Old Masters Drawing
The construction of the head
Below are the major construction lines for drawing the head of the Apollo Belvedere. The darker red chalk lines were the second pass with the chalk and the lighter were the first pass. Since the subject is fixed in place I did not do summary anatonical forms except for the back of the heads. I want to show you where to look for the construction lines of the head regardless of the viewing position. These lines are the contour, the center line, and the projecting and receding boundaries of the largest form. When drawing these lines one is establishing front to side (fig. 1) and top to under guide lines to wrap around the head.
The red lines represent lines that are all visible on the bust at a squint. Some of the lines are the actual boundaries delineating the forms. Others mark the division of the incidental light as the lighting source aligns similarly positioned planes eg., just above the hairline. These lines are not being copied. They are being constructed to create space. (If it is difficult to see or imagine the directional lines like the black lines superimposed on the sketch. Hold up your pencil and sight its alignment on the object.) The construction lines are at first lightly and loosely drawn until the major shapes of the head are wrapped. Then the contour is adjusted one line at a time while one is only thinking in angles and directional lines to simplify the forms. You can use a plumb and or leveling line to check your contour if you wish. I will discuss pointing off, triangulation and other ways to relate points for accuracy in the demonstration.
The nose is the most conspicuous form on the face and is hard to place. I draw as much surrounding it before placing it except for the root of the nose which helps spacing on the center line. The chin is not attached in fig. 1. The peripheral boundaries of the chin are all receding boundaries.There are reference points indicated for its placement. Completing the largest planes within the construction results in 'measuring' the head because one is then constantly comparing shapes and sizes of each section one to another. So forget mechanical measuring or proportions.
You may need to draw a few markers to get your spacing correct. I use dots or short slashes to place a form. Then I connect these with a guide line after comparing them with other points that are vertically or horizontally in line to check the placement. Michelangelo would place organic shapes of muscle groups on his figures early within the contour. I belive this was to space his forms and check the width of his figure. The Academies taught that one should wait and relate the inside shapes to the outside contour when the contour looked correct. One can do both. 4/13/16
fig. 1
9 x11 inches
The photograph of Apollo has considerable distortion.
The near top of the gathered hair should be lower in the photo-
graph and the mouth should run parallel with the brow. Positioning
oneself too close to the model also creats distortion. Remember
to maintain the same point of perspective within the borders of the
drawing, even though the forms may change their positions relative to the viewer eg., the brow is positioned as if one is looking under it, the ear to mouth line is positioned at about eye level.
One needs full light on the subject and should be able to see the boundaries clearly on the model or cast. The projected boundaries of the form are subtle but clear on the marble bust. If a model is being used one wants them to be as pale as possible while learning the construction of the head and figure. At this point I am not marking the fall of the shadows unless they are marking a boundary. Also look at all the light lines searching the morphology for planes and wrapping the face. They were exploratory and if incorrect they were adjusted. As long as they are light they do not interfer but build up to create a hazy plane. A and B. The placing of the construction correctly lines does not happen over night. The Old Masters had these type of conceptural construction lines in their drawings that helps one think in the third dimension. It takes time to master this construction. 5/2/16
A
B
Considerations
When drawing the portrait one has only to draw basic shapes to obtain a likeness ; the shape of the head, hair, the setting of the eyes and largest or most projecting features . A major consideration is that forms do not project when viewed front and center. Most portraits by the Masters are looking up at the sitter to make the sitter look more elegant or noble, to enhance the light effect and to project the features. If the sitter has soft or subtle features a front view with front lighting may work. Ingres positioned the veiwer's eye level at about the chin, allowing one to see under the brow. He turned the head of the sitter so one could see the side of the nose and chin, more of one temple than the other and the curvature of the forehead. Raeburn (painting) and Lawrance dropped the viewer's eye to a position somewhat lower. Velazquez's Juan de Pareja, probably the greatest portrait ever painted, is a perfect example of positioning sitter to viewer. It is not that the Masters did not paint or draw from straight-on front and center but if there was depth to the subject's make up they used it to their advantage . There was a subtle competition between sculpting and painting as to which was the better art based on the goal of achieving relief and consequently realism. Even Michelangelo adressed it dirrectly when asked by the Florentine historian Benedetto Varchi in 1547. 1 .. 4/7/16
Fig. 3 Fig. 2 Fig. 1
c c
Notes: George Bull, Michelangelo, pp343-44