The proportions of a person's face when drawing a portrait: a diagram. Ideal face proportions

20. Painting lesson. Oil painting portrait.

In the lessons of painting and drawing in school New Art Intentions beginners in drawing are taught to “search” for the silhouette of the figure and head in relation to the background, because only an accurately and expressively found silhouette gives the portrait greater artistic expressiveness.

To learn how to draw a portrait of a person (with a pencil or paints) - try to understand the unique facial expression and through this expression, inherent only this person, convey his inner state of mind.

On the previous painting lesson you have gained sufficient experience in the image of the head, have learned to work in color. The purpose of this lesson is to learn how to create a portrait with maximum artistic expression.

Sketch drawing. The practice of drawing from life in comparison.

In drawing lessons, we especially draw the attention of novice artists to the color of a person's body. This color is different from the color of all other objects in the visible world. The blood vessels give the color of the body only its inherent pinkish color, therefore the complexion of people is corporal, pinkish. But the artist's eye, experienced in perceiving the finest shades of color, will easily notice that no two faces are absolutely identical in color, identical in character of forms, in proportions and texture.

Therefore, when practicing drawing a portrait from life, try to correctly identify the flesh color. The artist in everyone separate case must directly see in nature the color inherent in it and be able to accurately convey it. To make it easier to notice this color difference and learn how to correctly draw the nuances of color reproduction, we recommend that you complete the first exercise of this painting lesson by drawing three different head portraits. different people on one canvas. You can ask the question: “Why is it necessary to paint different portraits on the same canvas? Wouldn't it be better to do this on three separate canvases?" Drawing such a study is recommended so that you can more clearly feel the difference in color and character of portrait faces when comparing them.

Let's practically check it out. You have painted (or drawn with pencil or pastel) in one or two sessions the girl's head on the left edge of your canvas. Her black hair clearly outlines the shape of a smooth, light, slightly yellowish forehead, her scarlet juicy lips softly mold the shape of her mouth. The pinkness of youthful cheeks echoes with scarlet lips. A light yellowish-pink face gives a pleasant greenish-purple undertone in the shadows.

For the next portrait session, you invite a middle-aged man whose head is devoid of hair. In this case, the anatomical structure of the skull is clearly revealed. Deep eye sockets help convey the volume and character of this person's head. Before you draw it, you immediately note for yourself that its image requires completely different colors than for the study of the girl's head.

You can easily deduce that this person is apparently rarely exposed to the air, since his complexion is a pale yellowish green, reminiscent of the color of parchment. The shadowy parts of the head are also greenish, but they are absolutely different from the greenishness in the girl's study - they are brown-green and they need to be solved, perhaps with umber and wolkonskoite. You immediately see that in this head there are no those pleasantly pink tones with which you painted the girl’s cheeks and lips, and when preparing colorful mixtures to convey the nature of the color, you are convinced that they must be made from completely different colors.

Third study. Drawing a portrait of the head of an old man with a bushy beard, with gray hair. Starting to write it, you compare this head with two previously written studies and make sure that it is completely different in color and texture from the two previous heads.

Thus, such a lesson in painting, such drawing from different natures in comparison will convince you that everything human faces different in the nature of the forms and proportions, and in the texture of the body, and in the color system. This belief will not allow you to paint all the heads with the same "flesh" color, but will force you to carefully analyze and study the colors of a person's body each time, based on location and lighting conditions. This method of drawing will allow you to train your eye to perceive the subtlest color fluctuations and will help you understand how to learn how to draw on initial stage education, as well as in further independent creative work.

We draw a portrait.

The staging of nature should clearly reveal the main pictorial features of the face and head as a whole, illuminated by light from the front, when small groups of shadow are formed. A head illuminated by direct light requires a darker background, although not necessarily black, but matched in color so that the background is not only in tonal, but also in color contrast with nature.

This painting lesson for beginners is carried out in several lessons, as it is quite difficult for students. And a novice artist is sometimes forced to redraw many times.

