Tips on Pencil Portrait Drawing - aggregate

Pencil - Tips on Pencil Portrait Drawing - aggregate

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Composition refers to the manner in which your subjects are positioned relative to each other on the page. More formally, it is the arrangement of forms and spaces within the format of the page.

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* Balance

The main characteristic of a good combination is that it creates a feeling of equilibrium in the viewer's mind. This equilibrium should be present on at least two levels:

First, there is the equilibrium of position. This means that the forms and spaces out of which the portrait is made up should be balanced relative to the vertical and the horizontal going straight through the center of the page.

Second, there should also be a equilibrium with respect to value. The darks and lights should equilibrium each other out in an uncut sense. In other words, having too much black on one side or a perfect lack of it is not the recommended policy to take.

* Experiment

Having said that, do not be afraid to experiment with the distribution of forms, spaces, and values. Sometimes an unexpected deviation from the excellent equilibrium gives excitement and interest to a drawing.

Follow your artistic sensibility. With practice, this sensibility can be developed and soon you will accumulate a natural sense for good combination and how and where to surprise the viewer.

* Shapes

When considering the combination of your drawing you should think in terms of four major shapes: the triangle, the circle, the rectangle, and the square. Any of those shapes can be the point of interest of your portrait.

All other shapes should be arranged in support of that point of interest. Essentially, this means that the viewer should be led or guided towards the intended focal point of the drawing.

* Focal Point

One base compositional mistake occurs when the field matter exterior of the focal point is arranged in such a manner that the viewer is led in a direction away from the center of interest. In other words, the viewer is discouraged from seeing at the area the artist belief was the most interesting.

In this regard we should remember that in the West, the viewer's eye tends to enter a drawing or a painting from the left (just as we do when we read from left to right). Therefore, a good combination often has an entry point on the left of the drawing and from there leads the viewer's eye to the focal point.

* Detail

The focal point should also be the area where you add the most detail to your portrait drawing. Areas deemed less important can be less developed and left to be fulfilled, by the viewer's imagination.

Don't forget, a portrait drawing should not be a copy of the photograph. Ideally, the personality of both the field and the artist should be reflected in the end product.

* Check Balance

Another way of assessing whether or not you have a good combination is to cover up one shape or another and see if it improves the equilibrium or not. A good combination is such that if you remove one shape, the whole drawing is clearly thrown out of balance. If you feel that by removing a confident part of your drawing the equilibrium improves, by all means, leave that part out.

Much more can be said about composition. Whole volumes have been written about compositional rules and processes. However, developing the idea of equilibrium on the levels of position and value will give you a very good start.

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