About stipple portraits, hedcut portraits, and ink dot portraits

Hedcut is a term referring to a style of drawing, associated with The Wall Street Journal half-column portrait illustrations. These drawings are traditionally 18 by 31 picas (3" by 5.167"), and use the stipple method of many small dots and the hatching method of small lines to create an image. They are designed to emulate the look of woodcuts from old-style newspapers, and engravings on certificates and currency. The phonetic spelling of "hed" may be based on newspapers' use of the term "hed" for "headline."

The Wall Street Journal adopted the current form of this portraiture in 1979 when freelance artist Kevin Sprouls approached the paper with some ink dot illustrations he'd created. The front page editor felt that the drawings complemented the paper's classical feeling and gave it a sense of stability. Additionally, they are generally more legible than photographs of the same size would be. Sprouls was subsequently hired as a staff illustrator and remained there until 1987. Today, there are six hedcut artists on staff.

Each drawing takes between three and five hours to produce. Women are sometimes more difficult to depict than men, due to their more complicated haircuts, which get cropped for simplicity and to allow them to fit into the same sized frame without reducing the scale of the portrait.

In 2002 the Smithsonian Institution acquired 66 original hedcut drawings and have put them on permanent display in the National Portrait Gallery.

Pointillism is a style of painting in which small distinct dots of colour create the impression of a wide selection of other colors and blending. Aside from color "mixing" phenomena, there is the simpler graphic phenomenon of depicted imagery emerging from disparate points. Historically, Pointillism has been a figurative mode of executing a painting, as opposed to an abstract modality of expression.

The technique relies on the perceptive ability of the eye and mind of the viewer to mix the color spots into a fuller range of tones and is related closely to Divisionism, a more technical variant of the method. It is a style with few serious practitioners and is notably seen in the works of Seurat, Signac and Cross. The term Pointillism was first coined by art critics in the late 1880s to ridicule the works of these artists and is now used without its earlier mocking connotation.

The practice of Pointillism is in sharp contrast to the more common methods of blending pigments on a palette or using the many commercially available premixed colors. Pointillism is analogous to the four-color CMYK printing process used by some color printers and large presses, Cyan (blue), Magenta (red), Yellow and Key (black). Televisions and computer monitors use a pointillist technique to represent images but with Red, Green, and Blue (RGB) colors.