Anyone who wants to learn how to draw and acquire the right skills in painting, arm himself with skill, needs to develop a system of work in drawing a portrait of a face and head. We recommend that the painting lesson above the head portrait be conditionally divided into three stages, which are interconnected and organically pass one into another, developing and complementing each other.

The first stage of the portrait painting lesson - preparatory drawing heads for painting and colored underpainting (Fig. 1);

the second stage of the painting lesson is the study of the details of the portrait, the characteristics of their forms and color features (Fig. 2);

the third stage of the painting lesson is the generalization and synthesis of what has been studied, bringing the portrait to pictorial unity and artistic expressiveness(Fig. 3).

These stages of the portrait drawing lesson will enable the artist to more consciously carry out his work from the beginning to the end of the drawing and help him get rid of many unnecessary, and sometimes harmful, endless alterations. This usually leads to the fact that the portrait becomes overloaded with paint, which cannot be applied haphazardly, otherwise it begins to fade, blacken.

When the staging of nature is done, the artist proceeds to the first stage of this painting lesson. At the same time, you must always remember that without drawing a model, you should not start painting with paints. This provision seems clear, and many may argue that it should not have been mentioned. But the practice of teaching painting in our school shows that students do not always adhere to this rule. Beginning painters sometimes do not want to waste time on a preparatory drawing. Sometimes this leads to a sad result - at first the portrait turns out to be fresh in color, and certain places are interesting and picturesquely solved, but then many significant errors are suddenly found in the form.

At subsequent sessions (dry), you begin to correct, to work in parts, and it imperceptibly loses the charm and freshness that it had at the beginning, it turns into a sketch, tortured in painting and broken in form. It becomes boring to work, the model seems uninteresting, there is a doubt in their abilities - I want to quit the portrait and no longer take up brushes.

In order to move on the right path without such experiences, first make a well-constructed and detailed drawing. Draw for painting with charcoal or soft pencil. It is not necessary to model in full tone. You can make a drawing that is quite light in tone, but preferably with a characteristic of the main tonal gradations of the portrait. Then the drawing can be fixed with varnish or moistened with water from a spray bottle, if the ground of the canvas is adhesive or emulsion, or lightly brush off the charcoal, leaving the drawing in a very light light tone.

Then, before starting to paint, the artist must mentally analyze the model depending on the tasks and decide what mixtures he should take for the portrait study, what colorful combinations he found in the model, see warm and cold tones in nature.

After the novice portrait painter "got used" to nature, mentally understood its color scheme, as if seeing it painted, he proceeds to underpainting.

Underpainting (Fig. 1) is a light registration with the color of the entire canvas. Underpainting is sometimes done without whitewash, like watercolor, sometimes a small amount of whitewash is also introduced.

Underpainting for head painting is done in the same way as for still life and other exercises. You already got an idea about this from the previous lessons.

From a light underpainting, it is later easier for the artist to determine the correct tone and color, while it is more difficult to do this on a blank canvas. When the underpainting is done and the shape of the head is molded, you can proceed to the solution of the main masses in the full force of nature. It is better to start writing in full force from the piece that is most clear to the author. Suppose the artist felt the strength of the tone and the color of the forehead along with the hair and began to take the color point-blank by underpainting. Starting to paint the forehead with all his might, he takes both the hair and the background, bringing it all into harmony. Then he will take the rest of the head with the same force, all the time, comparing color relationships with each other. Thus, after underpainting, the author proceeds to sculpt the head, as it were, in parts, solving these parts point-blank, comparing them with each other.

But it is not always possible for the artist, drawing in parts, to perceive the entire production as a whole, his eye strives to linger on the part of nature that is depicted, and does not want to see the surrounding areas. This is the eternal struggle for a holistic vision of nature. A beginner in drawing must muster the necessary efforts of the will for constant attention and the development of such a principle of work that would allow him, when he paints the cheek, to compare not only the illuminated part of the cheek with the shadow part, but compare the cheek with the forehead, and with the neck, and with the background , and with hair. Thus, always compare as much and as often as possible when drawing any detail, for the whole process of painting consists in comparison.

