Sequence of drawing a plaster head description. Drawing

Compose the image on the sheet. Knowing that the front part has many small details, it is necessary to create a larger background field in front of it. The image of the head moves slightly upward, since the lower part of the sheet should be more heavy. When outlining the general proportions, you need to pay attention to the ratio of the total width to the total height of the head, find out what proportions of the rectangle the plaster head fits into.

Having determined the tilt, rotation and plastic characteristics of the total volume, outline the general dimensions of the image and the outlines of the total mass of the head.

Drawing of a human head (plaster anatomical head). Second phase

Taking into account the perspective reductions, generalization, outline the average profile section. Mark a line passing through the middle of the eye section. This line will divide the head into two equal parts vertically. The main task at this stage is to correctly identify perspective abbreviations and express them when drawing these lines. This will help in further work. You will need to check yourself each time, relying on the directions previously specified in the drawing.

Often, when outlining a profile section, the draftsman is faced with the problem of determining the slope. The tilt of the head should be found based on an imaginary line connecting the bridge of the nose to the middle of the chin and the vertical. Determining the facial angle is also of great importance. By outlining two generalized lines of sections, the so-called cross, the drawer must firmly establish his horizon line.

Drawing of a human head (plaster anatomical head). Third stage

Based on anatomical points, highlight the general proportions of the facial part. Anatomical points should be primarily the temporal lines, the protrusions of the zygomatic bones and the angles of the lower jaw. It is necessary to determine the proportions of the front part by comparing it with the general shape.

Drawing of a human head (plaster anatomical head). Fourth stage

Study the profile of the head and strictly outline the profile longitudinal section. You need to start drawing the section from the midpoint of the nose bridge. Moving up to the back of the head, down to the chin and jugular cavity, examine the entire head. When outlining a profile section, you should check the proportionality of individual small parts of the head and correctly identify protruding points, comparing them with each other vertically.

Drawing of a human head (plaster anatomical head). Fifth stage

Outline the width of the large shapes of each part of the head, building from the profile section and taking into account the perspective cuts and pairing of shapes. Perform a three-dimensional constructive construction of the head shape.

Drawing of a human head (plaster anatomical head). Sixth stage

Draw small details, checking the construction using sections. Trace the turns of the form, conveying the complex plastic basis of the human head, and complete the linear constructive drawing.

By remembering the canons that have come to us from time immemorial, and comparing them with what is in nature, students more accurately determine the nature of the shape and proportions of a particular head. In the sculptural images of heads made by ancient sculptors, some general patterns can be traced.

The front part of the head can be divided into three equal parts. The line delimiting the upper third of the middle part runs at eye level. The height of the ear is equal to the height of the middle third of the face. It is necessary to begin construction based on knowledge about the features of the structural structure of the plastic shape of the head, obtained while working on the trimming pattern.

Drawing of a human head (plaster anatomical head). Seventh stage

Considering the direction of the light, outline the main volume of the head and the main details in a light tone. Strictly trace the light separations in the drawing. Show illumination.

Drawing of a human head (plaster anatomical head). Eighth stage

Introduce halftones, moving on to more detailed identification of form, while maintaining a constructive, proportional and perspective basis of construction. Analyze the form according to tonal gradations, subordinating them to the tonal scale. Subordinate all the elements of chiaroscuro to their relationships, achieving the integrity of the drawing.

Drawing of a human head (plaster anatomical head). Ninth stage

Define more precise light and shadow gradations by accumulating details and subordinating them to the overall form. Taking into account the tone, at the same time clarify the structural basis of the plastic form. Summarize and complete the drawing of the anatomical head.

Similar to the drawing of a plaster anatomical head, the drawing of any other life is carried out.

For anyone interested in academic drawing, I highly recommend Oleg Toropygin’s magazine oleg_toropygin , I’ve been paying attention to him for a long time, and periodically watch his video tutorials. Today I came across a video that answers many common questions about academic plaster head drawing.

Original taken from oleg_toropygin in Learning to draw. Portrait. Episode 12: building the Roman head and general...

I’ve outlined a little for those who perceive text information better, and maybe this summary will encourage someone to watch this hour-long video from beginning to end (watch it, you won’t regret it):

1. We greatly admire when we see a carefully executed academic drawing of a 19th or 20th century plaster head, or a drawing of some other school, for example, American hyperrealism. When the drawing is thorough, it evokes sincere respect and admiration for us, but when we have to draw the plaster head ourselves, it turns out that we show practically no enthusiasm for this...
2. Plaster heads are a classic, and actually very underrated...

