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Guidelines for Pencil Portrait Sketching - The Arabesque

Published by Remi | January 3rd 2009 | Views:

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In this commentary we imagine that you sketch directly from life or from a proper photo. In other words, we imagine that you do not use the so-called grid method. This method relies on a grid sketched both on the photo of your model as well as your drawing paper.

If this is so, the first thing you will do is to produce a line-drawing. And the very first part of your line-drawing will consist of drawing the so-called arabesque.

In pencil portrait drawing, the arabesque is defined as the complete positive form of your model's head. In other words the arabesque is the outer contour of the head.

The arabesque includes the proportions, the form, and the symmetry of the head. This means that the arabesque communicates pretty much an overall likeness of your model and often a great deal of emotional content.

In trying to realize the arabesque we confront our first test as an artist. That is, the test of "seeing the reality". Indeed, when we observe an object a complex mental process is started which in part falls short of the degree of accuracy necessary to produce an acceptable portrait.

The mind, for good reasons (one is to preserve our sanity), instantly replace the very complex object with the an icon it has stored since childhood. For instance, we all know how a child sketches a house. It really is more like an icon of a house. But this is what the mind tends to bring up and often even grown-ups sketch a Renaissance.

Applying this new found skill to the arabesque is particularly essential. "Drawing" the arabesque is probably the most essential element in the creation of a good likeness. Once you have this skill down path all the rest will follow reasonably easily.

The first step in striking a accurate arabesque is to force your eyes slightly out-of-focus. This condition is called observing with a "soft eye". With a soft eye proportions and form are more easily seen. It also helps you to avoid the invocation of the iconic preconceptions we mentioned.

To train your eye to improve your powers of seeing you must always sketch first and correct second. There is very little to gain from pre-measuring. The habit of pre-measuring of the size of your model's head will hold you back in the long run.

When striking the initial arabesque always use short straight, i.e., architectonic lines. This will impart a sense of the head's structure and the form of the underlying tissues and bones. Note that round or curving lines are iconic preconceptions.

Also pay attention to the symmetry of the head. The term "symmetry" in the context of drawing
and painting does not so much refer to the correspondence of two parts but more to the attractiveness that comes from accurate proportioning and rhythm.

After striking the arabesque (without doing any measurements) you can correct the proportions. Take a measure of the largest
width (i.e., the width of the arabesque along the brow line) and set it off vertically beginning at the bottom of the chin. The end point of the width usually ends up somewhere close to the middle of the hair.

The goal is to decide exactly where that end point is at. Best is to judge the shorter of the following two distances: (1) the vertical length from the brow line up to the end point of the measure; (2) the vertical length from the end point of the measure up to the arabesque. The smallest length is likely to be the most accurate. Do not forget, the arabesque encompasses the entirety of the skull including the hair.

With practice your eyes will develop this critical skill. Then, once the size and form of the arabesque have been established you are ready to continue with placing the so-called landmarks.
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