How to draw a plaster head step by step with a pencil. Learn to draw a plaster head

6. Lesson on drawing a plaster head.

Beginners in drawing plaster models and those wishing to seriously engage in head drawing should have a preliminary acquaintance with the rules of educational drawing. Without knowledge and experience, the most hard work will not yield positive results, since its success depends not only on the number of heads drawn, but mainly on the correct understanding and study of nature and methods of depicting it. There is enough material in the lessons above for you to learn within these criteria.

Drawing lessons at an art school New Art Intention Each student is explained that when depicting a head, one should pay attention to its structure, that is, to the combination and nature of the surfaces that form its volume. This is where the professional expression “build your head” comes from.

When learning to draw models, beginners should keep in mind that the human head is one of the complex objects of the image. And therefore, preliminary preparation for drawing the head should be gradual. You became acquainted with the main principles underlying the image of a person earlier, on pencil drawing lessons geometric shapes and still life.

Pencil drawing of plaster models.

Learning to draw heads from plaster models is not an end in itself, but only preparation for drawing living nature.

In this lesson, as in previous lessons, it is necessary to maintain consistency. Moreover, this sequence depends on the tasks assigned to those drawing. First, to master the basic forms, you should learn to draw heads of the most general, monumental nature; These include casts of works of Greek sculpture, for example, Polykleitos's "Doriphoros", "Hera", "Diadumen". By complicating tasks related to the transfer of form and light and shade, you can move on to drawing “Zeus”, “Hercules”, “Laocoon”, “Homer”; To convey a more accurate description, it is useful to draw the heads of “Apollo”, “Hermes”, “Apoxyomenes”.

The next, more complex stage of drawing, which brings the student closer to drawing a living head, can be the Roman sculptural portraits of Lucius Verus, Seneca and others.

As a model for drawing a head in a strong turn and with a bare neck, you can take the heads of the dying Alexander the Great, Laocoon or other Hellenistic sculptures. For example, some of the heads of the relief of the altar of Zeus in Pergamon.

To study individual parts in our school New Art Intention The head of Michelangelo's famous sculpture "David" and individual parts are used - the eye, nose, lips, ear.

Drawing plaster heads is advisable and necessary because in the works of great masters forms taken from reality are found and generalized, and the painter has before him a ready-made characterization of nature. This makes it easier for beginners, allowing them to focus all their attention on building the head. In addition, the immobility of the model and clearly defined chiaroscuro make it easier to solve the problems facing a novice artist.

Setting up and constructing a plaster head in a drawing.

When starting to draw a head, you need, first of all, to take care of its positioning and lighting.

The surfaces that form the head and the nature of its volume are best revealed by an artificial light source illuminating the head from above at an angle of 45 degrees. In the absence of artificial light, the model can be brought closer to the window, darkening its lower part, and thus obtain overhead light. Too dark shadows on the model’s head should be softened by placing white paper or drapery nearby, which will give the necessary reflexes.

During lessons, depending on the tasks, the light source can be moved, illuminating the model from different sides and distances.

The background for the plaster head must be darker than its illuminated parts and lighter than its parts in the shadow. For a brightly lit head, a smooth gray background is best: near its light surfaces it will appear darker, and near dark places it will appear lighter. This optical law of contrast plays a large role in the transmission of shape in space.

For the first drawings, it is customary to place the head at such a height that the eye level of beginning artists is in line with the model’s eyes.

One of the main conditions of work is to maintain, during the drawing process, the position of the nature and a constant point of view on it. Therefore, make sure that the point of view or the horizon line does not change due to the movement of the head or torso of the person drawing.

You should not sit too close or too far from the model. The best distance is equal to triple the vertical size of the model. This distance will allow you to follow the overall construction and clearly see the details.

When starting to draw a plaster head, you need to keep in mind that it is depicted conventionally without a torso, it does not have those external support points with the help of which objects directly located on a plane, for example, on a table or stand, are usually built. A stool standing on the floor or a vase on a table is drawn from the lower base, that is, from the outer support points on the plane.

The head, depicted in space, by itself, not in contact with any surface, requires a special construction technique - the use of its own internal support points. These internal support points make it possible to build the head in any rotation and tilt.

