Flatter the Subject?
 

I am currently working on a portrait of Congressman Dennis Kucinich, who is a friend of a friend. I received permission from the photojournalist to use his photo as my reference. I've attached that photo and a quick sketch (about 2 hrs) I completed to "learn" his features. At least I hope they are attached!!

My question is, how should I handle his neck. I do not want to make him look younger, but I would like to minimize the appearance of the wrinkles. Obviously in this sketch I did not even address the neck, but now I am faced with the problem and I do not know how to even approach it.

Any suggestions would be greatly appreciated. Also, what size would you suggest this be done in? I am working in graphite HB, 2B, 4B, and 8B.

Thank you,
Pat

Kucinich reference photo
 

Trying to attach the photo reference

The sketch
 

I want to apologize to taking up anyone's precious time, trying to figure out how to attach this sketch. I am so embarrassed.

Finally!
 

Now that I have both scans in the same place, let me please restate my questions. I do not know how I should address his jawline and neck. As you can see I did not even address it in this quick sketch I did, but I have been trying different approaches and my inexperience is really impeding my ability to render a wrinkle/droopy-free neck! I have no experience with studying anatomy. Anyone have any pointers you can give me?

Also, would it be a stronger portrait if I rendered it in charcoal pencil instead of graphite? I am not as adept in charcoal, so would like to use graphite. Currently using HB, 2B, 4B, and 8B.

Thank you, all who have worked your way through my labyrinth of unsuccessful posts (geesh, Cynthia, please don't "dismember" me!)

Sincerely,
Pat Joyce

No dismemberment! To keep your posts in the same thread, just use "post reply" instead of "new topic."

Pat,

Drawing critique is not my forte but I have a couple of impressions.

About your flattering question, I would not attempt to alter much of what you see before you. In your sketch you have rendered the eyes of a mature man, then you began to eliminate some of the character of the wrinkles which match up with the eyes. I think you are creating an incongruity with this approach. I would draw what you see.

Secondly, the photograph has given you a lot of good things. First it has given you a wonderful dynamic composition which I would use. Look at all the nice lost and found edges. Maybe those darks would be tough with your pencil, I would explore a different medium, maybe charcoal would be better. Personally I like soft black pastel.

These are the musings of a single pilgrim.

We

Dear Pat:

Actually the photo you posted is not a bad one to work from and does not present the Congressman in an unflattering light. It's clear he's not 35, so why draw him as such. Instead I would work on getting down the structure of his head. I realize your posted sketch was done quickly, yet even then it's important to indicate some of the darker values, like the area around and in the nostrils which make such a nice shape, the arches of his brow, the left side of his upper lip, the core shadow around his chin, the dark backward "S" shape in his ear, etc. You can see these shadows better if you squint at the photo, or even turn it upside down, and work from it that way.

The area of your concern, the neck and under chin, are also important areas to address. The light that falls like a spotlight across his face, creates a triangle on the neck area extending into the collar of his shirt. You could underplay or lose one of those folds by the collar but you have to show the value change from neck to under chin. Otherwise with no clear indication where his neck begins, he ends up looking rather turtle-like, not very appealing for ones political image in this fast-paced society.

I hope this has been some help.

To answer your three questions:

I would draw his neck exactly as shown in the photo, as others have recommended

I would draw it life size. For me, that has the most power.

I would stay with pencil since that's what you are most comfortable with, and this is an important drawing.

Hope that helps. Keep us informed as to your progress and good luck!

Thank you Cynthia, Mike, Steven, Scott and Michele,
 

I am very appreciative of your responses and glad I was able to turn to this Forum for advice. The "secular" (as in non-artist) consensus has been that I eliminate the "unflattering" wrinkles in his neck. I know many people who know Congressman Kucinich personally and who are working on his campaign. They will not see the portrait until it is complete. But their well-intended remarks were causing conflict with the approach I wanted to take. Each of you has confirmed what my instincts have been telling me and what my sketches have also revealed thus far. Anything short of accurately portraying the subject will fall short of having the impact I hope to impart on the viewer. I originally chose this photo because of the strong composition, the unique viewpoint and the strong spotlighting. (I know the posted study is "weak" as I had not worked up the tonal range, but I wanted post a quick study in order to reference the subject "without his true neck"!)

