Placed and surrounded accurately, the centre line
can give drawings a sense of weight and volume.
Life drawing exercises
The centre line
T
he centre line,
although not
visible as an actual
line, is where the
longitudinal centre front and
centre back of the surface of the
body can be discerned. It is very
useful in lifedrawing as a key
point of reference.
Here, we look at the centre
line for the head. Running from
the centre of the hairline on
the forehead down to the chin
(excluding the nose), the key
points to look for are:
Othe centre point between the
eyebrows;
Othe centre of the lip;
Othe centre of the fullest part
of the chin.
This centre line, accurately
placed, will describe: the
relationship of the model to the
artist (where you are standing/
sitting); the axis of the head
(inclination or tilt); and the
character of major areas of the
face in terms of their relative
projection (eg jutting, or
receding, chin, brow and so on).
do the same to place this centre
point in relation to the left and
right of the head. Then draw a
light vertical line, and check it.
Where the two points intersect
is a good starting mark for the
centre line, because the head is
usually widest at this point.
As before, an initial statement
of the top and bottom centreline
points will establish the tilt and
character of the head, so draw
a light line directly down from
the eyebrow point to the centre
of the chin.
Then, after drawing the
centre top lip point, the nose
can be projected from this
basic framework by checkingthe relative angles and lengths
between brow and chin.
Then you can, with
confidence, construct the rest of
the features. However, be careful
not to confuse the edge of the
nose, at the bridge, with the
centre eyebrow point.
After drawing several full
body-and-head poses with
different twists and tilts, you
will be able to choose whether
to start with the centre line and
‘clothe’ it, working outwards,
or place it in a light framework,
accurately apportioning the
body and head on either side.
One aspect is assured: your
drawings will never look flat.OUsing circling or rhythm and
curve, lightly draw the head
shape, and check the ratio of
width to height, seeing where
the highest and widest ‘star
points’ occur.
OPosition the neck and
shoulders, looking carefully at
the relationship of the base of
the neck to the chin. The head
doesn’t come out from the top
plane of the shoulders, like
a lollipop, because the base
of the neck column is angled
forward, high at the back (neck
vertebrae) and lower at the
front (suprasternal notch). Also
take note of the surprising
difference in size between the
near and far shoulders to the
centre neck.
First, assess the level of the
centre eyebrow point, gauging
by eye, not brain, the ratio
between this point and both the
top and bottom of the head (this
point is lower than one thinks).
Now draw a light line for the
centre eyebrow line and check
it, adjusting if necessary. ThenEXERCISE 1
OPOSE: Model sitting with
head erect
OTIME: 20min
OARTISTS: Facing the front
plane of the model’s head,
but not the centre front or
profileThis extract is taken from Life Drawing:
A journey to self-expression by Bridget
Woods, published by The Crowood
Press, £16.99. Learn about achieving
accurate proportions and using line and
tone to give life. http://www.crowood.comFor more...