Drawing Portfolio

VISUAL Arts
F E MADILL SECONDARY SCHOOL
Art Module: Drawing Portfolio (Portraits)
AVI 4M
Avon
DISTRICT
SCHOOL
BOARD
Maitland
Learni ng fo r a Li fe t i me
Course Code: AVI 4M
Grade 12
Drawing Portfolio: Portraits
Course Code: AVI 4M
THE DRAWING PORTFOLIO

This course is structured around the development of various portfolios. Each unit asks you to create a
number of artworks that successfully demonstrate your mastery of techniques for certain media and your
ability to solve creative problems.
This particular unit deals with the fundamental skill of drawing. All art forms revolve around the artist's ability to visualize and imagine possibilities and drawing is the most immediate way to guide the artist
in the quest to create new imagery and forms.
By the end of this unit you will have a portfolio that shows your ability to work with various drawing
media within the format of portrait drawing. Your portfolio will clearly illustrate your grasp of the structures and conventions of portrait drawing as well as your ability to work creatively within the parameters of
the assignments.
How To Complete This Chapter
You will work through this portfolio unit step by step, reading each section and completing any of the
activities as well as any formative and summative assignments. Be sure you spend the appropriate amount
of time on each of the activities and assignments.
All formative work will be placed in your portfolio within a separate folder of paper to be evaluated for
feedback and assessment of learning skills. Summative work is to be handed in for assessment by the deadline given. Rubrics are provided for evaluation of all summative work.
Good luck with the assignments and remember to ask for help when you encounter problems!
Course Code: AVI 4M
FIRST DRAWING
Drawing portraits from the model can be intimidating and frustrating if you approach it without
some direction, but a basic understanding of the
facial features and how they are positioned will help.
Over the next few classes you will get some specific
direction for the drawing of portraits and a chance to
practice the basic skills necessary to create successful drawings of people; starting with the proportions
of the face. At the end of the week you should have
a completed face-on portrait study to put into your
portfolio for evaluation.
above is a diagram with the basic proportions of the

face, these measurements are only relative and will
vary slightly from face to face
PROPORTIONS OF THE FACE

A. Study the diagram above. Make careful note of the following :
1. Within the shape of the head the eye line falls mid way between the top of the head and the
chin.
2. Perpendicular, (this angle does not change no matter which way the head tilts), to the eye
line is an axis which joins the center of the forehead, the bridge of the nose, the center of the
mouth and the center of the chin.
3. The end of the nose is located less than a half and more than a third of the distance between the eye line and the chin.
4. The center of the mouth is about a third of the way down from the nose to the chin.
5. The width of the space between the eyes is the same as the width of an eye and each is
about one fifth of the distance across the face.
6. The inside corner of the eye lines up with the edges of the nostrils.
7. The center of the eye lines up with the outside corners of the mouth.
8. The tops of the ears are approximately level with the level of the eye line.
9. The bottoms of the ears fall between the nose and the mouth.
10. The neck is as wide as the jaw joining the base of the skull just below the ears.
B. Having made these observations make an accurately proportioned face on drawing
paper of a partner. Once proportions are correct spend time getting accurate shapes of the
various features.
3
Course Code: AVI 4M
ASSIGNMENT
FACE ON PORTRAIT
You now have all the information to create an

accurate, finished portrait drawing of a face on view.
You will use a camera to photograph a friend
or family member from a face on view and reference
your notes on the proportions of the face to create a
fully tone modelled pencil drawing.
At the end of the week you should have an accurate face on portrait.
example of a face on portrait
THE DRAWING PROCESS