Having determined the ratio of the height and width of the model, you should indicate its general oval and the position of the neck, then outline the main volume of the head, separating the front surface of the head from the surfaces going to the back of the head. Using this total volume of the head, it is possible to more accurately determine the position and proportions of individual parts (Fig. 2).

When outlining the main parts of the face: the location of the eyes, forehead, nose, mouth, chin, compare their sizes in relation not only to each other, but also to the entire shape of the head. Otherwise, even if the correct proportions of individual parts are found, the overall shape of the head may be incorrect. With each newly introduced detail, the number of compared values increases, so it is very important that the original proportions of large forms are not violated. Inaccuracies in basic proportions will lead to countless errors that will force the draftsman to redo the drawing again.

So, for example, if you reduce the lower half of the head in relation to the upper, then it will be impossible to correctly place the corresponding parts on it; it is impossible to determine the distance between the nose, lips, chin, and establish their proportions.

The bridge of the nose, located in the center of all forms, is the most stable point in relation to which the places for the orbital sockets, the anterior and lateral surfaces of the nose, and the brow ridges are determined.

The shape of the head is limited to straight and curved surfaces. Contracting perspectively and touching each other, they are the volumetric basis of the drawing, without which any head, even a perfectly shaded one, will appear plump or flat, despite the correct light-and-shadow relationships. The task of the painter is to find these surfaces, each of which occupies only its own position. Determining them in kind and then reproducing them on paper is the construction of volume on the plane of the sheet.

When identifying the main surfaces, one should not be afraid of some, at first, simplicity and harshness in their interpretation. When learning to draw, understanding the correct volume of the head, the nature of its basic shape, the ability to see the interconnection of all its parts is incomparably more important than premature drawing out of small details - eyebrows, pupils, nostrils, which beginners are so prone to drawing. It must be remembered that in the volumetric construction of the head one must follow the same path as the sculptor, who does not have the opportunity to begin his work either with a contour or with details, but begins without fail with large surfaces that form a given volume. The totality of these surfaces, even in its extremely simplified form, already represents a real three-dimensionality, which is the basis for the further development of parts. These surfaces and their relative positions are convincingly shown in the drawings of the heads of Apollo made by V.E. Savinsky (Fig. 4 and Fig. 5). The entire volume of the head is sculpted with sharp, defined planes, its front and side surfaces are shown, the oval shapes of the eyes are firmly inserted into the sockets.

In Savinsky’s drawings one can observe the ratio of the sizes of the nearest lateral surfaces of the head to the lateral ones, which are more perspectively reduced. The same can be seen in the relationship between the lateral surfaces of the nose, forehead, and the location of the eyes.

When you outline the surface of the form, introduce light shadows with a pencil, leaving blank paper for the light areas and covering the shadows with a stroke. This will give the drawing its original three-dimensional expression.

The next stage of drawing the head is to convey its plastic form. To do this, you need to trace the transition from one surface to another, and it can be either gradual or abrupt. In Fig. 5 you can see the border separating the front, illuminated surface of the head from the side, darkened surfaces, as well as sharper transitions from shadow to light on the prominent cheekbones and relatively soft ones in the lower, rounded part of the face.

When approaching the outer edges of the head drawing, pay particular attention to the contracting surfaces, the correct perspective and tonal construction of which is crucial in conveying the volume of the head.

In order not to divide the drawing of the head into separate artificial stages and to maintain a continuous sequence in solving problems that arise in the process of work, the transition to drawing details with a pencil should be gradual and almost imperceptible. Specifying, for example, the generalized initial shape of the nose, observing it in detail, the drawer must note and show in the drawing that its four surfaces, different in tone and character, are the location of smaller forms - the wings of the nose, nostrils, tip of the nose - very diverse in shape: round, blunt, sharp.

Examining the surface of the forehead, the drawer must notice in kind and show in the drawing that the lower part of the forehead is molded with five different tone surfaces: the middle (frontal), two in contact with it and two coming from the latter, the temporal or lateral surfaces on which the ears are located. shells (Fig. 3).

It is also necessary to show in the figure that the intended pentagonal diagram of the frontal part of the face at the top transforms into the oval shape of the frontal bones.

