In this commentary we assume that you draw directly from life or from a appropriate photograph. In other words, we assume that you do not use the so-called grid technique. This technique relies on a grid drawn both on the photograph of your model as well as your drawing paper.

If this is so, the first thing you will do is to create a line-drawing. And the very first part of your line-drawing will consist of drawing the so-called arabesque.

In pencil portrait drawing, the arabesque is defined as the entire positive form of your model’s skull. In other words the arabesque is the outer contour of the skull.

The arabesque includes the proportions, the form, and the symmetry of the skull. This means that the arabesque communicates pretty much an overall likeness of your model and often much expressive content.

In trying to realize the arabesque we confront our first test as a draftsperson. That is, the test of “seeing the reality”. Indeed, when we observe an object a complex mental process is started which in part falls short of the level of accuracy necessary to create an suitable portrait.

The mind, for good reasons (one is to maintain our sanity), immediately replace the very complex subject with the a symbol it has stored since childhood. For instance, we all know how a child draws a house. It really is more like a symbol of a house. But this is what the mind tends to bring up and often even grown-ups draw a house like they did as a child.

Plainly, it is these symbolic preconceptions (a left brain occurrence) that are the enemy of the draftsperson. You must train yourself to ignore those icons and really see what the reality of, for example, a house is.

Generally, learning to draw involves the reprogramming of the mind’s eye. To this end, there is a skill-set that has been developed over the centuries since the Renaissance.

Applying this new found skill to the arabesque is particularly essential. “Striking” the arabesque is probably the most essential element in the production of a good likeness. Once you have this skill down path all the rest will follow comparatively easily.

The first step in drawing a proper arabesque is to force your eyes slightly out-of-focus. This situation is called seeing with a “soft eye”. With a soft eye proportions and form are more easily seen. It also helps you to avoid the invocation of the iconic preconceptions we talked about.

To train your eye to better your powers of seeing you must always draw first and correct second. There is not much to gain from pre-measuring. The habit of pre-measuring of the size of your model’s head will hold you back later.

When drawing the original arabesque at all times use short straight, i.e., architectonic lines. This will impart a sense of the skull’s structure and the form of the underlying tissues and bones. Note that round or curving lines are iconic preconceptions.

Also keep in mind the symmetry of the skull. The term “symmetry” in the context of drawing and painting does not so much refer to the similarity of two parts but more to the beauty that comes from proper proportioning and rhythm.

After drawing the arabesque (without doing any measurements) you can correct the proportions. Take a measure of the largest width (i.e., the width of the arabesque across the brow line) and set it off vertically beginning at the bottom of the chin. The end point of the width as a rule ends up somewhere close to the middle of the hair.

The goal is to determine exactly where that end point is situated. Best is to judge the shorter of the following two lengths: (1) the vertical length from the brow line up to the end point of the measure; (2) the vertical length from the end point of the measure up to the arabesque. The shortest length is likely to be the most correct. Do not forget, the arabesque includes the entirety of the head including the hair.

With practice your eyes will develop this critical skill. Then, once the proportion and form of the arabesque have been found you are prepared to proceed with locating the so-called landmarks.

Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing course here: pencil portrait course.

Remi Engels is a pencil portrait artist and oil painter and practiced drawing teacher. See his work at pencil portraits.

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