*Created by Kay Wagner, Ph.D., Edina Public Schools, Edina, Minnesota Drawn images may be used freely, fair use laws apply to all other images

*Created by Kay Wagner, Ph.D., Edina Public Schools, Edina, MinnesotaDrawn images may be used freely, fair use laws apply to all other images

Self-Portrait

•When you make a picture of yourself

Self-Portraitca. 1825

Sarah Goodridge

watercolor on ivory3 1/8 x 2 5/8 in. (8.0 x 6.7 cm.)

Smithsonian American Art Museum

Self-portraitMary Cassatt

Self-portraitAuguste Renoir

Self-portraitGrant Wood

Grant Wood

Self-portraitDiego Rivera

Self-Portrait(It's Me O Lord) 1934 Rockwell Kent lithograph on paper image: 13 7/16 x 9 3/4 in. (34.0 x 24.7 cm.) Smithsonian American Art Museum Museum purchase 1972.34

Self-Portrait 1919Claude Buck oil on wood 13 1/2 x 14 1/8 in. (34.5 x 35.7 cm.) Smithsonian American Art Museum Gift of Mrs. Claude Buck 1983.46.7

Self-Portrait (1918)Morris Kantor

oil on linen 22 1/8 x 18 in. (56.1 x 45.7 cm.) Smithsonian American Art Museum

Self-Portrait 1929 Malvina Hoffman limestone 25 7/8 x 17 1/8 x 13 in. (65.4 x 43.5 x 33.1 cm.) Smithsonian American Art Museum Gift of the Charles Lamson Hoffman Family 1985.73.3

Feeling Pushed1977

Robert Arnesonchalk, pencil, and crayon on paper sheet: 41

7/16 x 29 13/16 in. (105.2 x 75.6 cm.) Smithsonian American Art Museum

Family1986

Romare Beardencollage on wood

28 x 20 in. Smithsonian American Art Museum

Self-Portrait Andy Warhol 1928-19871967

Self Portrait Age of 34

1640Rembrandt1606 - 1669

Rembrandt’s LastSelf Portrait

Age of 631669

Self-Portrait

•When you make a picture of yourself

Claude Buck Self-Portrait

oil on wood 13 1/2 x 14 1/8 in.


This artist chose to draw himself without much expression. It is difficult to tell what he is feeling. Does he look a little sad or just thoughtful?


oil on wood 13 1/2 x 14 1/8 in.


The head is an egg-shape: an oval that is narrower at the bottom


oil on wood 13 1/2 x 14 1/8 in.


How guide-lines help us place the features of the face

Divide the headwith lightlines

The eye line ishalf way betweenthe top of the headand the chin.

The nose line is almost half way from the eyes to the chin

These lines arecalled guide lines.They help us put the facial features in thecorrect places on the face.Draw them very lightly.

The center line dividesthe head in halffrom side-to-side

The mouth lineis almost half the way from the nose line to the chin


oil on wood 13 1/2 x 14 1/8 in.


The eyes are one eye apart


oil on wood 13 1/2 x 14 1/8 in.


The eyes shaped like footballs.


oil on wood 13 1/2 x 14 1/8 in.


The irises are round circles that touch the top and the bottom of the eye.

Draw the eyes on the eye line

Draw the top of the eyesas a curve that starts onthe line and ends onthe line

Draw the bottom of the eyesas a curve that starts where the top curve starts andends where the top curve ends

The eyes should beone eye apart

The iris is the colored partof the eye. It should be drawnas a perfect circle that touchesboth the top and the bottom of the eye

Adjust the Irises

The pupil is asmall circle inthe center of theiris

The irises can be drawn to one side or the other

Adjust the

Eyelids


oil on wood 13 1/2 x 14 1/8 in.


The nose is about as wide as the space between the eyes.


oil on wood 13 1/2 x 14 1/8 in.


The end of the nose is a U shape. The nostril cover is like a C.

Draw the guide lines down from the inside of the eyes

The end of the nose should be as wide or wider than the space between the eyes

Draw the end of the nose on the nose line

The tip of the nose is a Ushape about the size of the iris.

The nostril coversare C shapes aboutthe same size as thetip of the nose


oil on wood 13 1/2 x 14 1/8 in.


The bridge of the nose is drawn up between the eyes and through the eye brows, starting at the end of the C shapes


oil on wood 13 1/2 x 14 1/8 in.


Another way to draw the bridge of the nose is to start it at the tip

Draw the bridge of the nose

The bridge of the nosegoes from near the nostrilcover, past the eye.