The same gradual refinement of the initially outlined forms and filling them with subordinate forms should also take place in the drawing of all parts: eyes, lips, chin. The details entered into the initial form, in their totality, are, as it were, a verification of it and can be further mutually refined.

For example, the lateral surface of the nose determines the location of its wing, and the detailed wings of the nose can amend the construction of its entire surface. It must be remembered that all paired shapes of the head should be outlined and drawn at the same time: this makes it easier to determine the degree of their prospective reduction in a given rotation.

The execution of the drawing should not be sharply divided into drawing the outline and subsequent shading. When drawing with lines, from the very beginning remember the shape that they represent, outline the surfaces that form the volume with light chiaroscuro, leaving blank paper for the illuminated areas and covering the shadows with a monochromatic shading. Then, giving the shadow the proper depth, carefully introduce reflexes into it, and halftones and highlights into the area of light. By endlessly comparing and subordinating their tonal relationships, achieve the transmission of the illuminated form.

In order not to overshadow the drawing (which very often happens when learning to draw for beginners), you need to find the maximum strength of the shadow on the plaster, in relation to which you can maintain the overall tone of the drawing. At the same time, it is good to have before your eyes a piece of black velvet or blackened paper, in comparison with which the deepest shadow on the plaster will have to be made lighter and more transparent.

In the academic drawing of the head of Alexander Sever, made by I.E. Repin (Fig. 6), one can observe clearly worked out details, united by tone into a single whole. The light falling from above gradually weakens towards the bottom, losing strength and contrast. The lateral surfaces of the face, contracting in depth, highlight the front part of it, which is facilitated by the shapes of the eye sockets, lips and base of the nose, emphasized by the deep shadow. A correctly taken background helps to convey the illuminated form in space.

When learning to draw plaster heads, you should avoid shapelessly smearing shadows and wiping away spots of light with an eraser. A pencil stroke, as if hugging the form, is the best means of conveying it. An excellent example is the drawing of the head of “Laocoon” made by Alexander Ivanov (Fig. 7).

Despite the fact that the shapes of antique heads are more generalized than the heads of living nature, the depiction of plaster casts, the transfer of the integrity of the form, details, lighting and material require a large number of tonal shades, which usually presents difficulties for beginners to draw, causing unconsistency of tone and fragmentation drawing. As a result, beginners' drawings are full of errors: reflexes end up in the same strength as light, blackened shadows “fail,” and sharp contrasts in distant plans “climb” forward.

First of all, these errors are explained by excessive haste, lack of proper consistency and care in the work.

In our school New Art Intention In the process of learning to draw, beginners develop the ability to compare an image with nature, find and correct mistakes. This is a necessary condition for successful drawing. In order to more easily compare the drawing with nature, you should try to perceive them as homogeneous phenomena, that is, imagine a real plaster head, as if drawn. Then, quickly turning your gaze from life to drawing, you can immediately feel the difference between them - either in construction or in lighting. When you see the calm tone of nature, the tonal diversity in the drawing very often catches your eye. A correctly constructed, but “tormented” and out of tone drawing, with a certain amount of experience, can be corrected. By touching such a drawing with an eraser, a kneading stick or a sponge, the basic light-and-shadow relationships are restored, the details that “fall out of tone” are facilitated, but not removed, and if necessary, the contrasts of the immediate plans are emphasized.

A well-thought-out, correctly constructed and consistent drawing perfectly conveys shape, lighting, material and environment.

Neck bones consist of seven cervical vertebrae, which include the upper part of the spine. Large muscles The muscles that influence the shape of the neck are the trapezius muscle in the back and the sternomastoid muscle in the front. They run from the back of the ear down to the inner ends of the collarbones.

Neck capable of movement in all directions: tilt your head forward and backward, to the side towards either shoulder, and rotate it from side to side 180 degrees.

Apart from the sound-conducting structures in the ears, only the jaw moves from the joints of the head. All other bones of the skull are rigidly interlocked and immovable.

Facial muscles can be divided into two types:

Proportions of the human head. Simple construction method

The face is, of course, the most expressive part of the body. Here simple construction method, which will help you see what simple shapes the head consists of. The average proportions of a human head are shown in the figure below. The height of the head is approximately the same as its width when viewed from the side, so in profile it fits into a square. When viewed from the front, the width of the head is much less than its height.