3. If we draw a plaster head without seeing the connection with a living head, then we are drawing a plaster head in vain. If we draw a plaster head thinking that we are drawing a plaster head, then we again draw a plaster head in vain...
4. When I studied at Stroganovka, due to poverty or other reasons, directional lighting when placing a plaster head was only available in the first year. The Stroganov school of drawing comes from form, and the plus is that lighting had to be created mentally...
5. When there is directional lighting, it is easier for a person to draw; it is clear where the form is turning, but there are also disadvantages - bright spots of light and shadow are revealed, and if a person is not inclined to think about the form, then he can hide behind it. It can only detect these spots, and this happens often. For beginners, this may not be a bad thing; forcing them to immediately draw correctly and show forms without directional lighting is even cruel with little experience. It is important not to become a hostage to this situation in the future.
6. Hiding behind a hard pencil to make the drawing neat means that you are treating the symptoms, not the disease. If you draw with a hard pencil, and because of this your drawings are clean, then what does this have to do with you? This is the merit of the pencil, not yours...
7. The fine relief of the face of the plaster head gives a sharp chiaroscuro, and it catches the eye of the painter more. By and large, looking at a plaster head we see only a set of wrinkles, but it is not the wrinkles that are important, the wrinkles are only decorations on the way to understanding the form. The question arises, how can I see this form if I don’t see it? And this is the right question! The point of drawing plaster heads is to learn to see a larger form. If you don’t learn to see it, then you will only copy all sorts of nonsense. In this context, the meaning of the chopping becomes more obvious, since the chopping head gives clues to where the shape actually turns...
In the trimming head you can clearly see what is much softer on a plaster head, and even on a living thing. In the plaster head they even say that there the sculptor emphasizes what is almost not noticeable in real life, and this point is very important!
8. There is no point in drawing a plaster head stand. You can draw it only if you really want to. Moreover, it is usually not ideal, since plaster tends to chip...
9. When drawing a plaster head, it is important to develop your eye, and not to draw along designated points and lines, as usually happens in architectural and construction universities. First, load the eye meter well, and only then check with measurements...
10. Try to ignore the individual features of your face at first. Psychologically, they certainly get ahead, mark them, but do not forget that the main thing is the general form!
11. If, when drawing a plaster head, you constantly run away from designating the general form, then you will never know how to approach it. Therefore, you don’t need to run away from designating the form, but you need to immediately try to do something with it, engage in construction...
12. You can draw sections on a plaster head, as on the simplest forms (cubes, jugs, etc.) to get a feel for the shape...
13. You need to follow the rules (not believe your eyes) in the early stages of learning academic drawing. Just so you understand, the war is not about the rules, but about your thinking! As a result, you will begin to display more correctly, more powerfully...
14. It is useful to return to the drawing of a plaster head, even if you have already drawn them at one time. It is interesting to compare how your thinking has changed, whether you began to apply this knowledge in practice, or simply agreed with it by nodding your head.
15. From the point of view of a correct understanding of the form, one can imagine how the sculptor sculpted this head.
16. It is very important to learn to see and construct a form in a drawing, to think about it, because there will never be ideally correct lighting!
17. To get a correct idea of ​​an object, it is not enough to sketch it from one point. All sorts of illusions appear, where the form is not visible, you draw as if it were not there. Therefore, you need to constantly approach nature (the plaster head), touch it, and find out how this form is actually “molded.”
18. Sections are the way to correct shading.
19. When dealing with the architectonics of the head, after we have identified the main forms, we need to regularly check the proportions, because it does not happen that we took them absolutely correctly from the beginning.
20. It is important to first take large shapes, only then move on to small details; if you do not understand this, the drawing will be artificial. This transition should be natural and organic...
21. It’s okay if at the initial stages the drawings of plaster heads make a “brutal” impression. If some lines need to be moved, move them. It’s okay that you couldn’t take them correctly right away. Over time, you will learn to take them more and more correctly, and, if necessary, edit the drawing without regret.
22. Under a falling shadow, it is important to see the shape on which this shadow falls.
23. You can learn to draw from photos and even from videos, but this will never replace the experience of drawing from life (plaster aids or live models).

