Summary



Summary

Many artists make realistic portraits to show a likeness of their subject. To create realistic faces, artists study live models, use mathematics to understand correct proportion, and practice by making sketches. Students will explore these ideas by studying their classmates' faces, developing a proportion reference sketch, and creating a final portrait of a classmate or a self portrait.

Online Activities

If you have a computer with Internet access in your classroom, you can introduce your students to portraiture online. A Lifetime of ColorTM web site ( ) offers interactive ArtEdventures, hands-on activities, and teachers resources about portraits.

These include:

• Technique Demos: Portrait Proportions, Drawing Face Shapes, an interactive "What's Wrong with this Portrait?" and a Practicing Portraits drag and drop activity.

• Try This! Hands-on Activities: Using Color Symbols: A Self-Portrait,Portraits Make a Statement, Abstract Symbolic Portraits.

• ArtEdventures: Carmine's Introduction to Color and "Face to Face with Portraits from the Past"

Background

Students should understand how to draw the basic face shapes for a front view. You may want to look at the Technique Demo "Drawing Face Shapes" which can be found at A Lifetime of ColorTM web site. Students should understand how to use a ruler as a straight-edge. They also need to know how to do some simple measuring and dividing.

Objectives

Students will:

a) explore and analyze how the human face is proportioned

b) explore ways artists use mathematics to make art

c) understand that artists draw from life using models

d) demonstrate their understanding of basic face proportion by creating a reference sketch

e) create a portrait using correct proportion

Vocabulary

portrait/self-portrait

proportion

model

realistic/abstract

Copyright 1998-2004 Sanford. All Rights Reserved.

Preparation

Teaching Materials/Resources

• examples of realistic and abstract portraits throughout history

• visual aids in Acrobat PDF format: "What's Wrong With this Portrait" and "Teacher Guide to Proportion"

• ruler

• whiteboard to draw on and make notes

• suggested supporting resources

• Expo® fine point dry erase markers

Student Materials/Resources

• scratch paper

• ruler

• Design® 3800 pencil

• Pink Pearl® or White Pearl® erasers

• unbreakable mirror (if drawing self-portraits)

• 9" x12" (23 x30 cm) drawing paper

• Mr. Sketch®, Foohy® or Sharpie® markers, watercolor paints and Colerase ® erasable colored pencils

Schedule

One or two class periods for proportion study. Two or more class periods for final portraits depending on media.

Set-up

1. Gather and display examples of realistic and abstract portraits.

2. Create or download and print portrait visual PDF file ("What's Wrong with this Portrait?" and "Teacher Guide to Proportion") for use in class discussion

3. Gather teacher and student studio materials.

4. Arrange classroom furniture to create a discussion area to ensure maximum participation and ability to see visuals and models.

Procedure

Introduction: Group discussion

Introduce or review portraiture as an art form. Brainstorm with your class the reasons artists create portraits. Show them examples of abstract and realistic portraits. Discuss why some artists developed a realistic style for portraits while others favored abstraction. Focus on a realistic example and have the students explain what makes it look real.

Introduce the idea of proportion. Proportion is one of the principles of art and design.

Proportion is the relation of one object to another in size, amount, number or degree. In other words, artists wanting to create a realistic portrait must figure out how big to make each facial feature in relation to the others. They must also place each face shape in the proper place. How do artists do this?

1. Artists make studies or practice sketches to solve proportional problems. They may make many sketches before attempting a final portrait. Explain that students will each make several sketches and a guide or reference sketch about face proportion that they can keep and refer to when they begin their final drawing. (You can hold up your "Teacher Guide to Proportion" as an example.)

2. Many artists use mathematics to help them understand proportion. They will all use rulers to measure and calculate correct proportion of their portraits.

3. Artists carefully observe the real world. Many artists study live models. Choose a model from the class to come forward and sit. For this lesson, be sure students have a level front view of the model's face.

Large group demonstration

You will draw a front view face on the whiteboard as a demonstration of how to use observation. Use a ruler to determine correct proportion. Encourage class input at every step—ask rather than tell! If you can erase, make purposeful mistakes to encourage them to look critically at the results. Build the face step-by-step and make notes about measurements (your end result should resemble the "Teacher Guide to Proportion"). Draw large.