Start by drawing the head in profile. Draw a circle for the skull and then add two lines on the front of the face to indicate the jaw, as shown in the image above.

The most common rookie mistake when depicting the head is that head seems flat. Therefore, as soon as possible, try to draw three-quarter view of the head, trying to display the roundness and solidity of the forms. Use light reference lines to indicate the center line of the face and the position of the eyes.
The picture shows a rather characterless face, but at this stage the main thing is to understand the basic forms. People's faces differ from the average pattern in many ways, how exactly will be discussed in detail in the following lessons. These drawings represent the first step. If you draw hundreds of these simplified heads, you will come to understand all the subtleties of the relief of the human face and will be able to imbue your drawings with life and character.

The most important thing to understand is that the face is not just a flat surface with details superimposed on it. To draw faces successfully, you must understand the three-dimensional shape of the surface - that's why we started with the featureless average face, which can belong to either a man or a woman.

If you look at the hazy newspaper photograph of the crowd below, you'll see that each face differs from the others only in the way it displays light and shadow, not in the shape of its eyes or lips. If you can imagine face as a template, in this case you will avoid the common mistake of creating lifeless mechanisms of eyes, noses and mouths, indistinguishable from each other. That's why practice drawing a face template adding light and shadow until you fully understand its shape.

The images above show several basic face and head shapes from different angles. Once again, it is important now that you understood the real shape of the surface, not just a plan.

The article used materials from the book “Figure Drawing without a model” by Ron Tiner.

In order to draw a head from any angle, it is necessary to understand its basic structure and make a constructive construction of the human head in stages.
To begin with, we ignore the details and prepare the simplest base of the head.
The diagram (blank) (which we will talk about in the second lesson) helps to construct an image of the shape of the head.

Lesson #1

You will need a piece of paper, pencil or charcoal. And the most important thing is nature.

It is always preferable to draw from life. Place in front of you someone who can give you enough time - your grandmother or grandfather. It’s good if you study together with your friend - you can draw and pose alternately.
If it is not possible to draw from life, then use a photograph, certainly of very good quality. However, know that photography is a bad friend and it is better to use it as a last resort.

Let's begin. Before us is nature. Or a photograph.
We make constructive sketches. We don't worry about cleanliness...

1. Place the person’s head, as well as the neck (shoulders are also possible) on the plane of the sheet. To begin with, we use our eye and at the same time check ourselves.
2. Find the main volume of the head, neck and shoulder girdle. Imagine that in front of you is not a person, or rather not his head, in front of you, first of all, is a shape, a volume. Try to observe this volume. We need to transfer this volume to the plane of the sheet. We start with the image of the main volumes and planes. There are no details, now there are no eyes or eyelashes.
Don't forget about the 3D view of the shape. Try to feel the design of the shape of the front part. Note the protruding parts of the skeleton. At this stage, you need to understand whether you can see the design of this volume.
Still reading?... Draw! Now it is important to understand the process itself. Carefully study the form, take note and capture all your sensations.

So, in order to draw a person’s head, you need to get hooked, find what you need to start working with.
First, we find the main points (which will be discussed later). Secondly, we find the main planes formed by the fractures of the shape.
The points, planes and kinks that we catch are not actually random. This is the structure of the human head, its constructive moments. This is what forms the characteristic volume of the head and the individual characteristics of a person.

Looking at nature, the first thing we find by the highest point on the skull and the protruding point on the chin is the height of the head, then we highlight: the balls of the eyes in the sockets, the pyramid of the nose, the cheekbones, the protruding volume of the chin and the plane of the forehead.
During this exercise, I hope you realized that the head is the same volume that has edges and planes, main points, height, width, depth and light and shade.