It is necessary to compare not only in terms of shape, proportions and character, but also in terms of color relationships.

To solve the problem of painting the head, experience is needed, you need to feel how the shape of the head is built by color relationships. Therefore, when working out the shape of the details with each brush stroke, identify a certain part of the shape and be sure to distinguish one stroke from the others by color.

After working through the form for several sessions, you will see that you are quite close to nature. The head in the portrait looked like a model. The eyes look and express the character of the look of the model. The nose begins to be defined, the volume of the head is built correctly, even, perhaps, the unshaven cheeks of a person are conveyed, that is, all the details are depicted lovingly and carefully. But, alas, you immediately discover that at a distance of 5 - 6 meters your portrait has become somehow sluggish, inexpressive. The colors are not sonorous enough, the work has lost its colorful charm. Immediately you discover that, despite the details written out, the head is not very voluminous and three-dimensional, in addition, the face is somehow slanted, the eyes are not clearly built, one cheekbone slid down in relation to the other, the lips also went somewhere to the side. Frustrated, you begin to timidly correct errors with a small brush, chasing after correcting details, but the portrait does not get better from this.

You feel uncomfortable working on it. You got tired.

All this happened because during a fairly long painting lesson, in the process of working on the details, you stopped looking as a whole, the pursuit of conveying details distracted you from a holistic perception.

Final stage painting lesson. The purpose of this stage is to bring the head, fragmented by details, back to generalization, to strengthen the structure of the portrait of the head again, to bring to the synthesis the analysis of forms that was done earlier. In order to achieve a generalization and an integral pictorial solution, the artist has to endure great inner tension.

At this moment, you need to strain all your will in order to sometimes abandon many of the details found for the sake of an integral and most artistic solution. Such painful moments had to go through many of the great portrait painters of the past.

From the memoirs of V. A. Serov, we know how great artist, who knew how to work on a portrait for sixty or more sessions, having thoroughly studied the model and having achieved considerable finds, then ruthlessly scraped off everything written with a palette knife and, having gathered his will and strength, freely completed work on the portrait in 2-3 sessions. In these last sessions, he translated the portrait into a new, top quality, making it an integral, generalized, highly artistic work.

In our lessons, we draw the attention of novice artists to the nature and state of nature.

If portrait image If a person also includes hands, then it is necessary to pay great attention to them, because sometimes hands will tell you even more about a person than a face. Gestures and hand movements should be vital, characteristic of this particular person in the state in which he is at the moment.

In the process of drawing a portrait, pay maximum attention to the eyes of the person being portrayed, try to penetrate deeper into the soul of a person through the expression of the eyes. After all, it is not for nothing that they say that the eyes are the mirror of the soul. Therefore, in order to learn to transmit peace of mind person in portrait painting, be attentive to the nature of the eyes, to their expression and do not hesitate to draw the eyes with all the power of your brush. This does not mean that you need to draw the eyes scrupulously, in detail with all the veins and highlights in the pupil. But write carefully and accurately, so that the eyes look, and through this look the state of mind of a person is transmitted.

A creative person is an inadequate person who perceives the world differently than everyone else. These people have always been and will be, and they realize their rebellious nature in their vision of the world.
Top about 10 unusual artists who take a strange approach to creating their paintings.

1. Australian Tim Patch,

“There are many wonderful artists, but only one paints with a pussy,” Tim Patcher speaks about himself like this, as you understand here we are talking about an amusing way of applying colors to his paintings.
although his paintings are created in a strange way, he has already gained his popularity, and people speak very well of his paintings.