1. HEAD. What shape is the average human face as seen from the front? (egg-shaped). It is not a circle (Show "What's Wrong with this Portrait," example F)

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2. EYES. Where are the eyes? Find the top of the head and use the ruler to measure down to the chin—write the number down. Have a student read the number that is lined up with the eyes—write the number down. Have them figure out what is the relationship between the two numbers (eye number should be roughly halfway).

Use your ruler to divide your drawn head in half. Measure and draw a horizontal line. Draw lightly (you may want to erase it later).

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Eyes halfway down look a little alien until you add eyebrows and hair. But if you draw the eyes too high, you will get a really big chin! (Show "What's Wrong with this Portrait?"example C.)

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How large are the eyes? If you look at someone face-on, how many eyes of equal size would fit across the face? (five) Measure across the horizontal eye line and divide it into fifths (or visually estimate). You can divide the horizontal line into five equal spaces to figure out how big to make the eyes.

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Review eye shape. Draw five eyes. (Show "What's Wrong with this Portrait," examples B and D)

3. NOSE. The width of the nose depends on the person. (Look at different noses in your class.) If we hold the ruler vertically at the widest part of the model's nose, what does it line up with? The bottom of the nose is often as wide as the inside corners of the eyes. So you can draw two vertical lines down from the inside corners of the eyes (or the point in the eyes which line up with the sides your model's nose).

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How long is the nose? Use the ruler on the model to show that the bottom of the nose is halfway between the eye line and the bottom of the chin. Draw another horizontal line halfway between the eye line and the chin. Now you have a "nose box" to help you get the right size and place for the average nose. Draw the nose! (Show "What's Wrong with this Portrait," example E)

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4. MOUTH. Measure and draw another line half way between the nose and the chin. Mouths are right above this line. The width of the mouth depends on the person's expression. Demonstrate that the corners of a relaxed mouth usually line up with the middle of the eye. Draw two vertical lines down from the pupils of the eye.

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Now draw the mouth! (Show"What's Wrong with this Portrait" example D)

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5. EARS. Ears are bigger than many people think! Have students decide where the tops and bottoms of ears line up with on the face. Generally, ears stretch from the eyes to below the nose. Use the horizontal line you first drew for the eyes to line up the top of the ears. They will end between the bottom of the nose and the mouth. Draw the ears.

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Remind them to draw ears as seen from the front. (Show "What's Wrong with this Portrait" example A)

6. EYEBROWS. Eyebrows tell a lot about a person's mood. They come in all different sizes and shapes (and some people pluck them out!) A gentle arch over the eyes should do for a relaxed face. They stretch over the whole eye or more. They are wider in the middle of the face and get thinner.

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7. NECK. Most people draw the neck too thin. Your head weighs eight pounds, so necks need to be big and strong! Start at the ears and gently curve in then out again.

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8. SHOULDERS. If you have room on your paper, you can draw shoulders or part of the shoulders. Shoulders are wide enough for three heads! You can have students come up behind the model and put their heads on his/her shoulders. (Show "What's Wrong with this Portrait," example E)

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9. HAIR. Last but not least, HAIR! You could stop now if your subject has no hair. But if he or she does, remember where the hairline is. Have everyone find the hairlines on their foreheads and then pat the top of their heads. A hairline is where your hair starts sprouting. The hairline is not the top of the head! (Show "What's Wrong with this Portrait," example A)

Hair often fluffs out a bit from the head. Draw the hair—don't worry about texture—just draw the general shape.

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Guided Practice

Have students go to their work places. Distribute sketch paper, pencils, erasers and rulers. Walk them through the construction of a similar drawing. Have them take notes on their sketches about the general proportion guidelines. Their end results should resemble your "Teacher Guide to Proportion."

Drawing from Life

Partner students to draw sketches of a peer (or pass out mirrors for self-portraits). Encourage them to continue using the proportion guidelines and their reference sketches as they draw. Have them observe and draw individual variations of proportion of their model's features.

Final Drawing

When they have a sketch they like, give students drawing paper to create a final drawing. Have them draw very lightly so the pencil lines won't show through the final color. Be sure they make a line drawing—no shading or coloring yet.

Finishing

There are countless ways to finish the final drawings. Here are some suggestions:

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Crayon Resist

Have students go over the pencil outlines with erasable crayons. They should press firmly to get saturated, dark lines. They can color in small areas like the lips, irises, and pupils. They may want to add crayon lines and shapes to create texture and patterns in the hair and clothing. They can also add an interesting pattern in the background. Then have students paint their portraits with watercolor paints. You may need to give a demonstration on mixing skin tones.

