Chapter 12, The Human Head: Egg Shaped and Sunglasses
From my upcoming new edition of The Art Studio Companion
95 Raphael, St. Catherine of Alexandria (detail), 1509. WC.
96 Newberry. Drawing on a real egg, brow is halfway.
In this study, we reduce the head into its most basic shape, that of an egg.
The human head is the most complex and difficult problem for the artist. Any mistake can alter the character of the face's expression, such as a funny bump, an asymmetrical brow, or a misaligned jaw. The detailing of features can also lead to distortions and challenges, especially if things like the brow are not placed well. One of the greatest tools for depicting the head is to literally use an egg shape.
Picasso once said, "When you start with a portrait and search for a pure form, a clear volume, through successive eliminations, you inevitably arrive at the egg. Likewise, starting with the egg and following the same process in reverse, one ends up with the portrait."
97 Raphael. With my markup. Blue axis line.
Aside from Picasso, artists such as Rembrandt, Vermeer, Michelangelo, and Raphael have used egg-shaped heads. It is the simplest form to begin with, as the contours of the cheek, chin, jaw, brow, and back of the head often align perfectly with the egg shape.
Practice
As always, it is crucial to reinforce your understanding through practice. Draw at least five different angles of head either from photos and or paintings. Using the below process.
When working from a live model or a photo of a model, I start by drawing a line from the chin to the top center of the head. Then, I sketch an egg contour from the chin to the top-back of the head, ensuring that each half of the egg is an equal distance.
98 Raphael. With my markup. Blue axis line and red egg shape.
Next, I add a pair of sunglasses to the egg shape, positioning them according to the tilt and turn of the head. The sunglasses frame the eye sockets beautifully, sitting at the bony edges of the cheekbones, brow, and bridge of the nose. The idea is the sunglasses mark the entrance to the “caves” of the eye sockets. Note: the top of the glasses, where they meet the brow, is about halfway on the egg shape, resembling the photo of the egg. This allows room for the top of the skull and the hair.
99 Raphael. With my markup. Blue axis line, red egg shape, and sunglasses.
The only additional feature to the egg-shaped head is the projection of the nose, resembling a ski slope ramp. Finally, I draw a line for the mouth and a small line underneath the bottom lip.
100 Raphael. With my markup. Blue axis line, red egg shape, sunglasses, nose, and lip.
The diagram below gives an excellent resource to the different tilts, turns, and positions of the head and its egg shape.
101 Newberry. Demo of egg shapes of the head in different positions.
The human head presents an exciting challenge for artists, demanding careful attention to detail and a deep understanding of form and expression. By embracing the simplicity of the egg shape as a starting point, you can establish a solid foundation for guiding the complexities of facial features..[1]
[1] If I've been working for a very long time on a painting of a portrait and it starts feeling off, I take some soft vine charcoal and draw an egg shape right onto the painting, from the chin to the top of the head. For sure, there will be one or two places not in alignment with the egg shape, such as the line of the jaw or a cheekbone. As soon as I make that adjustment, the head comes alive.