Have you ever wanted to draw someone’s portrait? This introduction to the art of portraiture aims to expand your understanding of the portrait beyond that of a well observed and static reproduction of the human head, by conceiving of the human head within the context of portraiture conventions, as an integrated part of the human body and as a vehicle for emotional expression. This course is suitable for both beginners and those with some drawing experience.
- Discuss the proportions of the human head and the anatomy of the skull, including the relationship of the head to the neck and upper torso. We will note the importance of initially demarcating the position of the ear (or the external acoustic metus of the skull) when the head is drawn in profile. The features of the face will be seen within the context of conceptualising the head in terms of a simplified overarching egg shape.
- Portraiture and the hair, an often neglected aspect of portraiture that aids in conveying heightened emotion in your sitter.
- The convention of the mouth - the model will be asked to breathe through their mouth while posing, allowing the student to convey a sense of the living sitter breathing, or about to speak. The use of this artistic convention by such Masters as Caravaggio, Bernini and Rembrandt, will be addressed within the class.
- The body in portraiture - portraiture and the hand gesture.
- Drawing the passions - we will look at the French painter, Charles le Brun’s understanding of the facial expressions and how bodily actions are used to convey emotion. A model will seek to embody a range of emotional states through their facial expressions and bodily actions. The muscular anatomy of the human head as it relates to expression will also be addressed.
- The foreshortened head - the model will be asked to stand and the student will draw the head as seen from below. The importance of the under planes of the head will be addressed.
- The full figure portrait - looking at portraiture conventions that relate to the figure as a whole, we will consider how the gesture of the whole body is employed to convey the character of the person in the works of the eighteenth-century English portraitists, Joshua Reynolds and Thomas Gainsborough. We will also introduce props and objects as further tools in conveying the character of the sitter.
By the end of this course, students should be able to:
- Conceive of the head and the features of the face in terms of basic overarching geometric masses.
- Gained a basic knowledge of the anatomy of the skull and the muscles of the head, neck and parts of the upper torso.
- Gained practical and applicable knowledge of art historical conventions for portraiture.
- Understand the interrelationship of the body to the head in portraiture.
- Sanguine red chalk pencil - oil based (e.g. Faber Castel PITT)
- White chalk pencil
- HB pencil
- A3 sketch book
- Stanley knife
- Kneadable eraser
- 1x A3 sheet of Blue grey paper
- 2x large bulldog clips for support
IMPORTANT: Please arrive to the first class with all the relevant materials. A lack of materials is not just a handicap to you but to the ability to teach. Materials cost is not included in a course fee. In the event of a course being cancelled WEA cannot be held responsible for the purchase of any course materials. We therefore suggest you purchase your materials closer to the time of the course commencing.
The following stockists below are examples of places you can buy art materials from:
- Art on King: 199-201 King Street, Newtown. Ph: 9516 2342
- Eckersley's Art and Craft Store: 93 York Street, Sydney. Ph: 9299 4151. Also located in various locations throughout Greater Sydney.
- Parkers Art Supplies: 3 Cambridge Street, The Rocks. Ph: 9247 9979
- The Art Scene: 914 Victoria Road, West Ryde. Ph: 9807 6900
- The Sydney Art Store: 11 Salisbury Street, Botany. Ph: 9699 2162
You can also purchase materials from places such as Dymocks, Officeworks, Spotlight, Lincraft or online art suppliers such as Art Shed Online.
