Drawing Portrait Supplies

The primary focus around here when it comes to shopping for the holidays is our six grandchildren. The theme this year seems to be art supplies. At least two (five and six years old) have them at the top of their list.  Drawing the human figure is such an essential part of one’s art skills. I had already decided I needed to stretch my drawing muscles, and their gift lists are icing on the cake. In the coming months be on the lookout for drawing content of all sorts.

Drawing people has always been my favorite subject. So below I revisit a post from 2013 where I discuss drawing facial proportions.

Facial proportions can vary according to ethnic background and gender. Traditionally men have more angular faces and more pronounced brow just above the eyebrow line. Examine the images shown to see how the eyes fall in the middle of the entire skull, between the tip of the head and chin. In-between the eyes is a space equal to the width of one of the eyes. Halfway between the eyes and the tip of the chin is the line where the mouth opening will fall. Although the model on the left is a young adult female, the proportions are the same as an adult. Her features are merely softer and less angular than seen in an older mature looking individual.

drawing portrait female proportions

Remember these are merely guidelines and will need to be adjusted to fit the subject that you are depicting. Below is that of a middle-aged male’s profile. When you are drawing a subject keep in mind where your light source is coming from, the same rules apply to drawing a human being as to drawing anything else. The trick is to be objective and to draw what you see and not what you think you know. Look at the subject carefully and try to look at the person more than the paper you are drawing on. Always work from life whenever possible, if you can not find a model or do not feel comfortable doing so as of yet, just use a mirror and do a self-portrait.

drawing portrait male

This post originally was published in 2013 here.

 

Because you may never know what may happen in the future of your art career, it is always a good idea to have any models sign a release form. If your work is one day used for the cover of a magazine, or other very public publication you are covered legally.

*I have provided a sample model release form for adults and a sample model release form for minors below. You may print and use them or modify them as needed. I provide the sample releases as a convenience only. We make no warranties or representations in connections with these releases. Consult your attorney if you have any legal questions regarding model releases.

Adult Model Release

In consideration of my engagement as a model, upon the terms herewith stated, I hereby give to photographer’s name goes here his/her heirs, legal representatives and assigns, those for whom photographer’s name goes here is acting, and those acting with his/her authority and permission:

      a) The unrestricted right and permission to copyright and use, re-use, publish, and republish photographic portraits or pictures of me or in which I may be included intact or in part, composite or distorted in character or form, without restriction as to changes or transformations in conjunction with my own or a fictitious name, or reproduction hereof in color or otherwise, made through any and all media now or hereafter known for illustration, art, promotion, advertising, trade, or any other purpose whatsoever.

      b) I also permit the use of any printed material in connection there with.

      c) I hereby relinquish any right that I may have to examine or approve the completed product or products or the advertising copy or printed matter that may be used in conjunction therewith or the use to which it may be applied.

      d) I hereby release, discharge and agree to save harmless [photographer], his/her heirs, legal representatives or assigns, and all persons functioning under his/her permission or authority, or those for whom he/she is functioning, from any liability by virtue of any blurring, distortion, alteration, optical illusion, or use in composite form whether intentional or otherwise, that may occur or be produced in the taking of said picture or in any subsequent processing thereof, as well as any publication thereof, including without limitation any claims for libel or invasion of privacy.

      e) I hereby affirm that I am over the age of majority and have the right to contract in my own name. I have read the above authorization, release and agreement, prior to its execution; I fully understand the contents thereof. This agreement shall be binding upon me and my heirs, legal representatives and assigns.

Dated:

Signed:

Address:

City:

State/Zip:

Phone:

Witness:

_____________________

Minor Model Release

For valuable consideration, I hereby confer on photographer’s name goes here the absolute and irrevocable right and permission with respect to the photographs that he/she has taken of my minor child in which he/she may be included with others:

      a) To copyright the same in photographer’s name goes here name or any other name that he/she may select;

      b) To use, re-use, publish and re-publish the same in whole or in part, separately or in conjunction with other photographs, in any medium now or hereafter known, and for any purpose whatsoever, including (but not by way of limitation) illustration, promotion, advertising and trade, and;

      c) To use my name or my child’s name in connection therewith if he/she so decides.

I hereby release and discharge photographer’s name goes here from all and any claims and demands ensuing from or in connection with the use of the photographs, including any and all claims for libel and invasion of privacy.

This authorization and release shall inure to the benefit of the legal representatives, licensees and assigns of photographer photographer’s name goes here as well as the person(s) for whom he/she took the photographs.

I have read the foregoing and fully understand the contents hereof. I represent that I am the [parent/guardian] of the above named model. For value received, I hereby consent to the foregoing on his/her behalf.

