Xl The Head Hands And Feet

The head, perhaps, has more to do with selling a drawing than anything else. Though the figure drawing you submit may be a splendid one, your client will not look beyond a homely or badly drawn face. I have often worried and labored over this fact in my own experience. Once something happened that has helped me ever since. I discovered construction. 1 discovered that a beautiful face is not necessarily a type. It is not hair, color, eyes, nose, or mouth. Any set of features in a skull that is normal can be made into a face that is interesting and arresting, if not actually beautiful. When the face on your draw-

ing is ugly and seems to leer at you, forget the features and look to the construction and placement of them. No face can be out of construction and look right or beautiful. There must be a positive balance of the two sides of the facc. The spacing between the eyes must be right in relation to the skull. The perspective or viewpoint of the facc must be consistent with the skull also. The placement of the ear must be accurate, or a rather imbecilic look results. The hairline is extremely important because it not only frames the head but helps to tip the face at its proper angle.

The placement of the mouth at its proper distance between nose and chin can mean the difference between allure and a disgruntled pout. To summarize, draw the skull correctly from your viewpoint and then place the features properly within it.

In my first book, Fun with a Pencil, I set about to work out a plan for head construction that I consider almost foolproof. 1 repeat the general plan as a possible aid here.0

"A strikingly similar method was originated independently by Miss E. Craee Hanks. {See Fun with a Pencil, p. 36.)

Consider the head a ball, flattened at the sides, to which the facial plane is attached. The plane is divided into three equal parts (lines A, B, and C). The ball itself is divided in half. Line A becomes the earline, B the middle line of the face, and C the line of the brows. The spacing of the features can then be laid out on these lines. The plan holds good for either male or female, the difference being in the more ltf)ny structure, the heavier brows, the larger mouth in the male. The jaw line in the male is usually drawn more squarely and ruggedly.

In this chapter are studies of the skull and its bony structure, as well as the muscular construction and the general planes of the male head. The individual features are worked out in detail. The heads are of varying ages. Since no two faccs are alike, for you the best plan is to draw people rather than stock heads. Perhaps an artist of another era could repeat his types endlessly, but there is no advantage in that today. It tends to make an artist s work dated in short order. The artist who can keep his types fresh and true to purpose will last.

It pays in the long run to hire models, though there is always the temptation to save money. The danger in using clips from magazines is that the material is usually copyrighted. Advertisers pay movie stars for the privilege of using their photos. Both the star and the advertiser will resent having them "swiped" for another advertiser. Your client will not be happy about it either. The same is true of fashion models who have been paid for their services. You cannot expect to use them for your own purposes. Practice from clips, but don't try to sell your copies as originals. Once you learn to draw heads, it will be your life-long interest to portray character.

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