2. Millie Brown is an artist who draws pictures with her vomit!

There is no such person who has not vomited at least once in his life. All of you sometimes feel bad, as much as burping hunting. But, of course, few people will forcefully do this on themselves.
Although there are exceptions: the artist Millie Brown is ready to spew colorful liquids from her mouth almost every day. Of course, not just like that, but out of love for art!
Although what is surprising here, she draws her pictures in such a strange way. Before starting work on her new work, she prepares glasses with liquids different colors. She will subsequently use these substances as paints during her nauseating creativity.

3.Hong Yi girl painting with a ball.

Yi Hong, a young Shanghai-based artist, used a basketball to paint a portrait of retired Chinese basketball player Yao Ming.
In her opinion, a basketball is a more suitable tool than a brush for this work, although it took her only two hours to create a picture.

4. Vinicius Quesada is a street artist from Brazil who paints with blood.

Art is in his blood, it seems to be said about Vinitsa Quesada, because in his paintings he uses his blood instead of paints.
Although admirers of his talent offer their blood for his work, he politely refuses. They say their blood can go to a good deed, to help other people.

5. Drawing underwater.

In stock, the artist, on average, about 40-60 minutes for everything about everything. For oil painting, this is very little - just a record time.
But that doesn't stop underwater artists from creating their own paintings.

6. An American woman with large breasts paints pictures with it.

Kira Ain Varsed paints her paintings with her chest. Good thing she has tassels right size. How does she do it, you ask? And I will answer you: the artist puts paint on her bust and then paints pictures for them.
According to Kira, she paints landscapes of distant unknown planets.

7. Painting done with your tongue.

Indian artist Ani creates her paintings with the help of language. He himself tried many ways of applying paint to canvases, but someone had already done this before him.
And there is no language yet, it is the first.

8. The artist created a panel of 200,000 dead ants.

California artist Chris Trueman created a mural of 200,000 dead ants.
The author of the work notes that it took him several years to create the panel. At some point, he even felt an attack of pity for insects and interrupted work for about a year. True, then he realized that the life of already killed ants could not be returned, and completed the work.

9. An artist who uses his eyes.

Chen has an amazing ability to hold drawing brushes between the eyelid and the cornea and draw calligraphic characters on the sheets.
Chen discovered his incredible talent in himself at the age of 16, when he worked at a construction site, where sand got into his eyes. Then the young man noticed that foreign bodies on the cornea did not cause him particularly unpleasant or painful sensations.

10. An artist who paints with human ashes.

Val Thompson uses cremated human ashes as the basis for his paints. This idea was suggested to her by her brother, explaining to her that she will be the first in this kind of genre.

Doodle portraits August 4th, 2014

Malaysian artist Vince Low draws pen-on-paper portraits of celebrities "without taking his hands off the paper," some say. The illustrator was able to convey the facial expressions and emotions of Hollywood stars, singers, scientists and movie heroes with incredible accuracy. Vince Lowe called his series of paintings uncomplicated - "Faces".

Under the cut there will be a work that can be viewed with a strong increase, then you will understand what is the unusual and essence of this work.

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The idea to create original portraits of celebrities was born to him spontaneously: at first he, like many, liked to sketch drawings in notebook. Seeing that the result is quite impressive, Vince Lowe decided to create a whole series of unusual works.

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The artist says that it is extremely important for him to convey the soul and character of the person depicted in the picture. Without doubting his abilities, he decided to master the skill of "line" painting to perfection. Certainly, this direction contemporary art not new, among the recognized masters we should remember the names of Atsushi Takahashi and Pierre Emmanuel Godet, who draw with “doodles”, as well as the Reddit amateur illustrator, who creates paintings using a continuous line. However, Vince Lowe managed to occupy a very special niche in monochrome portraiture.

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Often, scribbles are perceived as sheer pampering, meaningless lines that can be dotted with a page. However, Vince Lowe knows how to organize this chaos, creating from it artistic images. His realistic portraits are emotional and expressive, the artist skillfully uses the play of light and shadow, draws facial features in detail. A seemingly unsystematic approach to creating a drawing allows Vince Lowe to achieve excellent results.