This drawing will assess your ability to accurately record the proportions of the face and to
create the illusion of depth. You will be evaluated on knowledge of design and the application of pencil technique.
1. Choose a model for your drawing.
2. Photograph your subject from a face on view. Make sure you use lighting that will emphasize depth and complement the subject. Consult with your teacher about proper lighting.
Take several photographs of your subject experimenting with composition and lighting.
3. Print off a gray scale version of your best photograph.
4. Use your photograph as a guide to help you create a graphite or charcoal drawing of your
model. Remember to check carefully for the correct proportions for each part of the face and
mark them on you paper. Make sure you also consider the overall design of you drawing.
5. Begin with light contour lines to plan out the features of the face once you have all your
measurements for proportion marked.
6. Carefully begin to build up tones. Use oval motions with your pencil to build up tone if
you want a smoother surface quality to your shading. Charcoal can blocked in the shadow
areas and smudged or smeared towards middle tones and highlights.
7. When your drawing is complete hand it in for evaluation.
4
Course Code: AVI 4M
THE PROFILE
Once you have done a study of the face on

portrait to analyse its proportions it becomes necessary to switch to the profile view; for several reasons. First, the face on view is one that has been
taught and memorized with symbols for the facial
features instead of accurate observation since your
early childhood and old habits are hard to break.
Secondly it offers many opportunities to make use
of contour and negative space to capture the characteristics of the model. Study the diagrams below and
work your way through the steps outlined. By the
end of the week you should have a completed faceon portrait study to put into your portfolio for evaluation.
begin with a careful contour drawing after making

observations on angles between nose and forehead
and nose and chin
NOTES ON DRAWING THE PROFILE
A. When drawing in the features keep the following in mind:
1. Have your model sit 4-6 feet away in profile. Begin

by looking for the negative space that surrounds the head
and accurately record that shape on your page. It may help
to bound the form with your hand and a pencil to estimate
the edges of the page.
2. Make observations about angles and
shapes with the help of your pencil, as in the
diagram. Remember that the spaces from the
eyes to the top of the head, and from the eyes
to the chin are roughly equal. It is also very
important to observe that the line of the forehead and the line from nose to mouth to chin
both slope back from the end of the nose, (estimate he angle
as accurately as you can!).
Course Code: AVI 4M
THE PROFILE CONTINUED

EYES:
Observe the eye lid has thickness and the

eyeball is behind the lid. The iris is not round,
but a particular oval shape. The whole shape of
the eye slants back in a curved line from the front of the profile and the
upper eyelashes grow first downward and then sometimes curve upward.
NOSE:
Look for the shape of the space under the

nostril and draw this as accurately as you
can.
MOUTH:
Observe the contours of the edge of the lips and the contour of the
center line of the lips and record the exact curve of both lines.
NECK:
Check the angle of the front of the neck and the point where the back
of the neck joins the skull. Also record accurately the angle and shape of
the collar.
EAR:
Locate the back of the ear at a distance of half the

head, (ie. the amount of space from eye line to top of
head), back from the corner of the eye.
B. Having made these observations make an accurately
proportioned face on drawing of a partner. Once proportions
are correct spend time getting accurate shapes of the various
features. Use a photograph you take of a profile view to create a finished drawing in graphite.
6
Course Code: AVI 4M
ASSIGNMENT
PROFILE PORTRAIT

accurate, finished portrait drawing of a profile view.
or family member from a profile view and reference
At the end of the week you should have an accurate profile portrait.
example of a profile portrait
THE DRAWING PROCESS

2. Photograph your subject from a profile view. Make sure you use lighting that will emphasize depth and complement the subject. Consult with your teacher about proper lighting.
Take several photographs of your subject experimenting with composition and lighting.
Course Code: AVI 4M
THE 3/4 VIEW
The three-quarter view or the position with

the head turned partly to one side is the next portrait
view to study once the profile has been mastered.
This position offers many new challenges for accurate observation since there are some visual perceptions that are in conflict with what you know to be
logical. For example the two sides of the face are
different widths. Study the diagrams below and make
the following observations as you draw. At the end
of the week you should have a completed 3/4 portrait
study to put into your portfolio for evaluation.
as with the profile begin after making accurate

