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Guidelines for Pencil Portrait Sketching - General Anatomy of the Muzzle

Published by Remi | January 11th 2009 | Views:

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Capturing the delicate, fleeting gestures of human feelings in portrait sketching is a test for every artist. There are fundamentally 6 key feelings: surprise, happiness, sadness, anger, fear and disgust.

The gestures of these key feelings are instinctual, the muscle relationships and movements are involuntary. In general, the facial muscles are delicate, finely attuned and easily seen because they lie just below the surface.

The facial muscles not only portray moods and gestures they also exhibit sympathetic characteristics. For instance, when we are threading a needle we very likely pucker our lips to "help" the thread through the eye.

All facial gestures involve the muscles and other parts of the mouth. Therefore, to comprehend the facial gestures we must first comprehend the mouth which is more than just the red lips.

The mouth part extends from the base of the nose to the Mentolabial Sulcus, i.e., the sulk-line of the chin. The mouth is a convex form and wraps around the muzzle of the face.

Sketching the mouth should invariably start with the drawing of the Interstice, i.e., the horizontal line where the lower and upper lips come together. The lips wrap around the convex projection of the dental curve and the interstice roughly corresponds to the middle segment of the frontal, upper teeth.

Note that the Nodes in the corners of the mouth are below the middle of the interstice, except in a al furrow that extends from the base of the nose to the tubercle of the upper lip.

The philtrum, which means "love drop", is bounded by ridges on each side. Practically every beginning draftsperson overextends the philtrum, thus placing the mouth too low.

The other 2 parts of the upper lip are 2, horizontal elongated forms. The muscles here, however, are the observable ridges of the central vertical fibers of the Orbicularis Oris whose activity results in the pursing up of the lips. The numerous facial muscles attaching to the corners of the mouth do the pulling and pushing.

The upper lip is flatter than the lower lip. It is a downward facing plane and generally appears darker than the lower lip. There is a small up-plane on the vermillion border of the upper lip that quite often catches a soft light. For most people, the upper lip tucks into the nodes.

The lower lip generally stops a bit short of the nodes. The lower lip is heavier and fuller. It is comprised of two elongated forms that give it a more squared-off look than the upper lip.

Slightly below the vermilion border of the lower lip is a elevated edge that develops laterally and is more conspicuous at the corners.

The vermilion border of the lower lip should not be sketched with a distinct line, it has to be suggested more than sketched. Or else it will look like lipstick.

The lower lip is an up-plane and will often catch the light. Like the upper lip, the ridges of the central vertical fibers of the orbicularis oris form the texture of the lower lip.

The base of the mouth area is at the mentolabial. Shaping at the bottom edge of the lower lip's two elongated forms are two columnar tubes that radiate diagonally downward. These are the Pillars of the Mouth. This is a down plane and thus will fall into shadow.

With this we end the general account of the things that make the mouth and in the end the smile.
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