Here is another example with a large increase for you. Click on the picture.

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And another one …

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contemporary artists that will make you sick">

10 contemporary artists that will make you sick

Now we will talk about such strange creative projects that you will want to lie in a corner, covered with a blanket, hugging the Black Square and complaining to him about the decline in morality, and that's it.

Paired brushes

"New Hope"

Let's start with a rather modest and even cute American artist Kira Ain Varseji. Her technique is simple: she mixes paints, puts them on her bare chest, presses against the canvas. You can buy her abstract works for 200-300 dollars. Kira is a positive woman: she loves fishing, her husband, computer games. Sometimes he lets his turtle crawl over the paint, and also displays individual details with toys and vegetables. Breast size, in case you're wondering, 38DD. It's a lot.

Memory card

"Birds of Praise"

Sergio Portillo (USA) paints with ordinary brushes. The secret is in the paint. The paint is ashes. Human. No, everything is fine. Relatives of the deceased and cremated themselves order such paintings from the artist. It’s convenient: you don’t have to spend money on art in the house and on a place in the columbarium. By the way, Sergio is not original, such a service is provided by several more artists of the not timid dozen.

Art and sacrifice

“Portrait with a gun”

Chris Truman painted only one picture suitable for our list, but what! He laid out a portrait of his younger brother from 200,000 dead ants. And it was not so easy, because the artist loves ants and he does not like to kill them. But the genocide of insects paid off - the painting was bought for 35 thousand dollars.

Painter

"Jimi Hendrix"

An elderly Australian Tim Patch works under the pseudonym Pricasso. This can be translated into Russian as Hrenasso. Well, you already understood what he draws. And it turns out pretty well, by the way, for such a blunt weapon! By the way, the artist allows you to observe his creative process, so that he is gladly invited to all sorts of festivals where children are not allowed to enter.

Language will bring to the museum

"Christ"

For Hindu Ani Kay, art is not easy. Because of his creative method he always suffers from pain in the abdomen, head, dizziness. And all because he draws with his tongue. He says that now it is still tolerable, and after the first pictures he thought that he would go to the next world. In total, he poured 20 watercolors, including a two-meter copy of Da Vinci's The Last Supper, not to say that it was of particularly high quality. A member would definitely be better, on the other hand, the religious theme…

Eye gauge

The artist, of course, needs an accurate eye, but we did not know what is needed so literally. Xiang Chen, a Chinese master of calligraphy, holds a brush with his eyelid and drags it across the sheet. In general, the result is difficult to evaluate, but the work is impressive. By the way, he also knows how to hold a stick with the same eye and play it on the piano.

Inspiration from within

Nexus Vomitus

Artist Millie Brown uncontrollably vomits onto the canvas, literally. To do this, she drinks tinted milk and then vomits it on a white sheet or on her dress. The paintings are abstract, but they cost a lot. For example, the picture Nexus Vomitus was made to the singing of three opera singers and successfully sold for $2,400.

red and yellow

Brazilian Vinicius Quesada paints with blood. And not some kind of pig, but human. Known for his series of paintings "Blues of urine and blood", written exactly what is in the title. These are realistic psychedelic images of geishas, ​​monkeys and zombies. Why geisha? Why urine? Why is everything?

Friends, I often get asked the same question. About how to draw from the imagination, that is, "from the head." In order not to repeat in separate letters, this time I will answer on the site. I hope my answer will be useful for artists who are worried about the same problem.

And I'll start with last letter about this theme.

Hello!

Last fall, I already wrote to you in the form of a “cry from the soul”, to which you, to my surprise, even answered 🙂 Thank you for this!

I want to say that I have overcome most of the main problems in my work, but another one has arisen that irritates me very, very much: I can’t (almost) draw “out of my head”. That is, if you put plaster in front of me, or the master's utensils with fruits, or even a landscape, then I can form a more or less adequate image.