observations
NOTES ON DRAWING THE 3/4 VIEW

A. When drawing in the features keep the following in mind:
1. Position your model about 4-6 feet away again and have them turn their head so that
in your view of the model's head the tip of the nose nearly coincides with the outer contour of the cheek.
2. Begin as in the last drawing by using the negative space to create an accurate outline
of the head, bounding the figure if it helps you.
3. Look for the central axis and sketch it in, at the correct angle. Position the eye line
properly and make sure it is perpendicular to the central axis.
4. Use negative space to get the out side contour of the
nose and the shape of the nostril.
5. Draw the shapes around the eye starting with the
space over the eye, the eye lid, the white part of the eye
and then the shape under the eye, (1-4). Make sure you
don't place the other eye too close to the nose!
6. Drop vertical lines from the center of the eyes to locate the corners of the mouth.
Notice that the far side of the mouth is smaller than the near side.
7. Position the ear by sighting the distance between the corner of the eye and the back
of the ear.
8. Place in the hair line and hair as areas of tone, not individual hairs.
B. Having made these observations make an accurately proportioned face on drawing
of a partner. Once proportions are correct spend time getting accurate shapes of the various features. Use a photograph you take of a profile view to create a finished drawing in
graphite.
8
Course Code: AVI 4M
ASSIGNMENT
3/4 PORTRAIT

accurate, finished portrait drawing of a 3/4 view.
or family member from a profile view and reference
At the end of the week you should have an accurate 3/4 portrait.
example of a 3/4 portrait
THE DRAWING PROCESS

2. Photograph your subject from a 3/4 view. Make sure you use lighting that will emphasize
depth and complement the subject. Consult with your teacher about proper lighting. Take
several photographs of your subject experimenting with composition and lighting.
Course Code: AVI 4M
AVI 4M RUBRIC: First Drawings

LEVEL 1
LEVEL 2
Knowledge and Understanding
Student
LEVEL 3
LEVEL 4
C1.1 extend their understanding of the elements and principles of design, and use terminology related to these elements and principles correctly and appropriately when creating or analysing a variety of art works
the student demonstrates

limited knowledge of the
elements and principles
of design
Thinking
Communication
Application

some knowledge of the
elements and principles
of design

considerable knowledge
of the elements and principles of design

thorough knowledge of
the elements and principles of design
A2.1 apply the elements and principles of design with increasing skill and creativity to produce two- and threedimensional art works that express personal feelings and communicate specific emotions
A3.1 use with increasing skill a wide variety of media, including alternative media, and current technologies to create two- and three dimensional art works for a variety of purposes

limited use of design
skills and basic drawing
techniques for the media
10

some use of design skills
and basic drawing techniques for the media

considerable use of
design skills and basic
drawing techniques for
the media

a thorough use of design
Course Code: AVI 4M
TONE MODELLING IN CONT

Now that you have learned about proportion
and what to look for in the profile, three-quarter, and
face-on views of the portrait it's time to create some
drawings which suggest volume with different tones
and colour. The best way to create volume in drawing is through the use of tone modelling, and one of
the best methods for doing this when drawing from
the model is to use cont. Study the examples given
and follow the instructions. You may choose to use
cont for your preliminary sketches or the final piece
for your creative portrait.
NOTES ON PORTRAITS IN CONT
begin on toned or white paper with the light brown

cont to build up middle tone areas
with the basic form built you should now introduce

a dark brown or black for shadow tones and a white
for areas of highlight
When drawing in the features keep the following in mind:
1. As with the other drawings sit within 4-6 feet of your model. Get a drawing
board, toned paper and brown, black and white cont sticks.
2. Begin with the brown cont stick sketching in the outline of the portrait, (either
profile or three-quarter view), using negative space and phantom sketching techniques.
3. Sketch in the features as you did with your other drawings. Once this is done
begin to hatch, crosshatch and smudge in areas light, middle-tone and dark shadow with the brown cont.
4. Once areas of shadow have been accurately blocked in take the white cont and
hatch, crosshatch and smudge in areas of light.
5. Work back and forth with dark and white cont until your drawing begins to
acquire a feeling of volume. Remember to push back distant areas with the dark
cont and pull out the highlights or prominent areas with the white.
11
Course Code: AVI 4M
TONE MODELLING IN COLOUR

