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| Advice on Pencil Portrait Rendering - Rendering a Chin Supporting Hand Including Shoulders |
By:
Remi Engels |
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Including a hand in your portraits adds a important measure of drama but can quickly destroy an otherwise fine portrait if done incorrectly.
The goal is to incorporate the hand so that it is not only proportionally and gestural right, but is congruous in personality with the expression of the face.
For example, a pleasant facial expression juxtaposed with a clenched fist may not yield the effect you want unless you intend to add an ironic twist to your portrait. On the other hand, a hand supporting the skull fits very well with a stern scowling expression.
First, absolute novices should not be attempting to sketch both the hand and portrait together. Things will quickly get muddled. The lesson for the absolute novice here is to get an appreciation of the importance of acquiring a solid foundation of your skill.
In a pose where a hand supports the skull there is a delicate forward tilt because the subject is slightly hunched and leaning forward. For the draftsperson, this situation translates into the presence of a faintly foreshortened and reclined portrait. In the hand/skull case this means that the chin is somewhat receding relative to the forehead.
As always, you should start with the construct, which in this case, includes the hand and the shoulder. If you first sketch the skull and then attach the hand to it you are definitely asking for trouble. The hand and the skull will lack harmony and will give the awkward impression that they are two distinct objects that are coincidentally juxtaposed.
When striking the construct be aware of the negative as well as the positive spaces. In addition, do not pre-measure any aspects of the construct. It should be sketched with as much fluidity as possible without losing your sense of proportion. Draw first then verify.
Further build upon the construct by placing the face, hand, and shoulder signpost
s and proportions. The internal architecture of the construct is initiated by blocking-in the principaldarks and painting out the lights with a putty eraser.
What you are doing is to set the stage for articulating the facial features, the hand, and the shoulder. The hand must be located and sized in accordance with the skull and the facial features. The compression of the jaw into the palm must also be taken into account.
Using a sharp pencil you can now further develop the value and form with blending, stumping down, and painting out. In this, you will be going back and forth hoping that you know when to stop. Sketching is about making decisions, i.e., knowing what to build up and, just as critical, knowing what to leave out.
In the hand/skull case you have to be particularly careful how far you develop the hand. The hand should be seen as a prop, that is, a supporting element that should not be part of the focus. Do not feel compelled to refine every element in your drawing. Everything in rendering is about balance and communicating your intent directly to the viewer's eye.
In conclusion, it is critical to see the hand and the shoulder as parts of one whole. Starting your drawing with striking the construct will help you greatly with maintaining this harmony. Treat the hand and shoulder as supporting elements that surround the face. This means that you should sketch them in a subordinate role.About Author:Download my brand new Free Pencil Portrait Sketching Course here: Pencil Portrait Sketching Course. Remi Engels is a practicing pencil portrait draftsman and oil painter and practiced drawing instructor. See his work at Pencil Portraits by Remi: http://www.remipencilportraits.com Visit Procedures for Pencil Portrait Rendering - Rendering a Chin Supporting Hand Including S |
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