Dated:

Minor’s Name:

Parent or Guardian:

Address:

City:

State/Zip:

Phone:

Witness:

I strongly believe that drawing is the foundation of visual arts. If you do not have the necessary drawing skills your work suffers. So I have pulled this eBook out of our archives to help flex those drawing muscles!

fist drawing

_______________

drawingzine_007$4.99

eBook Download – Go here for more information and to purchase!

 

Artist palette color choice similar to Richard Schmid's

Artist palette color choice similar to Richard Schmid’s

Ever wonder where to begin with paint color choices? Looking to those that you admire is a good place to start. For a recent painting session I chose the colors similar to those of Richard Schmid

Left-to-right: Cadmium Lemon, Cadmium Yellow Pale, Cadmium Yellow Deep, Viridian, Ultramarine Blue, Cobalt Blue, Alizarin Permanent, Cadmium Red, Trans Oxide Red, Yellow Ochre Pale, Burnt Umber, Titanium White

john-singer-sargent-lady-agnew

John Singer Sargent

Curious as to what other figure painters use/used?

Note: Intended as a guideline – Actual color will vary of course from brand to brand.

John Singer Sargent: Blanc d’Argent,Chrome Pale (A Yellow), transparent Golden Ochre, Chinese Vermillian, Venetian Red, Chrome Orange, Burnt Sienna, Garance Fronce’ (Rose Madder), Viridian, French Ultramarine Blue, Ivory Black, Cobalt Blue,

Nelson Shanks: Burnt Umber, Burnt Sienna, Venetian Red, Crimson lake Deep (Old Holland), Permanent Rose (WN), Cad Red Deep, Cad Scarlet, Perinone Red (Gamblin), Perylene Red (Gamblin), Cad Orange, Raw Sienna, Indian Yellow (WN), Yellow Ochre, Cad Yellow, Cad Yellow Pale, Cad Green Pale, Cad Green, Viridian (WN), Pthalo Green, Cerulean Blue, Cobalt blue, Manganess Blue, Ultramarine Blue, Dioxazine Purple, Ivory Black, Flake White #2

Daniel Greene: Flake White, Ivory Black, Prussian Blue, Raw Sienna, Yellow Ochre, Burnt Sienna, Naples Yellow, Cad Yellow Med, Cad Red Light, Alizarin Crimson, Raw Umber, Burnt Umber, Sap Green, Thalo Green

Warren Chang: Titanium White, Yellow Ochre, Cad Yellow, Cad Orange, Cad Red, Terra Rose, Burnt Sienna, Alizarin Crimson, Burnt Umber, Raw Umber, Ivory Black

Kinstler: Cad Red Light, Alizarin Crimson, Raw Sienna, Cad Yellow Light, Cerulean blue, Ultramarine Blue, Burnt Sienna Sienna, Burnt Umber, Sap Green, Titanium White

William McGregor Paxton: Ultramarine Blue, Viridian, Yellow Ochre, Naples Yellow, Cad Yellow Light, Cad Red Light, Venetian Red, Indian Red, Alizarin Crimson, Raw Umber, Ivory Black, Titanium White

David Kassan: (Vasari Paints) Brilliant Yellow Light, Rosebud, Video Blue, Kings Blue, Cinnabar, Terre Verte, Yellow Ochre, Raw Sienna, Capucine Red Light, permanent Bright Red, Ruby Red, Scarlet Sienna, Red Umber, Burnt Umber, lamp Black, Flake White, Titanium-Zinc White

The final installment of our “Painting In Oils” series.

partfive

“Cameron” 12X16″ Oil on Canvas

There are probably as many ways to approach painting as artists. In this post I attempt to show how I paint portraits.

First, you need to gather your supplies:

  • Mineral Spirits
  • Rags (Or Paper Towels)
  • 12X16″ Stretched Canvas
  • Linseed Oil
  • Oil Paints (Utrecht)- Titanium White, Burnt Umber, Cobalt Blue, Yellow Ochre, Burnt Sienna, Ultramarine Blue, Cadium Red. Naples Yellow and Dioxazine Purple
  • Paint Brushes (Utrecht) – Round #00, #2, #3, Filbert #4
  • Small Mirror
12

Step One Example

detail1

Step One – Detail

Step One:

  • Use mineral spirits with burnt umber oil paint to create a wash and lay in the basic shapes.
  • Use only the larger brush during this step.
  • Do not use any linseed oil or other medium at this point.
  • Push and pull the values to work out the composition, working from big to small shapes.
  • Use the small mirror to check your work. The mirror helps you to see problems in proportion etc…
  • You are not committed at this point.  If it not working just wipe off the thin paint and start over.
  • Only concern yourself with getting the basic shapes and forms at this point.
  • Make sure you keep with the traditional placement of the features in mind as you work.
  • Remember the more white you add the slower it will dry so use it sparingly.
steptwo

Step Two Example

Take a brief break and step away before beginning step two. So you have a fresher perspective.

