Victorian Silhouette

A portrait can be as simple as a contour drawing in profile. The Victorian Silhouette was the product of a parlor pastime. Cast a strong light making a profile against a sheet of glass and an attached sheet of paper. Draw the silhouette and create a grid. Scale down the contour drawing and cut it out of a sheet of black paper. The result served as a miniature of the person and was framed and exhibited on the parlor wall.

In the book "Drawing on the Right Side of the Brain", there is an exercise common to beginning drawing classes. Place a pencil on the paper, and without looking at the paper or lifting the pencil draw a contour drawing of an object in one long single line. This exercise demonstrates the disparity between perception and actual control. Eye hand coordination and practice will make the disparity almost go away.

We begin with the profile, to learn contour and placement. Next is full face, which lends itself to bilateral symmetry (mirrored halves) and finally the 3/4 or 1/4 face view that is the most popular and revealing. Beyond that, drawing the portrait from above or below, with and without expression. Lying to tell the truth, and flattery will get you - into trouble. Finally we will discuss and try to demonstrate all the little things that make a portrait beyond the accurate delineation of form.

There is a story of dubious veracity, that an artist (Durer, Velasquez, Van Dyke, Goya or El Greco - depending on the source) was asked to submit to the Crown for selection as a Court appointed artist. Every artist from several nations brought their best painting but he chose a blank canvas and was laughed at by the other artists. When summoned to the court audience, he drew a circle on the canvas. He then directed that the circle be checked for accuracy. When they found that it was a perfect circle, he was selected as court artist to paint the royal family and members of the court.

Practice drawing quickly and your long drawings will benefit. Draw to improve your 'hand'. If you have captured the pose with the gesture, captured the volume with the value, and start refining detail with line - it won't matter if the subject gets up and leaves. Wherever you stop will be enough. This process is designed to save time and effort. Begin with detail and if the subject leaves, you have no way of perfecting the drawing, and it will not look balanced or finished. Start with gesture and you have a gesture drawing at the very least. Progress to value and you have a value drawing. Include even a little detail and it will look right. If you draw as if you may be interrupted at any moment, the drawing will benefit and so will you.

Due Wednesday October 1, 2003, a self portrait - try not to spend too long on this initial drawing.