The bridge line does not touch the eye, but go past it.

Another way to draw the bridge lines

The bridge of the nose canbe drawn from near the endup past the eye.

Compare the two ways of drawing the bridge


oil on wood 13 1/2 x 14 1/8 in.


The mouth is no wider than the space between the pupils of the eyes.

Draw the mouth on the mouth line

The center line of the mouthstarts with a slight dip belowthe line then curves slightlyabove it, ending on the line.

Draw the guide linesdown from the center of each eye.

Erase the straight mouth line


oil on wood 13 1/2 x 14 1/8 in.


The mouth is drawn on the mouth line. The upper lip is above and the lower lip is below the line

Draw the lips the same way whether the mouth is open or

closed

The upper lipdips in the centerthen curves down

to the ends of the line.

The lower lip

The lower lip is fullerthan the upper lip and

curves up to the ends ofthe mouth line.

Frans Hals Young Man and Woman

in an Inn("Yonker Ramp and His

Sweetheart") 1623 (Dutch) Oil on canvas

41 1/2 x 31 1/4 in. Metropolitan Museum

of Art, New York

You can draw the face with a smile

Rockwell Kent Self-Portrait (It's Me O

Lord) 1934

lithograph on paper 13 7/16 x 9 3/4 in.


Or you can draw the face with a frown

To make a smile:

Erase the edges of the mouth and redraw the lines upwards

To make a frown:

Erase the edges of the mouth and redraw the lines downwards

Frans Hals Young Man and Woman

in an Inn("Yonker Ramp and His

Sweetheart") 1623 (Dutch) Oil on canvas

41 1/2 x 31 1/4 in. Metropolitan Museum

of Art, New York

You can draw the mouth open

To open a smiling mouth:

Draw a second lower lip

To open a frowning mouth:

Just draw new lower lip

If you have drawn an open mouth you must lower the chin

Only the bottom lip moves when you open your mouth

Lower the chin the same amount as you opened the mouth.

To open a frowning mouth really wide:

Erase the lower lip completely


Draw the opening and redraw the lower lip


Lower the chin and erase the old chin line.

The eye brows can add expression to the face

When you are satisfied with the face erase the guide lines


oil on wood 13 1/2 x 14 1/8 in.


The guide lines for the ears line up with the eyes and the nose

Draw the guide lines for the ears

The ear is drawnfrom between theeye and theeye brow...

…to thenose


oil on wood 13 1/2 x 14 1/8 in.


The ears are C shapes that are a little wider at the top than the bottom

Draw the earsThen erase the guide lines


oil on wood 13 1/2 x 14 1/8 in.


The guide line for the neck lines up with the chin

Draw the guide line for the neck

If the mouth is open draw the line from the original chin


oil on wood 13 1/2 x 14 1/8 in.


The neck is two straight lines that start half way between the ears and the chin


oil on wood 13 1/2 x 14 1/8 in.


It curves a little bit below the line


oil on wood 13 1/2 x 14 1/8 in.


The shoulder line is straight but slanted down slightly

Draw the neck and shoulders

Draw neck lines straight and vertical

Like thisNot like thisOr thisLike this


Draw the small curves below the line


Draw the straight shoulder lines

Like thisNot like thisOr thisOr thisLike this


oil on wood 13 1/2 x 14 1/8 in.


The neck line is a simple curve


Draw the neck line

Erase the guide line


oil on wood 13 1/2 x 14 1/8 in.


There are two hairlines you must draw: The inside hairline and the outside hairline

Now you are ready to draw the hair

First the inside hairline

The inside hair lineis drawn from wherethe ears start ...

You can draw this line showing bangs ...

Now you are ready to draw the hair

There are two hair lines

The outside hair lineis drawn fromjust above thetop of the headdown to theend of the hair.

It can beshort or long


oil on wood 13 1/2 x 14 1/8 in.


Once you have drawn the hairlines, you erase the head line


oil on wood 13 1/2 x 14 1/8 in.


Once you have drawn the hairlines, you erase the head line

Draw the two hair lines that you want for your figure

When the hair linesare the way youwant them erasethe top of thehead line.


oil on wood 13 1/2 x 14 1/8 in.


Add texture lines in the hair

You should add texture lines


oil on wood 13 1/2 x 14 1/8 in.


Draw lines that show wrinkles or the edges of shadows

This is how Claude Buck’s painting might

look as a drawing. But no extra lines

to add expression

This is how Claude Buck’s

drawing looks with expressive

lines.

