Daily Portrait Practice

October 16, 2012

Time to review some sketches from several months back. Analysis and hard observation is different from sketching for the sheer pleasure of it, but here goes!

In the top row, I’ve lined up sketches with the original photograph, noting how the centre line is skewed a little to the viewer’s left, so that the right side of the face (viewer’s perspective) is showing more than the left. Also that I’ve fudged the 1/3 proportions between nose and chin. Also that more of the right side of the nose (viewer) is more visible than the left.

So, unlike the images in the bottom row which shows the face directly head-on, the original photo shows Caesar with his nose slightly lifted and the left hand side of his face showing more than his right.

I’m madly observing muscles between eyes and mouth these days, especially pronounced in French speakers who use the muscles with more force around their lips compared to English-speakers (watch comperes David and Laurent going hell for leather on SBS French TV News!) and for some reason this Ancient Roman sculptor has emphasised them, they being the mark of his ‘trade’, oratory and making speeches to the Roman people, just as Renaissance painters included the objects of one’s profession in portraits.

And here’s today’s A4 sketch done in Lyra Rembrandt-Polycolor Indian Red, a nice brightish sanguine pencil, paying very close attention to the contour of the outer edge of the head (since his a pudgey lower face compared to the longish one of the Classical ideal) :

The nose/mouth are a bit wonky today, but the object of my interest are the levator/depressors, zygomaticusescaninis and buccinator muscles. One thing at a time!

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