DRAWING A PORTRAIT IN PROFILE
In a previous article, I comment on the need - for the freedom and consequent strength of drawing - to abandon the academic canon. Now, academics themselves, such as Joshua Solomon and John Collier, recommended drawing the object "as it is", that is, without the intermediary of canonical mechanistic demarcations. However, those who are used to indirect drawing may, precisely because of the practice they have done, be unable to do so and even with their inner vision closed, they will spontaneously capture the shapes and their registrationalla prima.
The following method that I will provide, however, can serve as a mediator between indirect drawing and spontaneous drawing: the form to be drawn is "simplified" as much as possible, whether in its space and plane, or in its delimitation of light and shadow. After that it is "worked" to get its details.
The example below, created by me a few years ago, illustrates the process; More about the drawing processes can be seen in 10 Lessons for drawing portraits*, where I start - considering that the student is at the beginning of the process and unaccustomed to spontaneity drawing - from the canons to eliminate them throughout the lessons in more simplified and therefore fleeting and natural drawing methods:
*Ten Lessons for drawing portraits can be found at:
PS: In my aforementioned ebook, I consider some step by step using canons, because I am not present at the student's side to show them ways to capture the image in front of them. of yourself; however, I will simplify them and encourage their abandonment.
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