Information on Pencil Portrait Rendering - Rendering a Chin Supporting Hand Together with Shoulders

By: Robert Thomson Click author's name for more of his/her articles

Including a hand in your portraits adds a major measure of excitement but can quickly destroy an otherwise fine portrait if done incorrectly.

The goal is to incorporate the hand so that it is not only proportionally and gestural right, but is congruous in personality with the expression of the face.

For instance, an agreeable facial expression juxtaposed with a clenched fist may not yield the effect you desire unless you intend to add an ironic twist to your portrait. On the other hand, a hand supporting the skull fits very well with a stern scowling expression.

First, absolute novices should not be trying to sketch both the hand and portrait together. Things will quickly get muddled. The lesson for the absolute novice here is to get a grasp of the significance of acquiring a solid foundation of your skill.

In a pose where a hand supports the skull there exists a delicate forward tilt because the subject is slightly hunched and leaning forward. For the draftsperson, this situation translates into the presence of a delicately foreshortened and reclined portrait. In the hand/skull case this means that the chin is somewhat receding relative to the forehead.

As always, you should start with the construct, which in this case, includes the hand and the shoulder. If you first sketch the skull and then attach the hand to it you are really asking for problems. The hand and the skull will lack cohesion and will give the awkward impression that they are two distinct objects that are coincidentally juxtaposed.

When sketching the construct be aware of the negative as well as the positive spaces. In addition, do not pre-measure any aspects of the construct. It should be drawn with as much fluidity as possible without losing your sense of proportion. Sketch first then verify.

Further build upon the construct by positioning the face, hand, and shoulder landmark
s and sizes. The internal architecture of the construct is initiated by blocking-in the principal darks and painting out the lights with a putty eraser.

What you are doing is to set the stage for rendering the facial features, the hand, and the shoulder. The hand must be positioned and proportioned in accordance with the skull and the facial features. The compression of the jaw into the palm must also be reckoned with.

Utilizing a sharp pencil you can now further develop the value and form with cross-hatching, stumping down, and painting out. In this, you will be going back and forth hoping that you know when to quit. Drawing is about making decisions, i.e., knowing what to build up and, just as essential, knowing what to leave out.

In the hand/skull case you have to be extra careful how far you develop the hand. The hand should be seen as a prop, that is, a supporting element that should not be part of the focus. Do not feel compelled to finish every element in your sketch. Everything in rendering is about equilibrium and communicating your intent directly to the viewer's eye.

In closing, it is essential to see the hand and the shoulder as parts of one whole. Starting your sketch with rendering the construct will help you greatly with maintaining this cohesion. Treat the hand and shoulder as props that surround the face. This means that you should sketch them in a subordinate role.

Article Source: ABC Article Directory

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