the paper-making techniques as a POW in Damascus -- techniques he took home to France after his release, and used to establish what is known today as the Canson Paper Mill.

Even so, for nearly three centuries, European law prohibited the use of paper for permanent records (vellum and parchment were stipulated) because the wheat paste sizing commonly used resulted in a rapid deterioration of the paper. It wasn’t until paper mills began using animal-based sizing during the Renaissance that the laws were finally changed -- and paper finally entered the lexicon of artists‘ materials.

An interesting little side note to end this week’s article with -- two of Jean Montgolfier’s descendants used paper produced by the family’s mill to coat the inside of a fabric bag (rendering the fabric airtight.) This sac was, in turn, filled with hot air, the hot air balloon flight in history was made, and the Age of Flight was born. (As a flight instructor, I shared the history of the Montgolfiers with my students for ten years. But it was years later before I learned that paper had been involved, and of the Canson Paper Mill connection.)