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"Wild Beast" Markers

The Fauves or "wild beasts" such as Henri Matisse and Andre Derain used bright, unrealistic colors to express emotion. Have students create wild portraits using Mr. Sketch®, Foohy® or Sharpie® markers!

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Colored Pencil Blending

Have students use Colerase ® erasable colored pencils to finish their portraits. You could demonstrate shading and blending techniques.

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Pen Portrait

Have students go over the pencil with Sharpie® Permanent Markers or Liquid Flair® sketching pens and then erase any pencil marks. They can add in interesting textures or incorporate shading techniques such as crosshatching or stippling.

Critique

Have students do an individual, partnered or group critique. See Tips for Successful Critiques, below.

Tips for Successful Critiques

Learning to critique or assess art is a vital part of an artist's growth. Teach your students how to critique themselves, with a partner, in small groups and in large groups. It takes practice and modeling to ensure respectful, beneficial critiquing.

Display the artworks. Pin or tape them to a board so you can get a good look. Be sure everyone has a good view. For a large group display, you may choose to critique anonymously. Be aware that some students may be uncomfortable displaying their artworks. You may want to begin by invitation. After the critique process feels safe and friendly, more students will want to participate.

Set the ground rules for the style of questions, comments and suggestions that are courteous and constructive. Encourage positive phrasing and focus on each artwork's strengths. Be inclusive and try to address each artwork. Avoid words like "favorite," "the best"... Focus on the objectives! Emphasize the learning process rather than the final result.

When you are first starting, have students brainstorm and practice appropriate phrasing. Use one of your demos to practice with. Here are some phrases that might help students get started.

• What really caught my eye was ________.

• That artwork shows ______ really well.

• I think _______ would improve that artwork.

• I'd like to see more of __________.

• That artist is really skilled at _________.

• I am a little confused by ________.

At first, you may spend more time on the critiquing process than the actual critique, but it is essential to build an atmosphere of trust and encouragement.

National Visual Art Standards

The following National Visual Art Standards can be applied to this lesson:

Third-Fourth Grade

Content Standard #1: Understanding and applying media, techniques, and processes

Achievement Standard: Students describe how different materials, techniques, and processes cause different responses

Content Standard #2: Using knowledge of structures and functions

Achievement Standard: Students know the differences among visual characteristics and purposes of art in order to convey ideas

Content Standard #5: Reflecting upon and assessing the characteristics and merits of their work and the work of others

Achievement Standard:

• Students understand there are various purposes for creating works of visual art

• Students describe how people's experiences influence the development of specific artworks

• Students understand there are different responses to specific artworks

Content Standard #6: Making connections between visual arts and other disciplines

Achievement Standard: Students identify connections between the visual arts and other disciplines in the curriculum

Fifth-Eighth Grade

Content Standard #1: Understanding and applying media, techniques, and processes

Achievement Standard: Students intentionally take advantage of the qualities and characteristics of art media, techniques, and processes to enhance communication of their experiences and ideas

Content Standard #2: Using knowledge of structures and functions

Achievement Standard: Students employ organizational structures and analyze what makes them effective or not effective in the communication of ideas

Content Standard #3: Choosing and evaluating a range of subject matter, symbols, and ideas

Achievement Standard: Students integrate visual, spatial, and temporal concepts with content to communicate intended meaning in their artworks

Supporting Resources

Use a variety of portraiture examples. Choose art from other times, cultures and styles to contrast. Shorewood reproductions are owned by many schools or can be ordered from Shorewood Fine Art Reproductions, Inc., Sandy Hook, Connecticut.

Another source for art images is ArtToday, a Web-based subscription service of royalty-free images at .

Suggested Shorewood reproductions to show realistic portraiture:

• Domenico Ghirlandaio (1449-1494), The Old Man and His Grandson

• Leonardo da Vinci, Mona Lisa (ca. 1603-1605)

• Rembrandt van Rijn, The Man with the Golden Helmet (c. 1650)

• Thomas Sully (1783-1872), The Torn Hat

Suggested Shorewood reproductions to show abstract portraiture:

• Henri Matisse (1869-1954), The Purple Robe

• Paul Klee (1879-1940), Senecio: Head of a Man

Portraiture Web Sites:

National Portrait Gallery, London



British portraits

National Portrait Gallery, Washington D.C.



3093 portraits, searchable catalog

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