Good teaching is like finding gold; it's a treasure. And, it can save you years of searching and trial and error. This, after all, is the genius of civilization and the foundation of progress: We build on the struggles, insights and discoveries of those who succeeded in the past. To anyone who is serious about art and artwork, who wants to get better and is willing to work (that's a mouthful, I now, but an important one): I highly recommend Michael Britton 's teaching materials.
Bill Polm
Murrieta,California
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Learn to Draw - Portrait Drawing
Learn to Draw Portraits - Anatomy & the features of the face
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As you learn to draw portraits you soon discover how far you can carry your tonal construction before needing to articulate the features of the face.
If you have taken the time and practice to learn how to draw and assess shape and proportion accurately you will have little trouble in determining the placement of the features (eyes, nose, mouth, etc.) Placing the features even more concisely is a matter of careful sighting and plumbing both vertical and horizontal alignments and relationships.
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Drawing the facial features requires a knowledge of portrait drawing anatomy. You begin by studying the skull. Acquiring a good quality skull and drawing it from all of the major angles is a good first step.
Learning the terminology is also of great benefit. Quite often as you draw a portrait just being able to name a certain landmark or even a vague 'bump' will help you to better articulate that element.
The male skull is generally larger than the female and becomes markedly rougher and angular as it grows into adulthood. In particular, the ridges and sites of muscle attachments are more pronounced. The female skull retains the gracile attributes of the prepubescent male skull.
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Unlike the muscles of the arms, legs and torso, the facial muscles do not define surface forms as readily. The facial muscles are thin, delicate and, for the most part, concealed by facial fat - especially in children, adolescents and young adults. Additionally, the facial muscles meld into one another and, thus, are not as easily defined and seen. The exception to this is the mouth area where there is very little facial fat.
In a general sense, the facial muscles control the apertures of the face. The apertures are the eye sockets, the nasal aperture and the buccal opening of the mouth.
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Expression is determined by facial muscle action. The visible forms of expression are formed by various factors such as skin, fatty tissue, the underlying skull, cartilage and muscles. The study of expression is an enormous field of study and will be touched upon only briefly here. Suffice it to say that studying, drawing and painting facial expression is a life-long endeavor.
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Back Issues of the Drawing E-Zine
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