Review

for methodological recommendations for performing practical work “Step-by-step construction of the plaster head of Apollo”, in the academic discipline “Drawing and Painting”, developed for studentsIIIcourse of secondary specialized educational institutions in the specialty 02/07/01 “Architecture”. Developer Kuklina L.B. teacher of artistic and graphic disciplines in the "Architecture" department of the Krasnodar College of Architecture and Construction. Methodicalrecommendation for practical work “Drawing of the head of the man David”, in the academic discipline “Drawing and Painting” for studentsIIIThe course is designed for 8 audit hours anddesigned to implement state requirements forminimum level of training for graduatesspecialties07.02.01 "Architecture"secondary vocational education.

Methodical recommendationdetermines the total volumeknowledge and skills acquired previously and subject to mandatoryconsolidation by students.

The content of the methodological recommendation consists of 3 sections.

In the first section “Plastic Anatomy” students study bones and muscles, head proportions,learn the basics of observational perspective

In the second section, a linear constructive drawing is carried out step by step andpractical tasks based on knowledge of human anatomy, proportions, perspective abbreviations, drawing small details.

In the third section, we move on to a more detailed identification of form using light and shadow gradations.

The drawing course contributes to the development of graphic culture and mastery of various graphic techniques and materials, so necessary in the profession of an architect.Methodical recommendationcarried out at a high methodological level andcan be recommended for training students of the Krasnodar College of Architecture and Construction.

Reviewer:__________V.P. Kazachinsky

PhD in Architecture,

Professor of the Federal State Educational Institution of Higher Professional Education "Southern"

Institute of Management"

Ministry of Education and Science of the Krasnodar Territory state budgetary professional educational institution

Krasnodar region

"KRASNODAR ARCHITECTURAL AND CONSTRUCTION TECHNIQUE"

For practical work “Step-by-step construction of the plaster head of Apollo”,in the academic discipline “Drawing and Painting” for third-year students

specialty 02/07/01 “Architecture”

Krasnodar, 2017

Step-by-step construction of the plaster head of Apollo .

The human head is a complex and interesting object to draw, allowing you to study the variety of shapes. Before starting to draw from a live model, it is necessary to make drawings from plaster antique heads that have a pronounced character of form (Apollo, Ecorche, Antinous, Caesar, Socrates, Laocoon, Aphrodite, Gattamelat, David, etc.).

Learning Objectives: - study the canonical proportions of ancient heads, master the skill

grasp the character and proportions of the human head in various turns, tilts,

angles and perspective cuts;

develop a realistic approach to drawing a plaster (antique) head.

Learning Objectives:

1. Work should begin by placing an image of the plaster head on the tablet,

taking into account the lighting, which affects the composition of the picture.

2. Determine the nature of the head shape using volumetric-constructive and linear methods

constructive construction, taking into account the horizon line and the patterns of perspective reduction of surfaces.

3. The drawing ends with tonal elaboration and the transfer of materiality, airy

prospects; identifying the laws of contrast, complete with a generalization, subordinating the details to the whole.

4. The drawing is accompanied by short sketches and sketches from different positions of the plaster head.

Mastering the basic principles, rules and laws of constructing an image of a plaster head begins with an analysis of the structural form while observing the methodological sequence of working on the drawing.

A plaster mask from an antique cast is a valuable teaching tool; it helps a novice artist understand the construction of a complex object of a living head.

The plaster mask is motionless, uniform in material and texture, which helps

focus on the form, volume and nature of the production.

It is necessary: ​​to learn to depict the complex shape of a human head using examples of plaster casts from classical sculptures, with the transfer of the anatomical structure, competent modeling of forms, light and shadow, the transfer of materiality, technical techniques, accustoms the accuracy of the image, trains the vigilance of the eye, disciplines, cultivates aesthetic taste.

Staging a plaster mask begins with choosing a cast of a classic image, placing it on a stand near the plane of the wall and lighting the mask from above at a slight angle. Artificial light is more suitable, since the shadows remain motionless, the midtones are well defined, reflexes are visible, the mask should be clearly visible, for which it must be placed or hung slightly above the horizon.

Students must feel and convey the beauty of the perfect form of the image, its artistic value. It is advisable to alternate the performances according to the principle from simple to complex.

Drawing a plaster head begins with a careful and detailed analysis of the model. Despite the fact that the human head is complex in its design, it is nothing more than a collection of simple geometric bodies and its structure is based on the same anatomical, structural structure for all objects, which determines the general nature of the plasticity of its forms.

Then the model should be analyzed in terms of spatial position, mass ratio, magnitudes, proportions, and characteristic features of the structure of the human head.