Step Two:

  • If the paint is dry to the touch, oiling out will help with the paints flow and correct use of color.
  • Correct anything that may not look correct from Step One.
  • Begin to lay in the basic colors of the flesh and develop the values further.
  • Keep the strokes loose and fresh as you can. Be sure of each stroke before you make it.
steptwodetailsmaller

Step Two – Detail

paint

Paint Mix Detail

3

Step Three Example

Step Three:

  • Deepen and enrich the colors of the flesh further. Work with smaller brushes only if necessary, but keep the freshness of the strokes. Do not become too tight.
  • Develop the clothing further and at least lay in the basic colors.
  • Darken the background and play with the push and pull of edges of the figure.
  • Notice the flesh here has blue in the shadows.
  • Continue checking your work with a small mirror to be sure you are making the progress you think you are.
4

Step Four Example – With inspirational paintings attached to easel.

Step Four:

  • Build up the shirt area with equal looseness you have in the flesh tones.
  • Touch up detailed areas of the features, still trying to not be too tight.
  • Reinforce the texture on highlighted areas of flesh.
PartFiveInProgress

Step Five Example

Step Five:

  • Be sure to include highlights on iris and pupil.
  • Fill in the rest of the dark background.
  • Develop edges of figure with the background so they are cohesive and not seen as being in two totally different spaces.
  • Sign into the wet paint at this point. Or, try to wait to sign the work until the paint is dry.  This way if you make an error it can easily be wiped off without disturbing what painting has been accomplished.
partfivedetail

Step Five – Detail

At this point I could continue building the piece with more and more detail. Instead I have chosen to stop here and leave it with the loose brushstrokes.

Tips:

  • Be sure to take regular breaks.  I tend to do so every hour. It just happens that Pandora internet stations play approx ninety minutes before pausing.
  • Clean your brushes well at the end of each painting session.
  • To keep oil paint wet from one work session to another consider placing it in the freezer in a closed container.

Part Six – Oiling Out

Part Five – Gallery Wrapped Canvas

Part Four – Facial Proportions

Part Three – Palettes

Part Two –  Mediums

Part One – Materials

Facial proportions can vary according to ethnic background and gender. Traditionally men have more angular faces and more pronounced brow just above the eyebrow line. Examine the images shown to see how the eyes fall in the middle of the entire skull, between the tip of the head and chin. In-between the eyes is a space equal to the width of one of the eyes. Halfway between the eyes and the tip of the chin is the line where the mouth opening will fall. Although the model on the left is a young adult female, the proportions are the same as an adult. Her features are merely softer and less angular than seen in an older mature looking individual.

Remember these are merely guidelines and will need to be adjusted to fit the subject that you are depicting. Below is that of a middle-aged male’s profile. When you are drawing a subject keep in mind where your light source is coming from, the same rules apply to drawing a human being as to drawing anything else. The trick is to be objective and to draw what you see and not what you think you know. Look at the subject carefully and try to look at the person you are drawing more than the paper you are drawing on. Always work from life whenever possible, if you can not find a model or do not feel comfortable doing so as of yet, just use a mirror and do a self-portrait.

 

Part Three – Palettes

Part Two –  Mediums

Part One – Materials

 

mediumsMediums used with oils modify the character of the paint.  I personally like to not have my paint dry too quickly, unless it is an underpainting, and with a medium I have more control over this factor. I prefer to work wet-in-wet whether I return to the canvas an hour later or twenty-four.

Linseed Oil – Made from the flax plant it is the binder used in most oil paints.  There are a number of different types due to consistency, color and drying time.

  • Refined – An all purpose medium.
  • Cold Pressed – Dries a little faster than refined and is considered to be of better quality than Refined.
  • Stand Oil – Thicker with a slower dry time, to touch in one week.
  • Sun Thickened – Syrupy version thickened by leaving a slightly open container of Linseed Oil in the sun (Is actually a bit more complicated than that, but for our purposes here….)

Safflower Oil – Dries faster than Poppyseed Oil but similar characteristics.

Walnut Oil – A thin oil it makes the paint more fluid.  Dries in 4-5 days.  It also yellows less than Linseed Oil

Turpentine – Can be mixed 50/50 with Linseed Oil for a medium. Use an artist grade quality and not household.  Can be purchased in low-odor varieties.

There are a number of other mediums for oil paint, enough for a book. It is all a matter of personal choice.  The point is this is another area that an artist can gain control.

Painting In Oil – Part One

I am working on a new series of portraits for January.

The process I am use is to create a monochromatic underpainting before applying the identifiable skin tones. The work is from photo references, due to time and space restraints.

Recent oil painting progress…

IMG_0875

The underpainting was created using burnt umber and mineral spirits.

IMG_0882

Once the underpainting is dry to the touch I can begin putting other colors onto the canvas.

joeoneasel

joe2

Final painting 12X16″ Oil on Canvas – “Joe #2”

Facebook Auto Publish Powered By : XYZScripts.com