You now have all the information to create accurate, finished portrait drawings from the model.
The next step is to challenge yourself with other
aspects of drawing, such as the use of colour. Colour doesn't just add an extra technical problem but
broadens the expressive possibilities for the artist.
Study the example and follow the instructions below.
You may choose to use chalk or oil pastel for
your preliminary sketches or the final piece for your
creative portrait.
NOTES ON PORTRAITS IN PASTEL
example of pastel on toned paper
When drawing in the features keep the following in mind:
1. The use of colour should not be arbitrary, so before any drawing takes place
you should consider your colour choices and limit your palette.
2. Arrange your model in either a profile or three-quarter pose and begin again
with the outline using a light neutral colour. Continue to sketch in the features as
you did with your other drawings.
3. Once the basics of the portrait have been sketched in begin to build up the body
colour, working from light to dark. Pay attention to patterns of light and shadow
and record them accurately to capture characteristic features.
4. Consider using small amounts of complementary colours in shadow areas to
create richer contrasts and more variety. A monochrome colour scheme is another
option which can create a powerful image. The choice of colour is yours, but always work your colours with a purpose in mind.
12
ASSIGNMENT
CREATIVE COLOUR PORTRAIT
You now have information about how to create

accurate portraits from various points of view, but
that is not the most important aspect of making a successful portrait.
Course Code: AVI 4M
THE CREATIVE PROCESS
The creative process makes use of several steps

used by many creative professionals. This introduction to the general process used by creative individuals emphasizes that artists dont just reproduce
random images but instead communicate ideas.
IMAGINING
This stage involves some brainstorming on

your part to generate a list of possible ideas. Use any
techniques you are comfortable with to go beyond
your first thought to create a larger list of possible
painting ideas. In particular try to think beyond just
an image and generate ideas that you can paint.
For part of your thinking mark you will need to
hand in your list of possible ideas.
PLANNING
For this stage of the project you need to create a

list of all resources and materials that you will need.
Think carefully about how you will get images and
what type of images you will need. You may not
simply reproduce a single image found on the internet the images must have meaning to you.
One of the main purposes of art is to communicate something specific. You need to determine what
you want to communicate and gather what you need
to make that happen. This can include photos you
have taken of your person and/or objects that may be
significant, sketches, writing etc.
You must hand in your resource file for part of
your thinking and knowledge mark.
EXPLORING & PRELIMINARY WORK
At this point you will need to produce at least

one sketch and practice a few techniques that you
think you may need on paper.
Your task in this assignment is to create a
portrait which successfully conveys something about
the character or personality of the person using the
creative process outlined below.
You are required to hand in your sketch and

practice sheets with your final project as part of your
thinking mark and knowledge marks.
13
REVISIONS
Before preceding take this time to rethink your

approach and refine your ideas before starting the
final artwork.
FINAL WORK
With this part of your project you will create the

final piece of art. Bring together all the resources,
sketches and rough work and follow through with
your idea now that you have a clearer understanding
of what it will involve.
This will determine your application mark.
REFLECTING
Most artists are never completely satisfied with

their work. Why? Because they are always eager
to move on to the next piece and communicate their
ideas more clearly. This requires some reflection
on their last work - how they were successful, what
they had difficulty with and how they could improve.
You are required to hand in a short written
statement that details
why.
METHOD OF WORKING
You will use the creative process outlined to

create this portrait and hand in the various aspects of
the assignment including the finished drawing.
Although the basic parameters of the assignment are set you will have choice over many aspects.
You choose who you will draw. You determine how you will indicate their character or
personality. You will choose the layout and you will
have a choice over the type of media and the technique that you use.
CHOICE OF SUBJECT
You will choose a portrait subject that is of

interest to you. Since you are to convey something
about their character or personality it should be
someone that you know well.
Think of ways that will communicate their
personality. Some may subtle, (choice of colour harmony or composition), others may be obvious such
as having them pose objects, ( musical instruments,
sports equipment), that is significant.
1. Where you believe you had success and