The sequence in working on a drawing must be strictly observed, since its violation slows down the assimilation of educational material. You cannot skip over individual stages in working on a drawing; not having found, for example, the basic shapes of volume, move on to drawing details; Without understanding the design of the object, move on to light and shadow elaboration.

Working on a drawing consists of several stages; they should not be isolated from each other, but should be in close connection. Mastering the basic rules and laws of constructing the image of a mask begins with sketching and sketching, analyzing the constructive basis of the form.

In the preparatory stage in making sketches, sketches: P.P. Chistyakov and other great drawing teachers recommended that from the very beginning of learning to draw a plaster mask in sketches, master numerous technical techniques; you can use monuments and sculptures from nature, make landscape sketches (draw “from yourself,” according to the idea), develop eye acuity and observation.

During the first lesson, you can sketch a plaster mask in three to four turns on one sheet of paper. Having found the appropriate points of view and determination of the horizon level, you need to sketch the masks one by one, moving from one point of view to another every 25-30 minutes. The reduction in the external forms and structural basis of the head under the influence of rotation or tilt in the drawing must be consciously and skillfully expressed.

The drawings on a piece of paper should be well composed, each head constructed, and the degree of completeness of the drawings should be different.

First stage. Second phase.

Third stage. Fourth stage.

Fifth stage.

Plaster masks in three turns .

At the first stage : Placing the image of the mask on a sheet of paper; for this you need to find the general shape of the head and its size, proportions (height, width) in relation to the sheet. When arranging the head in a three-quarter position on the front side, more space (free space) is left on the sheet. When placed front-on, the head is placed in the middle of the sheet. Vertically, the mass of the head and neck should be placed slightly above the middle of the sheet.

The head should be positioned so that the model's eye coincides with the level of the artist's eye. The right choice of location is very important, like many other things: the horizon line, the distance to the model (you shouldn’t sit too far), and so on.

You need to look at the nature from all sides; to do this, you need to mentally connect the bridge of the nose and the middle of the chin with a straight line, and imagine what angle is formed between this line and the imaginary vertical. Having correctly determined the angle, the tilt of the head is easily determined.

Before starting a long-term drawing, it is necessary to perform several exercises in the form of short-term drawings from life on the margins of a large sheet, clarifying the nature and shape of the head and its proportions, paying attention to the anatomical features of the head.

Short-term drawing makes it possible see the total mass of the head. Without dwelling on the details, we need to start drawing the head.

The image should not “crowd” or “float” on the sheet, If When depicting a mask design in profile, the margins of the sheet should be wider in front of the face line than behind the back line. In the process of work, we must not forget about perspective; for this it is necessary to accurately determine the horizon line and know the pattern of aerial perspective. (Let's start by drawing straight lines of the main contour of the head, this is only in cases when the plaster head is facing forward in relation to the person drawing. The best position of the head is in the front, but with some deviation to the right, or to the left in a three-quarter position.

Then we designate the main direction of the neck from its center, slightly higher Adam's apple, to the fossa, the junction point of the clavicle bones.

Now let’s designate the outer line of the neck, correlating its width and length with the size of the head.

Draw a straight line along the length of the face, across the bridge of the nose, which is located between the eyes, and through the base of the nose, at the point where the line of the nose meets the middle of the upper lip.

Let's draw another line from the base of the ear at a right angle to the other ear.

After which it is necessary to measure the position of the eyes, mouth and chin, these lines will be parallel to a line drawn from ear to ear, which intersects at right angles a vertical line passing through the center of the face.

At the second stage : Determining the nature of the head shape, its proportions and inclination. To do this, it is necessary to outline the dimensions of the main parts of the face: from the parietal bone to the brow ridges (forehead height), from the brow ridges to the base of the nose, from the base of the nose to the lower edge of the chin. When arranging the head in a three-quarter position on the front side, more space is left on the sheet. Particular attention should be paid to the bones of the skull, having previously studied its structure, separating the front surface from the surfaces going to the back of the head. For a correct image, you need to know the reference points on the shape of the head, especially on the skull, and be able to use them.

Before starting a long-term drawing, it is necessary to perform several exercises in the form of short-term drawings from life, on the margins of a large sheet, in order to imagine the proposed head drawing. To do this, you need to pay attention to: the anatomical features of the structure of the form, clarifying the proportions, perspective, you should not sit too far from nature, this makes it possible to clearly examine the details. The drawing must begin by identifying the general shape and mass of the head.

