Line in Portrait
Lesson One
Key Concept Line and portraits

Line can be very emotive.

It directs us. It shows a history and it defines shapes and as we know, shapes can be emotive. it builds forms by using contour line and marking techniques such as hatching and cross hatching. When used as a continuous line it is a way of thinking and examining subject matter, in our case here the face.

Objectives SW
a) explore fast continuous line
b) emotive quick sketch portraits
c) work within a theme based piece

Procedure 1
a) Intro, demo
*exercise, related to last project, draw flowers using a continuous line, maybe a still life.
b) Set theme
c) Collect photos
d) Grid? structure? composition?
e) Draw, continuous line portraits in each grid space.
correct as needed with white

Procedure 2
a) Make a portrait in the style of one of the following.Giacometti, Deibenkorn, Avery (see Gallery)
b)Intro demo looking
c) Examine Giacomettis portraits in terms of elements, design, and mood (temperature)

What is it about the artist you chose? How should they be portrayed? realistically, as a metaphor, symbol, or by something representative of the artists? i.e.. cowboy, cowboy boots.
Avery worked mainly in shape. How is his work emotive? How is he related to Matisse?
Deibenkorn's work touches the psychic part of our emotions. How would you do this in your work? How could his work be related top Matisse and Edward Hopper
What makes Diebenkorn's work surreal?
Describe figure and ground relationships in the work of Avery, Giacometti and Deibenkorn.
Giacometti's work is a continuous decision making, working and reworking an area or areas. Background though left seemingly bare is the anchor to the portrait. What does this mean?What is the effect of this almost nervous mark making of Giacometti?

Materials Pencil, tempra, pastel, charcoal, ink, tempra

Artists Alberto Giacometti, Richard Diebenkorn, Milton Avery, Matisse

Richard Diebenkorn

Two types of portraits.
go to to research the other artists and portraits.
Lesson Two
The Interpretation of the Portrait

Key concept- interpretation of three styles of portraiture

Objective- S.w.
a) Interpretation of portraiture
b) Questions
What is a portrait?
What is its use or purpose?
What is the subject matter of the portrait?

a) Chose a photograph from my collection or I can choose one.
b) Sketch in a single, continuous line a portrait of the photo, correcting Proportions etc.
c) Draw the portrait in one of the three styles listed below.
d) Size to be used 12x24 white or colored paper for each
e) Materials or media remains open to choice of student and could change per style of artist represented

*Thumbnails should be presented to the teacher before starting each portrait.
*A statement should follow the portrait describing the artists process for working.
* Time limit three classes.

Styles we studied in class
Richard Diebenkorn
Henri Matisse
Milton Avery
Georgio Giacometti
William Kentridge

All Artists can be found in GalleryMac

Quiz ?
What is a Portrait?
What is a self portrait?
When a portrait has a recognizable background, how to you decide whether or not it is part of the portrait?
In Avery's work, do you think he is doing portraits or just using the figure as a prop or object?
If Avery's work are portraits, what might he be saying about his subjects since there is no recognizable features as we know them?
In Giacometti's portraiture, why the line? is he talking about himself, his style or mode of working or the sitter?
What does it say about Giacometti's back grounds to these portraits?
Richard Diebenkorn was greatly influenced by Matisse. Will you list some of the influences that you see.
When one artist is influenced by another, when does it become copying? how is this over come?
Why is there no facial features in the work of Deibenkoren or Avery? Can these still be portraits.
If one studies the paintings of Edward Hopper, they are also no facial features or they may be generic. Are they they still portraits?