2. What you had difficulty with and why.
3. How you would improve
This will determine your communication mark.
student pastel portrait

14
Course Code: AVI 4M
CHOICE OF THEME
You may choose to say more with your portrait

than just something about the individuals character
you may also deal with larger ideas. The portrait
could also have a symbolic meaning, for example it
might have a theme which communicates something
about relationships, loneliness or loyalty.
Course Code: AVI 4M
CHOICE OF TECHNIQUE
You may use cont, chalk pastel or oil pastel for

this assignment. The media you choose should suit
your subject and help communicate something about
the person. The techniques you use will emphasize
this even more.
blending of chalk and oil pastels
BUILDING UP AND DETAIL
COLOUR TECHNIQUES
There are many different ways to create a finished pastel drawing but most involve some sort of
plan to work up layers of colour. You should generally use a gradual approach to adding colour, working from lighter to darker tones as you would for a
watercolour painting.
Finishing highlight tones can still be added at
the end, before the drawing is "fixed" with a spray
coating.
Follow the steps of the creative process for this

assignment using techniques for cont, chalk or oil
pastel and the general style of realism to express
something about the character or personality of the
person.
Start by choosing a theme and subject for your
piece and plan your drawing. Remember a separate
sketch and a resource file before you start the drawing is required and must be handed in for part of your
mark.
The following information will help you with
various approaches to working with cont and pastels.
BLENDING PASTELS
There are many methods of working different

colours together when you work with pastels. With
chalks pastels a blending stick or your fingers are the
ideal way to smear and blend different colours, but
a brush can be used to get some very soft blending
effects. With oil pastels it is better to overlap short
strokes of colour forcing one colour into another to
create the blends.
15
Course Code: AVI 4M
AVI 4M RUBRIC: Final Drawing

LEVEL 1
Student
LEVEL 2
LEVEL 3
Knowledge and Understanding
LEVEL 4
C1.2 explain in detail terminology related to a wide variety of techniques, materials, and tools

limited knowledge of
terminology, materials
and techniques
Thinking

some knowledge of terminology, materials and
techniques

considerable knowledge
of terminology, materials
and techniques

thorough knowledge of
terminology, materials
and techniques
A1.1 use various strategies, individually and/or collaboratively, with increasing skill to generate, explore, and elaborate on original ideas and to develop, reflect on, and revise detailed plans for the creation of art works that address a
variety of creative challenges
A1.2 apply, with increasing fluency and flexibility, the appropriate stages of the creative process to produce two- and
three-dimensional art works using a variety of traditional and contemporary media

limited strategies, to generate ideas and does not
use steps of the creative
process
Communication

some strategies, to generate ideas and makes
limited use of the creative process

multiple strategies, to
generate ideas and makes
considerable use of the
creative process

varied strategies, to
generate ideas and makes
thorough use of the creative process
B1.4 describe in detail and reflect on with increasing insight the qualities of their art works and the works of others,
and evaluate the effectiveness of these works using a wide variety of criteria

limited ability to communicate information
and ideas about their
work
Application

some ability to communicate information and
ideas about their work

considerable ability to
communicate information and ideas about their
work

a high degree of ability
to communicate information and ideas about their
work
A2.1 apply the elements and principles of design with increasing skill and creativity to produce two- and threedimensional art works that express personal feelings and communicate specific emotions
A3.1 use with increasing skill a wide variety of media, including alternative media, and current technologies to create two- and three dimensional art works for a variety of purposes

limited use of design
16

some use of design skills
and basic drawing techniques for the media

considerable use of
design skills and basic
drawing techniques for
the media

a thorough use of design

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VISUAL Arts

F E MADILL SECONDARY SCHOOL

Art Module: Drawing Portfolio (Portraits)

Course Code: AVI 4M