I do believe Dennis' lines and wrinkles give him a more mature appearance, which is refreshing to see, I think, because, as you state, Steven, he has always been "targeted as looking child-like or gnomish". I'm a lifelong resident of Cleveland and remember when he was a 19-yr-old councilman and mayor (unfortunately brief and tragic!) at the ripe old age of twenty-something!

I was drawn to the photo because I believe it does give him stature which he needs! I will take your advice Michele and draw him life size at least through the shoulders, and stay with the pencil using a full range (HB, 2B 4B, 8B). I will take your advice Steven and "keep the point sharpened and work slowly and deliberately" (my new mantra?!).

I have worked out his nose in some sketches, which I found very hard to render with the deep shadow formed under the distinct shape of the bulb of his nose. But nothing has worked when I try to "put in" a neck and jaw without structure of folds and lines. I just laughed out loud, Scott, to read your remark about his looking "rather turtle-like"! THAT is what was bothering me! Now, all I see is a turtle in all my studies of him!

I will definitely keep you posted on my progress. It's back to the drawing board but with more conviction to maintain the integrity of the subject's true features. Undoubtedly, I will be posting again before completion, for further critiques.

Thanks for the vote of confidences and for giving me some direction which sits right with me.

Later -
Pat

Remember, Pat, that you're including these details (wrinkles, etc.) You're not showcasing them. Once you have the face blocked in, and wrinkles indicated, step back and assess what needs to be emphasized, and what can be downplayed. I've seen many attempts to include wrinkles, with no regard to what priority they should have. This is what separates the artists from the photo copiers.

Also, be careful about the hairline. On your drawing, there's no smooth transition from hair to face. You don't want it to look like a wig. I know that your drawing is just a study, so forgive us for picking at it so much, but you can pick and choose what is of value to you.

I know you're using pencil, and these two drawings are in charcoal, but I wanted to post them anyway. This one is by Charles LaSalle from the Walter T. Foster book "Drawing in Charcoal with Charles LaSalle." I don't know what year but is is number 51, and has the $1.00 price on the front. LOVE Walter T Foster books.

Anyhow, in this book there are several drawings of older gentleman, with wrinkles and jowls intact. Because it's charcoal, the emphasis is not as much on line as on shapes and values and edges. Notice that the crows feet are there, as well as the jowl, but there is not a line in the crease of every wrinkle. The creases are described by letting the value turn the form, and letting hte hardness of the edges indicate where the wrinkles are.

Yay! Rim lighting! Must have been the 50's or 60's.

Here's another, Raphael Sanzio (1483 - 1520), Study for the Transfiguration. This is from "Drawing Lessons from the Great Masters" by Robert Beverly Hale.

You can see that the old man and young boy are treated in pretty much the same way. The reason you know they're young or old is the shape of the shadows, not the frequency.

Here's one more Charles LaSalle, a closeup on the crow's foot territory. You can use a kneaded erasor in a criss-cross pattern to pull out the lights on these areas.

Thanks Jeff and Lisa
 

Jeff, I think I will be posting progress on the final drawing. I will stand back and assess after blocking him in, then maybe I'll offer it to all of you to assess also! Yikes! No, actually I am anxious to begin anew.

Lisa, the reference drawings are a great help. I remember the Foster books from years ago, I wonder where mine went to! Charles LaSalle was great. I forgot how much I used to enjoy drawing old people when I was in high school. Thanks for the pointers.