Lesson #2

Constructive points make it possible to determine the proportional relationships of all planes of the volume of the human head. They form the shape of the head.
Let us analyze in detail all the design points:

Eye sockets and orbital sockets
Zygomatic points
Frontal tuberosities
Chin point
Angle (point) of the lower jaw
Highest point on the skull
Temporal points (how they are formed, we will tell below)
Parietal tubercles on the back of the head

Axes dividing the head into certain parts:

The line dividing the head vertically into two symmetrical parts is red.
The line dividing the head into the upper cranial part and the lower facial part runs along the brow ridges - blue.
The line dividing the head into the occipital and facial parts passes through the highest point of the skull and the ear openings - green.
The line that subsequently determines the three-quarter turn of the head passes through the zygomatic and temporal points, as well as the parietal tubercle—yellow in color.
The line defining the bottom of the nasal pyramid runs through the bottom line of the nose, and the bottom points of the ears are turquoise.

Blanks. Blanks or templates can be rectangular or oval. Rectangular blanks in this case give us the simplest and most understandable idea of the proportions of the human head.
The figure shows three positions at once: three-quarter view, profile and full face.
The main design points and lines allow us to identify some patterns.
Usually The height of the ear is equal to the distance between the line of the superciliary arch and the lower part of the nose.
The mouth is located in line with the point defining the angle of the lower jaw.
The head is conventionally divided into three parts of equal height: from a point on the chin to the bottom of the nose = from the bottom of the nose to the brow ridges = from the brow ridges to a point that is two fingers above the frontal ridges.
Don't forget about the rules of perspective. At three-quarter position The part of the head that is located closer to us will have true dimensions, and the one that is further will be distorted in size downward.

Let's work with the blank matrix and consolidate the knowledge gained.
Operating procedure:
1. Outline the composition on a sheet of paper, draw out the main volumes.
2. Determine the basic proportions, shape and character of the head. Perhaps the head will be round or pear-shaped.
3. Let's draw a vertical axis. To do this, you need to decide on the rotation of the head and, accordingly, the position of the nose, since the line will run along it. The axis will divide our workpiece into right and left parts. As a result, we will get the highest point of the skull and the point of the chin.
4. Let’s finally decide on the head turn. This will help us three-quarter turn line. We will first outline the zygomatic point; we will correct its exact location later. And we draw a line through it.
5. Brow line. Visually determine how much space is needed for the skull and how much for the facial part. Draw a line while keeping perspective in mind.

6. Line of the bottom of the nose pyramid. As we noted above - the line of the brow ridge and the line of the lower part of the nose divide the head into three equal parts(ideally). Let's use this pattern, taking into account individual characteristics

nature.
7. The line dividing the head into the occipital and facial parts. We draw it according to the shape of the head, drawing it through the highest point of the skull and ear openings
8.Temporal point- a convex place on the human skull. It will automatically be determined at the intersection of the line dividing the head into the occipital and front parts, and the three-quarter turn line.

9. We outline the nose. The place for it has already been set. The bridge of the nose will be located at the level of the upper eyelid(about the location of the eyes - below)
10. We outline the ear. The height of the ear is equal to the distance between the lines of the brow ridge and the lower part of the nose.

11. We correct the cheekbones. They are located at the level of the middle of the nose on the three-quarter turn line.
12. Mouth line located at a distance of two thirds from the tip of the chin to the base of the nose. The length of the mouth (ideally) is the distance between the point of the chin and the line of the mouth.
13. Lower jaw point. Lies at the intersection of the line of the mouth and the line dividing the head into the occipital and facial parts.
14. Let's determine the place for the eyes. Line The eye is located approximately halfway between the highest point of the skull and the point of the chin. The dimensions of the palpebral fissures are equal to the distance between the inner corners of the eyes. That is Another exactly the same eye could be placed between the eyes. Don't forget about future reductions in shapes and distances!
15. Frontal tuberosities– two convex protrusions in the upper part of the frontal bone. Determined visually. From the frontal tuberosities to the highest point on the skull, lines can be drawn along the shape of the head (to feel the volume).
16. If this suggests the angle of the head, determine the most convex part on the back of the head - parietal tubercle

From the fourth year of study in the art studio curriculum “Painting”, drawing of plaster parts of the face (eye, nose, lips, ear) begins.

When constructing an image of a plaster head, students must thoroughly understand the laws of the structure of the shape of the human head.

Educational drawing of an antique plaster head "Apollo" - 7 stages.

At the first stage the work begins by placing an image of the head on a piece of paper.

