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Guidelines for Pencil Portrait Sketching - General Muscle Structure of the Muzzle by Roberto Bell

Capturing the faint, fleeting gestures of human emotions in portrait sketching is a test for any draftsperson. There are essentially six key emotions: disgust, surprise, fear, sadness, anger and happiness.

The gestures of these key emotions are instinctual, the muscle interactions and movements are subconscious. Generally, the facial muscles are delicate, finely in step and easily seen because they lie just under the skin.

The facial muscles not only convey moods and gestures they also show sympathetic characteristics. For instance, when we are threading a needle we usually pucker our lips to "help" the thread through the eye.

All facial gestures involve the muscles and other regions of the mouth. Therefore, to understand the facial gestures we must first understand the mouth which is more than just the red lips.

The mouth region reaches from the bottom of the nose to the Mentolabial Sulcus, i.e., the sulk-line of the chin. The mouth is a convex form and wraps around the muzzle of the face.

Drawing the mouth should always begin with the drawing of the Interstice, i.e., the horizontal line where the upper and lower lips meet. The lips wrap around the convex projection of the dental curve and the interstice roughly corresponds to the middle part of the frontal, upper teeth.

Note that the Nodes in the corners of the mouth are lower than the middle of the interstice, except in a smile when the facial muscles pull up the nodes.

The lips, or Labia, are put together with mucous membrane whose redness is the result of blood capillaries lying just under the skin.

The upper lip has three forms. In the middle is the Tubercle which is non-muscular and contributes to the 'V' form of the top where it comes together with the bottom of the Philtrum. The Philtrum is the stretched, vertical furrow that extends from the bottom of the nose to the tubercle of the top.

The philtrum, which means "love drop", is surrounded by ridges on each side. Practically every beginning artist overextends the philtrum, thus placing the mouth too low.

The other two parts of the upper lip are two, horizontal stretched forms. The muscles here, however, are the observable ridges of the middle vertical fibers of the Orbicularis Oris whose movement results in the pursing up of the lips. The many facial muscles attaching to the nodes of the mouth do the pulling and pushing.

The upper lip is flatter than the bottom lip. It is a downward tilting plane and generally appears darker than the bottom lip. There is a small up-plane on the vermillion border of the top that quite often catches a soft light. For most people, the upper lip tucks into the nodes.

The bottom lip generally stops a bit short of the nodes. The bottom lip is heavier and fuller. It is comprised of two stretched forms that give it a more squared-off look than the upper lip.

A little below the vermilion border of the bottom lip is a raised edge that develops laterally and is more noticeable at the nodes.

The vermilion border of the bottom lip should not be drawn with a hard line, it has to be suggested more than drawn. Or else it will look like lipstick.

The bottom lip is an up-plane and will often catch the light. Like the upper lip, the ridges of the middle vertical fibers of the orbicularis oris form the texture of the bottom lip.

The bottom of the mouth region is at the mentolabial. Forming at the bottom edge of the lower lip's two stretched forms are two columnar tubes that radiate diagonally downward. These are the Pillars of the Mouth. This is a down plane and thus will lie into shadow.

With this we end the complete description of the things that make the mouth and ultimately the smile.

Download my brand new Free Pencil Portrait Sketching Course here: Pencil Portrait Sketching Course. Remi Engels is a practicing pencil portrait artist and oil painter and skilled sketching teacher. See his work at Pencil Portraits by Remi: http://www.remipencilportraits.com Visit Guidelines for Pencil Portrait Sketching - General Anatomy of the Muzzle.

Article Source: http://www.earticlesonline.com/Article/Guidelines-for-Pencil-Portrait-Sketching---General-Muscle-Structure-of-the-Muzzle/480886

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This entry was posted on Wednesday, October 7th, 2009 at 3:43 pm and is filed under Medical, Mobility and Special Needs. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.