EMPHASIZE THE HEAD THROUGH TONE AND FINISHING
By tone and finishing, I mean that “the head should be highly finished, while the rest remains only half completed.”
I will not explain here the technical reasons that produce this extreme sense of relief. Instead, take as examples the portraits illustrated in the following pages, by the painters Francesc Serra and Alfredo Opisso. They are remarkable works; each one contains a true lesson illustrating everything that has just been explained.
Notice, in Serra’s drawings—especially the portrait of the sculptor L. Cairó, reproduced on the facing page—the precision and completeness of the head, contrasted with the drawing of the body, which is merely indicated. Yet look at the striking character of these lines: observe the diffuse patch of the necktie, the simplicity with which the hands are drawn. What a surprising portrait, is it not?
Also observe, in the female portrait on page 77, the artist’s wife, the same method of rendering the head with the full play of light and shadow, while leaving the clothing only suggested—perfectly framed and constructed, yet unfinished. Notice, in passing, the artist’s skill in including within the drawing the graceful and expressive form of the small dog, thereby achieving both a linear and tonal composition and a perfect balance of masses.
The same can be said of the woman’s portrait on page 78, captured in a truly original pose that creates a remarkable arabesque effect. Study also, in this portrait by Alfredo Opisso, the position of the hands and the way they are treated so that they help guide the eye and enhance the beauty of the face.
Finally, observe portraits by masters such as “Monsieur Lavergne” by Ingres, executed in graphite, which demonstrates the determination to complete and refine the head. In a different style, J. F. Millet, in his charcoal self-portrait, gives us a lesson in truthfulness, pages 79 and 80.
Study these portraits and all those presented in this book, whose conclusion is provided by Francesc Serra. He kindly agreed to take part in a kind of interview, the answers to which form one of the finest practical lessons that can be given on portrait drawing. Read these responses carefully. Like the “Advice of Ingres,” they can be applied from the first word to the last.
HOW FRANCESC SERRA WORKS
Paper
Canson brand, standard production paper.
Pencils
Koh-i-Noor HB and 2B. He also uses a piece of soft graphite lead, as thick as a pastel stick, with which he draws the large shadow masses, as if using charcoal, softens and blends contours and gradations, which he may then blend further—or not—according to his needs.
Eraser
Mallat type.
Fixative
In general, he does not use fixative on his drawings, because he believes they should be framed immediately.
Easel
He uses a simple drawing board, which he leans against the back of a chair turned toward him.
Lighting
Artificial lighting; an ordinary 100-watt bulb suspended from the ceiling, with a standard lampshade and a mechanism allowing the light to be raised or lowered.
Distance from the Model
From 1.5 to 2 meters, approximately 5 to 6.5 feet.
First Session
Dedicated to studying the pose and composition through a series of small sketches made in charcoal on sheets from a standard drawing pad.
Total Number of Sessions
Five poses, each lasting from one hour to one and a half hours.
Technique
Initial construction in HB pencil. Shadows and dark accents are done with 2B pencil and the previously mentioned soft graphite stick. Gradations are blended with the finger, alternating with direct pencil strokes, without using a stump or tortillon.