Lines you can add to increase expressiveness

Lines you can add to

increase expressiveness

Lines you can add to

increase expressiveness

Notice how the shading makes

the drawing look more

realistic, like a photograph.

Center the drawing on the gray paper.

The bottom border should be larger than the top.

Turn drawing over to the back.

Place a drop of glue in each corner of the drawing.

Turn drawing over and press it in place for the count of 30.

Glue the label in the center of the bottom. Use only one drop of glue in each corner

Student Self Assessment

Shaded Self-Portrait

In this unit, students discussed how artists have used the human face in theirartwork to express the artists’ feelings and ideas. Portraiture is used to both show how aperson looks and express ideas about that person’s personality. Students saw how thehuman face is one of the most compelling images they encounter in their daily lives.Examining portraits by a number of artists, including Picasso, Käthe Kollwitz, JudithLeyster, Da Vinci, Rembrandt, Dubuffet and Frida Kahlo, they saw how artists have usedand varied facial proportion to create both realistic and expressive faces. Students notedhow artists have used portraits to express important ideas about such things as love, acountry’s culture, or personal identity.

Students worked about half of life size, and used a mirror to concentrate on theirbasic feature shapes and proportions. They began with a careful pencil sketch, thenadded shading to create the illusion of three-dimensional form. They used penciltechniques of varying pressure and line width. They also attempted to make their self-portrait more three-dimensional using shading techniques. They learned some techniquesusing an eraser to bring out highlights.

The following are questions that can be used to help you discuss your child'sartwork:

What expression were you trying to draw?What did you do to achieve the expression?Can you point out where you used local (realistic) or color? Why?How could you change the drawing to make it more expressive?What part of your drawing looks most like you?

Student Self Assessment1. Does the drawing resemble you? Yes Somewhat No2. Were the features drawn realistically? Yes Somewhat No3. Is the placement of features or proportion accurate? Yes Somewhat No4. Were most of your first pencil lines light and erasable? Yes Somewhat No5. Is the shading effective? Yes Somewhat No6. Is there highlighting on the cheeks, forehead, & chin? Yes Somewhat No7. Is there shading at all the original pencil lines? Yes Somewhat No8. Is the artwork clean, clear and free of stray marks? Yes Somewhat No9. What is one of the best things about your drawing?

10. What area of your drawing could use improvement?

Description of the UnitDiscussion

questions for you and your parents or guardians

Student Self-

Assessment















Grant Wood








Grant Wood

























































Art Project title: Expressive Face

In this unit, students discussed how the human face is one of the most compellingimages they encounter in their daily lives. Examining portraits by a number of artists,including Picasso, Käthe Kollwitz, Paul Klee, Da Vinci, Rembrandt, and Frida Kahlo,they saw how artists have used and varied facial proportion to create portraits that areboth realistic and expressive faces. Students noted how artists have used portraits toexpress important ideas about love, childhood, and personal identity.

Students face drawings were done approximately life size, concentrating on thebasic feature shapes; they observed how people’s features change with their expressions.To create a bold image and avoid the distraction of pencil erasures, students traced thefinal drawing in ink on the back of their pencil drawing. This also let them feel free tomake changes in their drawings without worry of smudges or stray marks.

Students then used a line technique called hatching to create shadow, shading, andemphasis to make their drawing appear three-dimensional and even more expressive.


What expression were you trying to draw?What did you do to achieve the expression?Why are some of the lines thicker than other lines?How would you change the drawing to make it more expressive?What do you think is the best part of your drawing?


1. My drawing clearly shows expression or feelings. Yes Somewhat No

2. I drew the face realistically. Yes Somewhat No

3. I used exaggeration to emphasis the expression. Yes Somewhat No

4. I used gimmicks that distract from the expression. Yes Somewhat No

5. My placement of features or proportion is accurate. Yes Somewhat No

6. I varied line width for shadow and/or emphasis. Yes Somewhat No

7. I used hatching to create shadow and/or emphasis. Yes Somewhat No

8. I used clear bold black lines with no stray marks. Yes Somewhat No

9. I mounted my work carefully. Yes Somewhat No

10. This drawing represents my best effort to do quality work. Yes Somewhat No

Turn both sheets to the back


















Apply one drop of glue to each corner of the assessment sheet

Lay the assessment sheet face up on the black paper



































Hold it down for silent count of 30

Hand in your artwork, as directed.

Documents

*Created by Kay Wagner, Ph.D., Edina Public Schools, Edina, Minnesota Drawn images may be used freely, fair use laws apply to all other images