After completing a short-term drawing and after a preliminary review by the teacher, if there are errors, then correct them immediately, and only then, you need to start drawing the head in a given format.

From time to time you need to check the progress of the drawing, getting up from your place, moving away to a distance. If errors are found, correct them.

The image should be outlined very lightly, barely touching the paper with a pencil, this will make it possible to use an eraser less and make corrections and clarifications. In addition to the eye, you can use additional checking tools: pencil, plumb line, auxiliary lines.

At the third stage : Volumetric - constructive construction of the shape of the head.

For Therefore, it is necessary to pay attention to the fact that the shapes of the head are limited in space by surfaces; you need to learn to use lines that, as it were, divide the shape of the head into plans, revealing the design of the volume.

Linear design diagram , the construction of the shape of a human head is very clearly visible in the drawing of the German Renaissance artist A. Durer.

Here you can see not only the general laws of the structural structure, but also the laws of the proportional division of the head into parts, the anatomical structure.

The main design lines divide the shape of the head into proportional parts. From the hairline, to the brow line, from the brow line, to the base of the nose, from the base of the nose to the bottom edge of the chin.

The forehead line runs at the highest point of the forehead (a).

The line of the brow ridges runs along the protrusion of the brow through the points of the supraorbital foramen (b).

The line of the eye incision passes through the bridge of the nose and the sutures of the temporal and zygomatic bones, it divides into the upper and lower parts (c).

The line of the base of the nose runs at the bottom of the cheek bones and the root of the nose (d).

The line of the base of the chin is along the protrusion of the lower jaw (e).

Knowing these patterns, you can accurately determine the position of the head in space. If the distance from the line of the superciliary arches to the base of the nose is divided into three equal parts, then the second line from the top will correspond to the line of the eye section.

Head proportions

If the lower part of the face from the chin to the base of the nose is divided into three equal parts, then the upper part will be equal to the distance from the base of the nose to the cut line of the mouth. 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, they are located between the lines of the superciliary arches. All constructive lines - the line of the superciliary arches, the base of the nose, chin, the shape of the eyes, the mouth - are parallel to each other. All these divisions of the human head into parts are the “canon of beauty” for artists.

After the lines of the eyes, the base of the nose, the line of the mouth, and the base of the tip of the chin have been outlined. The bridge of the nose, which is always located above the line of the eyes, and the line of parallel details of the head shapes. Such as the frontal paired tubercles, the border of the head, the brow ridges, the zygomatic protrusions, the corners of the lower jaw.

Then check the overall shape of the head of its details in accordance with the proportional perspective cuts. Then move on to determining the general shape of the neck, it has a cylindrical shape with two parallel cutting bases located at an angle of 40 degrees, the lower base of the neck runs at the level of the seventh cervical vertebra to the jugular fossa. And the upper base is from the occipital eminence, along the nuchal line of the back of the head, the mastoid processes, the angles of the mandibular bones, to the jugular notch.

The neck can be outlined in a simplified shape in the form of a parallelepiped.

After clarifying the location of the eyes, it is necessary to correctly determine the distance between the teardrops, the outer and inner corners, and then the distance between the eyelids. By placing the nose and clarifying its proportions. If the nose is located frontally, then the anterior plane will be clearly visible, and the lateral ones will be in perspective reduction.

With a three-quarter rotation, the visible lateral plane of the nasal prism will be clearly visible, and the remaining planes will be in perspective contraction.

To place the shape of the mouth, it is necessary to determine the transverse length of the oral fissure, the thickness of the upper and lower lips, it is necessary to outline the nature of the line of the mouth and it is necessary to monitor its symmetrical location.

With a three-quarter head position, perspective reduction must be taken into account. The shape of the chin, called the mental eminence, is formed by two mental tuberosities. A profile connecting line is drawn through it, passing along the lower edge of the chin, along the middle area under the lower jaw, which forms the border with the neck.

There are three planes under the lower jaw: one is the middle straight plane, running from the edge of the tip of the chin to the larynx, and two triangular lateral planes, located on its sides, they border on the edges of the jaw bone, and below on the cylinder of the neck. It is necessary to trace the location of the corner of the jaw bone.

The shape of the chin is formed by six main planes: the middle surface running from the mental-labial groove to the upper border of the mental eminence. And then to its lower border, and two lateral planes adjacent to the middle and extending to the inferolateral surfaces of the head.

