Learning How to Learn How to Paint (a Portrait)

25 October 2019 • Anna Scherbyna
As you embark on painting the head, don’t aim to paint a portrait right away. This would be very hard and overwhelming, especially for a newcomer. A portrait is a complex and demanding task for an artist. (p. 63)
Drawing the head from plaster models is not an end in itself but only a preparation for life drawing
We warn those who start painting the head one more time of the need to begin with a light touch of a pencil on paper. Sharp black lines to which newcomers often resort prevent them from seeing the mistakes, let alone correcting them. (p. 19)
…The transition to drawing the details has to be a gradual and almost invisible process. (p. 10)
…Anatomical knowledge and ability to use it gain crucial importance. (p. 27) Remember that when thoroughly examining the details, you should maintain a holistic perspective of a model. For parts of the head which are being depicted to represent a single entity, you should know their bone base, and not only know theoretically but also feel it with a pencil while drawing
Prior to painting the head in colour, it’s useful to go through one or a few exercises in a single tone
A newcomer should be curious to analyze how the most influential artists worked and what were their artistic techniques and devices which helped them achieve the highest level of expressiveness. (p. 58)
I caution a learner against an excessively multicoloured palette to which inexperienced artists usually resort. In the beginning, it’s best to include a limited number of colours in their palette. (p. 73)

This work is based on the third volume of a teaching guide ‘School of fine arts’ published in 1960 by the Publishing house of the USSR Academy of Arts:

“This guide aims to chart the path which young artists should follow. Here, they will obtain the basics of professional literacy needed for developing their skills.”

After the Russian Arts Academy was renamed to the USSR Academy of Arts, on August 5, 1947, the government assigned the following task to it: to consistently develop Soviet fine arts in all their forms “by continuously implementing the social realism principles and developing the best progressive traditions of art of the peoples of the USSR, including the Russian realistic school.”

In the 1950-70s, after the artistic education reform, there were many methodological drawing guides issued. They were aimed to assist educators in teaching drawing and painting and help young artists to master their craft. Those guides were created by prominent practicing teachers. Despite the specificity of instructions given in each guide, the principles and methodological basics of a learning process were the same, which implies that the Soviet drawing school is firmly grounded in realism.

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Sources cited:
Rostovtsev N. The history of methods of teaching painting. Russian and Soviet schools of painting, Moscow, Prosveshcheniye, 1982.
School of visual art, in 10 volumes, edited by Manizer M., Moscow, Publishing house of the USSR Academy of Arts, 1960.


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Anna Scherbyna is an artist and craftswoman. She is a member of the Concrete Dates Collective (2015-2017). Works primarily with the medium of painting and drawing and also with video and installation. Lives in Kyiv since 2009.

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