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Edgar Degas, Giulia Bellelli, a study for "Bellelli Family" |
Sculpting the Nose: A Symphony of Curves
You're absolutely right – the nose is rarely a collection of sharp angles. Instead, it's a beautiful interplay of subtle curves and planes. Forget rigid lines in the initial stages; think instead of gentle suggestions and the interplay of light and shadow.
1. Observing the Form: Before even touching your pencil, truly observe your subject's nose. Consider it from different angles if possible. Notice:
- The Overall Shape: Is it long, short, wide, narrow, upturned, or downturned? What is the relationship between the bridge and the tip?
- The Bridge (Dorsum): Is it straight, curved, or slightly angled? How wide or narrow is it? Does it have any distinct features or bumps?
- The Tip (Apex): Is it rounded, pointed, or somewhat flattened? Does it protrude significantly?
- The Nostrils (Nares): What shape are they – round, oval, or more elongated? How visible are they from your viewpoint? What is the shape and thickness of the alae (the fleshy wings of the nose) that surround them?
- The Columella: This is the soft tissue that separates the nostrils. Observe its length and how it connects to the upper lip.
- The Planes: Even though it's curved, the nose has subtle planes that catch the light differently. Identifying these will be crucial for shading later. Think of a simplified, almost geometric breakdown of the major surfaces.
2. The Initial Lay-in: Gentle Suggestions
As you mentioned, start with a light touch. Think of sketching the essence of the nose rather than drawing definitive lines.
- Nostrils as Initial Guides: Begin by lightly indicating the position and general shape of the nostrils. Don't focus on perfect circles or ovals yet. Consider their relationship to each other and to the centre line of the face.
- Mapping the Main Nose Line: This is a crucial step in establishing the nose's overall direction and length. With a very light, almost whisper-thin line, suggest the contour of the bridge and how it flows down to the tip. This line doesn't need to be the final outline, but rather a guidepost. Think of it as the spine of the nose.
- Defining Width: Lightly indicate the width of the nose at its widest point (usually around the alae). Use faint, curved lines to suggest the outer edges of the nose.
- Connecting to the Brow: Consider how the nose originates from the brow ridge. There are often subtle curves or indentations where the forehead transitions into the bridge of the nose. Lightly suggest these connections.
3. Refining the Form:
Now, with your initial guide in place, you can begin to refine the shape.
- Subtle Curves: Gradually build upon your initial lines, introducing the subtle curves that define the nose. Pay close attention to the transitions between the bridge, the tip, and the alae.
- Considering Perspective: Remember that the nose is a three-dimensional object. As it turns away from you, parts of it will become foreshortened, and the visibility of the nostrils will change.
- Negative Space: Pay attention to the negative space around the nose. The shape of the shadow cast by the nose can also provide valuable clues about its form.
4. Preparing for Shading:
The light lines you initially used are intentional. They will act as guides for your shading and can be softened or even disappear as you build up tone. Avoid harsh, dark outlines at this stage, as they can make the nose look flat and unnatural.
Crafting the Mouth: The Seat of Expression
The mouth, as you rightly pointed out, is a focal point that instantly imbues a portrait with character and emotion. Its subtle nuances are key to capturing a likeness.
1. Establishing the Placement and Size:
Before detailing the lips, accurately placing and sizing the mouth concerning the other features (especially the nose and chin) is paramount.
- The Vertical Relationship: Consider the distance between the base of the nose and the upper lip, and the distance between the lower lip and the chin. These proportions vary greatly.
- The Horizontal Relationship: How wide is the mouth concerning the eyes and the overall width of the face? A common guideline (though not always absolute) is that the corners of the mouth align roughly with the pupils of the eyes.
- The Centre Line (Labial Commissure): This is the delicate line where the upper and lower lips meet. It's rarely a perfectly straight line; often, it has subtle curves and dips, especially at the Cupid's bow (the double curve in the upper lip). This line is crucial for establishing the mouth's expression.
2. The Delicate Line of the Labial Commissure:
As you mentioned, begin by lightly sketching this central line. Pay close attention to its:
- Length: How far does it extend horizontally?
- Shape: Is it relatively straight, gently curved upwards (suggesting a smile or neutral expression), or curved downwards (suggesting sadness or seriousness)? Are there any subtle undulations?
- Thickness: This line isn't always a hard, dark line. Often, it's a soft transition where the two lips meet.
3. Defining the Lips: Upper and Lower in Harmony (and Contrast):
You are absolutely correct in emphasising the individuality of the upper lip. It's a feature that varies significantly from person to person.
- The Upper Lip: Observe its:
- Shape: Is it full and rounded, thin and straight, or does it have a distinct Cupid's bow with sharp or soft peaks?
- Projection: Does it protrude more than the lower lip, or vice versa?
- The Philtrum: This is the vertical groove between the base of the nose and the upper lip. Note its depth and the shape of the ridges on either side.
- The Lower Lip: Observe its:
- Shape: Is it fuller in the centre, evenly rounded, or relatively flat?
- Relationship to the Upper Lip: How does it curve about the upper lip? Does it tuck slightly underneath, or do they meet evenly?
- The Vermilion Border: This is the distinct edge of the lip where the lip colour transitions to the skin. Notice its definition and shape.
4. Avoiding Common Pitfalls:
- The "Sausage Lips": Be careful not to draw the lips as two identical, overly defined shapes. Observe the subtle differences in their size, shape, and how they curve.
- Harsh Outlines: Just like with the nose, avoid harsh, dark outlines around the lips in the initial stages. Focus on the soft transitions and the interplay of light and shadow to define their edges.
- Forgetting Perspective: As the head turns, the shape and visibility of the lips will change. One side of the mouth might appear shorter or more compressed.
Moving Forward:
Once you have lightly established the basic shapes of the nose and mouth, the next stage will involve using shading and highlights to give them three-dimensionality and integrate them seamlessly with the rest of the face. Remember that consistent observation is key. Continuously compare your drawing to your subject, making subtle adjustments as you go.
This "middle stage" is where the portrait truly begins to breathe. By carefully observing and delicately rendering the nose and mouth, you are well on your way to capturing not just a likeness, but the very essence of your subject. Keep practising, and you'll find your ability to capture these intricate features growing with each stroke!
