Week Three
Planes of the Face
Light and Shadow
Start of Self Portrait.
Planes of the Face
Back in Lesson 6 on Creating Space, we saw this drawing:
This stylized drawing gives the idea of different planes that will show different amounts of light or different values.
There is no face that looks like this, of course, there are no straight lines on a curved surface. This drawing gets us to think about facial planes, faceted or chiseled flat planes of a particular value.
As an aside, some geometry can give a lot of vitality to a portrait. A straight line can make a curves feel curvier. It's possible to use the background to start composing in this way.
Below, Allen Loomis thinks about the planes of the face, and counts
1 2 3 ... 1 2 3 …. 1 2 3.... where ever he can,
not a bad idea!
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Here are some photos of planar heads with two light sources. What observations can we make?
Facial Planes give the portrait a sculptural three dimensional appearance. This is a way to start thinking of volume of the head.
Loomis liked to think in terms of 1,2,3. Look at the planes and think 1,2,3. Look in the mirror and see if you can find planes of your own face.
Light will hit different surfaces with varying amounts of light. This concept is an introduction to light and shadow. As we start to look more at portraits, we will begin to see light and darks, how they define each unique individual. Typically, after we identify a light source, the face will fall into patterns of light and shadow. The face however is not made up from geometric planes. There are no convenient straight lines....
Remember our axiom about when we change distance, even if only slightly, we change value, even if only one or 1/2 of a value shift. Slightly changing value will indicate a change in planes!!!!Remember our basic concept of how light hits a sphere? Remember our value scale of 1 to 10 values? The same principles apply to the face. Things to think about
Light areas.... 1 to 4 values
Shadows, …...6 to 10 values, start them off massed evenly at a #4 value
Edges.....looking for soft and hard edges.
Cast shadows and Form shadows.
After we establish a good contour, with features correctly places, with line only,
we start to think about the location of the shadows.
In the first go-around of shadows, think of big broad evenly toned shapes.
Let's go back to our side portrait from Week one, Here is a nice block-in
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From the block in (1), shadows are massed (2) into even toned areas, a middle value. A nice pattern of light and dark should emerge(3). Next step is to look into the shadow and look for the darker core shadow (4)It never hurts to measure once you have the shadows blocked in, especially if things look off. Use the new shadow shapes as new measuring points, compare the drawing to the model, with these new shapes to measure & compare.
The darker core shadow will give the portrait a sense of volume. As the curved surface continues around, still within shadow, ambient light will enter the shadow.... there may be a slight lightening. Or there may be some reflected light if a lit surface is nearby. A typical place to see reflected light is under the chin, sometimes under the nose, sometimes along a check if a hand is nearby.
Establishing the core shadow will make your portrait come alive. Once you are happy with the placement of everything, look to see where you can accentuate darker values, accents, or edges.
Shadow Shapes
Cast Shadow and Form Shadow
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Remember our mannikin from last session? Let's look at her again with strong directional light to see:
1. Form Shadow, SOFT EDGES as the form turns away from the light: Head check, chin. Nose only slightly because everything is within a tighter curved radius around the nose.
2. Cast Shadows, HARD EDGES close to the thing casting the cast shadow. Here we see cast shadows to the left of the nose, under the nose, under the lip and across the neck. What happens towards the back of the cast shadow as it gets farther away? The edge softens up! See the edge of the nose-cast shadow above the corner of the mouth. Where else does this typically occur? The Neck! A long distance cast shadow starting with a crisp hard edge, moving into a soft edge cast shadow.
3. Core Shadow, look right at the turn of the shadow by the chin, darkest core shadow.
4. Reflected Light under the chin and under the nose.
That's lot to keep track of!
Once you get it, it's the same for every portrait.
Each person has their own characteristic unique shadows. Through good observations on the contour, measuring and accurate observations on shadow shapes, you can create a likeness of any person, really!
Shadow shapes, generally start in the middle and work out to the outer limited of each shape. Keep edges soft. Crisp up your hard edges where you might need them, darken your core shadow value where you see them.
Project We are going to enter next into a long tradition for artists, the self portrait. Artists to check out for their self portraits are Rembrandt, Van Gogh, and Frida Kahlo
This week we are going to use our mirrors to try self portraits. We will do 20 minute poses, you can do an envelope, blockin, and contour, blockin shadow shapes, Maybe start to look for core shadows if time. Self portraits quickly move into the world of shapes and values, it's fun!!
Set up your mirror and your drawing so it only take a very slight turn of your head to see your own portrait. Get as close a look as you would like. Practice going back into the same position each time. Look carefully, memorize, draw, compare...Take your time.
Long term Project Over the next several weeks, at home:
Take all the time you need to do an envelope, block in and contour. In fact take at least an hour + to do your contour and bring it into class next week, please no shadows yet, that will be the following week...
I would like everyone to have the experience of really digging into a portrait study and what better model than yourself!
Master drawing to copy, Nicolai Fechin!
