PLACING PEOPLE IN A COMPOSITION
The positioning and size of a person on the picture plane (the physical area covered by the drawing) is of utmost importance to the composition, or the arrangements of elements on your paper. The open or "negative" space around the portrait subject gener ally should be larger than the area occupied by the subject, providing a sort of personal space surrounding them. Whether you are drawing only the face, a head-and-shoulders portrait, or a complete figure, thoughtful positioning will establish a pleasing composition with proper balance. Practice drawing thumbnail sketches of people to study the importance of size and positioning.
BASICS OF PORTRAITURE
Correct placement on the picture plane is key to a good portrait, and the eyes of the subject are the key to placement. The eyes catch the viewer's attention first, so they should not be placed on either the horizontal or vertical centerline of the picture plane; preferably, the eyes should be placed above the centerline. Avoid drawing too near the sides, top, or bottom of the picture plane, as this gives an uneasy feeling of imbalance.
Too far right
Too low 
Good placement
... Placement of a Portrait The smaller thumbnails here show the girl's head placed too far to the side and too low in the picture plane, suggesting that she might "slide off' the page. The larger sketch shows the face at a comfortable and balanced horizontal and vertical position, which allows room to add an additional element of interest to enhance the composition.
<III Repetition of Shapes within the Portrait The delicate features of this young woman are emphasized by the simple, abstract elements in the back ground. The flowing curves fill much of the negative space while accenting the elegance of the woman's hair and features. Sim plicity of form is important in this composition; the portrait highlights only her head and neck. Notice that her eyes meet the eyes of the viewer-a dramatic and compelling feature.
Depicting the Subject's Interest This portrait of a young man includes a back ground that shows his interest in
rocketry. The straight lines in the background contrast the rounded shapes of the human form. Although the background detail is com plex, it visually recedes and serves to balance the man's weight. The focus remains on the man, but we've generated visual interest by adding ele ments to the composition.
Intentionally drawing your subject larger than the image area, as in the example below, can create a unique composition. Even if part of the image is cut off, this kind of close-up creates a dramatic mood
Guiding the Eye The compositions above and to the left illustrate how arm position, eyesight direc tion, and line intersection can guide the eye to a particular point of interest Using these examples, try to design some of your own original compositions.
The positioning and size of a person on the picture plane (the physical area covered by the drawing) is of utmost importance to the composition, or the arrangements of elements on your paper. The open or "negative" space around the portrait subject gener ally should be larger than the area occupied by the subject, providing a sort of personal space surrounding them. Whether you are drawing only the face, a head-and-shoulders portrait, or a complete figure, thoughtful positioning will establish a pleasing composition with proper balance. Practice drawing thumbnail sketches of people to study the importance of size and positioning.
BASICS OF PORTRAITURE
Correct placement on the picture plane is key to a good portrait, and the eyes of the subject are the key to placement. The eyes catch the viewer's attention first, so they should not be placed on either the horizontal or vertical centerline of the picture plane; preferably, the eyes should be placed above the centerline. Avoid drawing too near the sides, top, or bottom of the picture plane, as this gives an uneasy feeling of imbalance.
Too far right
Too low 
Good placement
... Placement of a Portrait The smaller thumbnails here show the girl's head placed too far to the side and too low in the picture plane, suggesting that she might "slide off' the page. The larger sketch shows the face at a comfortable and balanced horizontal and vertical position, which allows room to add an additional element of interest to enhance the composition.
Multiple Subjects If you are drawing several, similarly sized subjects, use the rules of perspective to determine relative size . Draw a vanishing point on a hori zon line and a pair of perspective lines. Receding guidelines extended from the perspective lines will indicate the top of the head and chin of faces throughout the composition. The heads become smaller as they get farther from the viewer.
ADDING ELEMENTS TO PORTRAITS
Many portraits are drawn without backgrounds to avoid dis tracting the viewer from the subject. If you do add background elements to portraits, be sure to control the size, shape, and arrangement of elements surrounding the figure. Additions should express the personality or interests of the subject.
<III Repetition of Shapes within the Portrait The delicate features of this young woman are emphasized by the simple, abstract elements in the back ground. The flowing curves fill much of the negative space while accenting the elegance of the woman's hair and features. Sim plicity of form is important in this composition; the portrait highlights only her head and neck. Notice that her eyes meet the eyes of the viewer-a dramatic and compelling feature. Depicting the Subject's Interest This portrait of a young man includes a back ground that shows his interest in
Intentionally drawing your subject larger than the image area, as in the example below, can create a unique composition. Even if part of the image is cut off, this kind of close-up creates a dramatic mood
You can create a flow or connection between multiple subjects in a composi tion by creatively using circles and ellipses, as shown below.
Curved lines are good composition elements-they can evoke harmony and balance in your work. Try drawing some curved lines around the paper. The empty areas guide you in placing figures around your drawing.
Sharp angles can produce dramatic com positions. Draw a few straight lines in various angles, and make them intersect at certain points. Zigzagging lines also form sharp corners that give the composition an energetic feeling.
Guiding the Eye The compositions above and to the left illustrate how arm position, eyesight direc tion, and line intersection can guide the eye to a particular point of interest Using these examples, try to design some of your own original compositions.
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