You need to look at nature from all sides in order to correctly understand the general nature of the form. The composition of the drawing is influenced by lighting and the tilt of the subject’s head. The painter must beautifully and expressively fill the plane of the sheet of paper.

At the second stage of work it is necessary to determine the nature of the shape of the head, its proportions and inclination, and also not to forget about perspective and accurately establish the horizon, the direction of the surfaces going into the depths. The shape of the head is a spherical skull, consisting of six main bones: frontal, two parietal, two temporal, occipital. All these bones are connected to each other by sutures and form a single shape. The front part of the head is divided into three equal parts:

from the hairline to the brow ridges;
from the brow ridges to the base of the root of the nose;
from the base of the nose to the base of the chin.

The distance between the eyes is equal to the width of the eye. The height of the ear is equal to the length of the nose.

The fourth stage of work- plastic modeling of the form. Having correctly outlined the constructive basis of the head image, we move on to identifying the volume using chiaroscuro. At this stage, it is important to trace the relationship of the design with chiaroscuro and correctly understand its volume “large form” (image of the form without details).

When working on a long drawing, the point of view should remain unchanged.

Sixth stage of work- tonal elaboration of form and transfer of materiality.

Students finalize the drawing of each detail and monitor the smooth transitions of tonal relationships (reflexes, highlights, halftones). At this stage, samples of great masters (reproductions) are demonstrated.

At the seventh stage The results of the work done are summed up. The general condition of the drawing is checked, the details are subordinated to the whole. Generalization begins with checking and clarifying the proportions of the head, then the tonal relationships (the darkest and lightest places in nature are determined). The background details should be less elaborate than the foreground details. Reflexes should always be darker than light.

The sequence of drawing accustoms students to meaningful construction of an image on the plane of a sheet. The division of the work process into stages is conditional.

Drawings made by students of the art studio "Zhivopi"

In this drawing lesson, I prepared the material so that the key principles of drawing a human head were visible. To learn how to draw a portrait, you need to understand the shape of the head, and this is possible through simplification and generalization of unnecessary details. For this purpose, I used a schematic representation of a head called “chipping,” an academic drawing of a skull, a step-by-step drawing of a human head, and additional schematic drawings to help understand the features of the anatomical structure.

1. Three-dimensional form. Simplification and generalization.

At the initial stage of learning to draw, people most often see the contours of an object instead of its volume. This is exactly how beginners draw a portrait: they draw the contours of the eyes, nose... But a person’s head, eyes, nose, lips - they all have volume, they are not just contours. In addition, they have a rather complex shape. Therefore, at the beginning of training, you need to be able to generalize the secondary and realize the scope of each form.

First, let's try to draw a person's face with a protruding nose and forehead, presented in the form of rectangular geometric shapes.

2. The skull is the basis of the head shape.

There is one important lesson to learn next. All the main curves and contours of the face are formed from the bulges and bends of the skull. After all, it is the skull that is the basis on which the shape of the head in a portrait is built. Try to trace this relationship by comparing the shape of the skull with the pattern of the head. This is a very important point in learning.

Since the skull has a complex shape, it will not be easy to immediately understand this relationship. Therefore, first we will draw a skull in general.

The skull consists of two main sections: the brain and the face.

In addition, the shape of the skull can be roughly represented as a cube. The skull has a frontal side, two lateral sides, an occipital side and the so-called cranial vault or roof.

After the conventional, generalized drawings, I give as an example an academic academic drawing of a skull. With many details, you can see the frontal, occipital, lateral sides and arch. You can also see how the details are grouped into two main sections - the brain and the face.

It should also be noted that the widest part of the skull is located closer to the back of the head. It can be clearly seen in the figure below.

For those learning to draw a portrait, the following anatomical names for the various parts of the skull may be useful:

brow ridges;
frontal bone;
parietal bone;
occipital bone;
temporal bone;
zygomatic process;
cheekbone;
maxillary bone;
mandibular bone;
nasal bone;
eye socket or eye socket.

3. “Orubovka” is the key to understanding the shape of the human head.

