Alignment of features

[Morris Darby]

I have an observation...I have seen critiques for portraits that describe the alignnment of nose, mouth, and chin. I have met many people who have crooked features. My grandmother had a pronounced crooked nose and a little sideways mouth. I have never drawn her, but when the time comes it should be a great challenge and just may draw some of the same criticism for the alignment of her features. Her portrait would certainly look as though the artist were not accomplished.

Being of amateur status, do you feel "drawing what you see" applies in all cases or should one "align" (to some extent) features to better soothe the viewers eyes?

(Wait just a minute while I install some new memory chips to receive Steven's reply)

[Lon Haverly]

I prefer not to insult my models by improving their features. I think that is what makes them individual. However, there are ways to draw the features that they would be self consious about in a way that does not accent the problem feature. Lighting, contrast and positioning all come in to play when you are trying to give the model a good pose. I rather think it is best to be as accurate as possible, but without exxagerating the problem feature. Better to error on the side of flattery.

My grandfather who was my teacher was great at portraits from photos, but not from life. I remember one occasion when he was hired to draw at a formal dance party, and I came along as his assistant. (I was about 12 years old.) A beautiful lady sat down for a portrait. My grandfather had a bad way of exxagerating the muscles of the neck, and the bulbs of the nose, which he did on this elegant lady. It was the first, last and only portrait he drew the whole night!

[Chris Saper]

Hi Morris,

I think it greatly depends on whether you are painting a commission or an inventory portrait.

If you are painting a client, I think it is best to just ask...it would be rare for anyone hiring you to be unaware of physical irregularities he or she may have. I can think of a couple of examples...a client who had some facial paralysis and a very 'lazy' eye. I spoke with him and commented that his eyes were not entirely symmetrical..how would he like me to address this? I also had a client with a scar that was impossible not to notice, and likewise spoke privately and directly about how to deal with it.

In my getting to know clients, I now routinely ask them to tell me the two things they like best about their face, and the two things they like least. I find that sometimes my perception about the subject's beauty, and the subject's own aren't always congruous.

On the other hand, if you are painting genre or figurative, or simply sample inventory, not to please a client, then it is up to you, since it is your painting. It is the nature of the human eye to seek symmetry...if you paint a subject, unknown to the viewer, with asymmetrical features, it will invariably be perceived as "wrong".

Chris

ps I must remark also that this kind of client interface is perhaps quite different from the more spontaneous interaction that might characterize some of Lon's clients...and that I do definitey agree with him in this regard.

[Jennifer Geary]

Hi everyone! I had to comment on this topic because I actually have a case where facial differences came into play. The portrait below (sorry for the glare of the flash, btw!) was of a 4 year old who was very severely handicapped. She usually wore glasses, but her mother wanted a watercolor of her without them. Her face has alot of unsymmetrical qualities, but it doesn't matter...it is HANNAH. Her mother loved the painting! Of course, it is a challenge to get the features just right on an unsymmetrical or slightly crooked face, but as long as you stay true to the form, and stick to the real details, that is what matters to me. Unfortunately, Hannah died shortly after I handed over the painting...but her mommy will always have the true to life artwork to remember her baby by.
Anyway, I just wanted to share my experience.