Pat

Lisa, thanks for those wonderful posts. I've started a section on "rim lighting" over in the Photography section. http://forum.portraitartist.com/show...5088#post25088

Pat, I look forward to seeing your finished drawing. I draw many older people who are reluctant to become "wrinkle character studies" and I am always interested in seeing how other artists handle this.

Pat,

For some additional inspiration, be sure to browse through the "Political Portraits" section (click, or access from the SOG home page). You

Good References
 

I did check out John de la Vega's Senator John Warner yesterday and I looked at Mark Young's Reagan this morning - good references. Also, in my search for good examples I saw Joseph Raj (sp?) 1991 portrait of George W Bush. Interestingly, the angle of the photo shot and lighting is almost idential to the photo reference I am using. It was very helpful to study. I would attach it if I could but I don't have time to figure that out, sorry!! I am a Klutz with computers...

I worked on Dennis till the wee hours last night. So far so good, will soon post my progress. (I could say, unless it looks terrible, but I have to have faith, RIGHT??!!)
Have a Great Day
Pat Joyce (Meyers)

Let's see if this works
 

Here's the portrait of GWBush I was referring to, by Joseph Raj, 1991. The lighting is so similar, however his whole body is turned more towards the viewer than the photo of Kucinich

Ready for critique
 

Here's Dennis so far. How can I improve the texture of the hair? Frustrated, still, with the neck and bottom of nose. I would appreciate your input. Thanking you in advance...

Looking at the posted image
 

This image reads a little grainy.

Patty,

You

Two other things, quickly . . .

The triangular base of the nose, in this lighting, should be pretty much one value. Don't look deeply into that dark value to try to find some lights to pull out, thinking that you need them for form. You'll just wind up overmodeling.

Squint at the photo, and the shadow cast by the nose is very close in value to the base of the nose. Squint at the drawing. Very different, much more contrast. Go over to The Dark Side. Get in there and state it with authority.

That shadow line in the ear runs all the way down across the lobe in the drawing. Compare that to how it looks in the photo.

I see it immediately
 

Thanks, I see what you mean and I will make the adjustments on the right side of the face. Love how obvious it becomes when another set of eyes "scans" the drawing! Also, I did not understand that the light in the pupil is a "reflective suggestion of something the viewer cannot see". Today's revelation! I will make that adjustment also.

As far as the hair, do you mean that I should block in the form as defined by light and tonal range and then go back and take out highlights with a kneaded eraser to suggest hair? My approach was to execute a build up of "hairs" and then use kneaded erasure where necessary. But obviously -- please excuse my naivete -- I have yet to take a class in portraiture (starts next week, yeah!).

I have been living in an environment devoid of fellow artists, and only recently began a semi-formal education. So I am a hungry student. Hungry, hungry, hungry!

Your remarks and suggestions are taken seriously.

Lighting is your friend in this photo, and I would not be afraid to keep the contrast between the light and shadow strong. If you do not, the neck will look flabby. The few lines naturally occuring in his neck are quite alright. But the bland flab look will definitely not flatter. Keep the lines, the contrast, lose the bland and the flab.

I was pleasantly suprised to see your post, Lon. You have been absent from the forum for awhile (I always look for your comments on this site!). Thank you, I will go home and look at the portrait one more time. I thought it was finally finished (I have worked on it since I posted the last image) but the neck, particularly the underchin area was still bothering me. Perhaps it is a contrast thing I need to adjust.

Nice to see you back, Lon. And congratulations with the PBS show, I will anxiously look for it here in Cleveland, Ohio. Please keep us posted.
Pat

(Well, its OPB - maybe PBS.) Thank you, Patricia!

Finished, with some minor adjustments to shadow under nose.

Sorry, file is too big even though it say 405 x 304??

As long as 405 isn't the width, that shouldn't be the problem. Double-check the image size, and then just to jiggle spark plug wires a little, resave your file, making sure to save it in one of the permitted formats (even if you already did that). Let me know if that doesn't work.