In addition to the skull, the shape of the head and face is influenced by muscles, cartilage, fat deposits, etc. In order not to get confused in the details, trimming will help you understand the anatomical structure. A cut is a conventional image of a person’s head, consisting of edges. With the help of such planes the volume of the entire head is formed. Thanks to these edges, the main curves of the skull and the main muscle groups of the face are clearly visible. In any portrait, for any person, the shape of the head is built on the basis of these trimming edges. Of course, each person has his own facial features, his own proportions, but the key points in the construction of the head correspond to the cutting. Therefore, when drawing a portrait, the artist always keeps these key facets in mind.

Try to trace the main planes of the cut in the drawing of the skull and in the tonal drawing of the head made in pencil.

4. Formation of volume through light and shade on the front, side and top sides of the head.

To make the head drawing three-dimensional, it needs to be worked out with shading. Hatching creates the desired tone. By changing the tone (lighter-darker) we see volume and shape. According to the law of chiaroscuro, light is distributed on the surface of the form in the following sequence: highlight, light, penumbra, shadow, reflex, falling shadow. If you draw a ball or similar simple geometric shapes, then everything is much simpler. But how to show chiaroscuro in a tonal drawing of a human head? In the portrait, chiaroscuro is also done with shading, as in the drawing of the ball. But with the difference that the artist must trace the light and shadow on each individual fragment of the face in particular and on the entire head as a whole. That is, you need to show light, penumbra, shadow - on the nose, on the forehead, on the eye sockets, on the lips, chin, etc. But besides this, light and shadow need to be shown on the entire head as a whole, that is, on its main large faces or sides. For example, one side of the head may be darker than the other. This is an important point when creating the volume of the head in a portrait.

For a better understanding of this topic, I give as an example visual diagrams and drawings of a plaster stump, a human skull and head. In them you can clearly see the front, side and top edges of the head. The diagrams and pencil drawings are designed in such a way that they can be used to gradually trace the main edges of the head, which will help novice artists see the chiaroscuro on the surface of the head as a whole.

5. Brain and facial sections of the head.

Above I have already given a schematic drawing in which the brain and facial parts of the skull were visible. But how to practically see these areas in drawing a portrait? A number of drawings and diagrams below can help with this. Here you can trace the boundary between the front and brain parts of the head in the usual pencil drawing, plaster casting and training drawing of the skull.

6. Step-by-step tonal pencil drawing.

After studying the basic anatomical features of the structure of the head, you can begin step-by-step pencil drawing. Here you need to learn this sequence. First we draw in general terms. Then we complicate the drawing by adding details.

A) Since the shape of the head resembles the shape of an egg, we first draw the corresponding figure with a line.

b) After this, we construct a drawing of the head. Draw an axis of symmetry that will run through the middle of the head. This is very important because the axis will allow you to compare the left and right sides, which will help to avoid errors and irregularities. Next, we outline the levels at which the eyebrows, eyes, nose, and lips are located. We outline them using light lines. I wrote about how to determine these levels in the lesson

V) At the next stage, you can outline the eye sockets, eyes, nose, lips, as well as the cheekbone, frontal lobes, main muscle groups and folds on the face.

G) Let's clarify the details.

d) I use an eraser to lighten the blackness of the auxiliary lines, which will be erased in the end, however, they are needed at the beginning of constructing the head.

e) Let's start with tonal drawing. Enter shading. We designate shadows and light. We “sculpt” the shape of the head using tone. I did not record the intermediate stages of shading, so I am publishing the final stage of the drawing right away.

7. Different manner and technique of drawing.

At the end of this lesson I would like to add that the manner and technique of drawing can be different. The drawing can be linear or tonal. You can draw with a line, or you can draw with a spot. You can work in a free sketch style, allowing for inaccuracies. Or you can make an accurate academic drawing. You can draw in detail, or you can draw in general terms.

But with all the variety of approaches, literacy should be visible in the drawing. The principles of constructing a head are preserved, whether on paper or in the mind of the artist. A professional artist with experience may not draw auxiliary construction lines. He may work in a different sequence. However, whatever the technique of execution, his drawing will show an understanding of the basics of plastic anatomy. Therefore, if you want to learn how to draw a portrait, you need to understand the essence, and not just copy a nature or picture step by step. When a novice artist gains such an understanding and begins to see nature by analyzing, and not just copying, then he will be much more successful in learning. I hope the drawings and diagrams from this lesson will help beginners with this.