But if I sit down and want to draw what's in my head - ... then hell begins. It's like I'm holding a brush or a pencil in my hands for the first time. That is, what is difficult is to imagine a tree in your head against the background of a river and paint it with watercolors even in one color. If I saw this plot in front of me, then writing a sketch took me a couple of minutes and a few brush strokes (ideally), but imagining in my head, it looks like I'm 4 years old, and my parents gave me paints with brushes on New Year, if only I would stop running through the corridors.

Sometimes, of course, it turns out, but it's still much lower level than if I drew from life ...

As I understand it, the point here is no longer in the ability and not in the drawing technique, but in “talent” or “brain” ... Of course, you can continue to draw from life, but sometimes you want to draw something else that is in your soul, but it doesn’t work out ...

In my opinion, the described situation is not only typical, but also NORMAL.

"Out of my head" is great to write abstract paintings, there is no limit to the scope for imagination. Well, at the very least, something fantastic. Somebody not known to science Cheburashka or a portrait of a sleepwalker.

But if you want to depict something that can exist in real world, and even make it plausible enough, then why torture your head, trying to get out of it what is not there ?!

Yes exactly.

Don't believe? As an experiment ... Imagine some vegetable or fruit that you have in your refrigerator. Draw it out of your head, in as much detail as you can imagine. And then get the real one out of the fridge and draw it from nature. Which of these drawings looks more true?

You see, each object in nature is unique, it exists only in one copy.

We have a certain generalized image, a set of characteristics, stored in our head. Carrot looks like an elongated cone orange color. And she can be like this:

The environment is much more varied than that what we can imagine...

There are other variables besides biodiversity. Shadows and reflexes that are random. Color, depending on the general lighting. Rouen Cathedral at noon and Rouen Cathedral in gray weather - two cathedrals of different colors.

Artists have always treated nature with great respect. And in fact, there is no contradiction in writing from nature or writing what is in the soul. You can write what is in your soul from nature - you just have to find a suitable nature.

Take, for example, "The Appearance of Christ to the People" by A. Ivanov.

It is clear that the idea of ​​the picture is taken “from the head”, and the author did not write this scene from nature. And the idea here is really monumental. This is how the artist saw his task: “It is necessary to imagine in my picture the faces of different classes, all mournful and inconsolable, a peeping sad feeling, a desire for freedom and independence.”

But these faces are not fictitious, like the details of the landscape. It is known that Ivanov completed about 400 preliminary sketches and sketches for this painting. Work on the canvas lasted 20 years.

And sketches were written with real people. For example, the prototype of one of the characters was Gogol.

Some of these sketches can be seen in the collection of the Russian Museum.

Any implementation of any plan involves the collection of material, and it is not advisable to skip this stage. In your piggy bank there may be sketches, sketches, some suitable photographs on the topic. And then the realized idea will be weighty and believable.

But I also want to make a small remark. Drawing "from imagination" is different from drawing "from memory". From the outside, the difference is not noticeable, the artist draws something without looking at nature. However, from memory you can draw something really more or less convincing.

Of course, in this case it is necessary to great experience. If you have drawn a thousand portraits from life, you will be able to draw a face that may very well belong to real person. Your memory will tell you some individual features and nuances of faces that you have already drawn.

To draw from memory, it is not enough just to imagine a familiar object. It must be carefully studied, with a pencil in hand, making sketches and detailed drawings.

I draw a self-portrait from time to time to warm up. As a result, I can draw a face similar to mine without looking in the mirror... But I can’t draw the faces of relatives or friends from memory, especially those whom I have never painted before.

According to contemporaries, many famous artists possessed a unique tenacious memory. I think this is not an innate talent, but the result of training, each of these artists had extensive experience in drawing from nature.

Therefore, if there is a desire to draw "from the head" - be sure to gain experience in drawings from life, make sketches - the more the better. And soon this problem will cease to be a problem for you)

“It is quite obvious to me that the habit of drawing exactly what we see gives a corresponding ability to draw exactly what we think” ...
Joshua Reynolds

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