In terms of plasticity, the zygomatic protrusions play an important role in the formation of the head and serve as reference points during construction.

The ears are located on the side of the head in the area of ​​the temporal bone. The zygomatic process is located at the level of the middle part of the auricle (tragus), the size of the ear is approximately equal to the size of the nose and is located at the same level, the auricle is parallel to the direction of the branch of the jaw bone along the axis of the nose.

The shape of the forehead is formed by three planes and forms a curved convex surface, one frontal and two lateral, limited by the lines of the temple and the lateral surfaces. From above, these planes adjoin the frontoparietal surface. The border of the frontal and frontoparietal planes serves as the lines separating the facial surface from the parietal one.

The lower bases of the frontal surface border on the supraorbital margin, which is the base of the superciliary arch. Having outlined the general shape, you can move on to clarifying the details.

At the fourth stage : Shape modeling.

At this stage, the student learns to understand the plastic shape of the head, consolidating his knowledge, both in anatomy and in perspective, for this it is necessary to more often refer to the tables of the anatomical atlas, for a more in-depth study of the shapes of the human head, checking the location of bones and muscles.

Moving from the general to the specific and checking the details.

At this stage of work, you need to move on to modeling the form, gradually saturating the “large form” with details, constantly measuring them against the total mass of the head. When starting to work out a form in detail, you don’t need to jump from one part of the drawing to another, you need to learn how to link one form to another. Always check how they fit together. For example, when drawing a nose, pay attention to how it is located in relation to the tear ducts, cheekbones, ear, and corners of the lips.

P.P. Chistyakov loved to tell his students: “Drawing means reasoning...” (Letters, notes, books, memoirs, p. 354.)

When drawing strands of hair, you need to make sure that they are located according to the shape of the head. When working on individual curls of hair, you don’t need to passively sketch them without thinking about the shape. First, you need to outline the general shape of the entire curl, and then move on to refinement.

Before moving on to clarification, it is necessary to thoroughly study the structure of the frontal bone, logically justifying the pattern of its formation. Any form of object consists of numerous planes; the task is to understand how the form is formed by combining these surfaces. The shape of the forehead has a uniform structure in different people; three planes are involved in the upper part of the forehead, located in accordance with the shape of the cranial vault, expanding somewhat towards the back of the head. Between the fronto-parietal surfaces there are frontal tubercles and nodal points on the line of the temple, which serve as the boundary of the adjacent six planes located on both sides of the temple.

The boundaries of the contact of the lateral and intermediate planes run from the edge of the supraorbital protrusions along the line of the temple to the back of the head. The temporal lines serve as the boundary between the two main surfaces of the head - the lateral and the facial in its upper section. For the complete formation of the front surface of the forehead, the brow ridge is of great importance. It has an arched, convex arc that stands out above the lower base of the forehead and borders the upper orbital margin.

The greatest protrusion of the brow ridge is in the region of the glabella and is called the brow ridge. They are located symmetrically at a distance of the width of the nostrils. In the temple area they connect with the frontal processes of the zygomatic bones.

Just above the superciliary processes, above the edge of the orbital sockets, on both sides there are supraorbital projections. All bony protrusions should serve as reference points for constructing the shape of the forehead.

Having outlined the location of the eye, we must not forget that it has a spherical shape, the shape of the eyeball should be perceived as a hemisphere, the eye should be planted deep in the orbit, under its protruding edges. On the front surface of the eyeball there is a convex cornea, which causes a change in the nature of the bend in the shape of the upper eyelid. Gradually clarifying the proportions and perspective, you need to bring the drawing closer to the real form. Having outlined the brow ridges, you can proceed to determining the cut line of the eye; it should be noted that the bridge of the nose is located above the tear ridges, approximately at the level of the upper eyelids, the tear ridges of the eye are located on the same line, while the corners of the edge of the eyes can be higher, lower, or at the level . In a linear diagram, the eye will look like this: from the front - in the form of a parallelogram. In a three-quarter position in the form of a rectangular trapezoid or polygon, in profile - in the form of a triangle. The shape of the teardrop plays a major role. The tip of the teardrop is directed not along the cut line, but slightly downwards and forms a slightly noticeable angle in the upper part, the lower part of the teardrop is directed almost horizontally, forming a less noticeable angle, a little further, and smoothly bends upward, heading towards the outer corner of the eye.

Having outlined the direction, width and thickness of the eyelid, the upper eyelids are outlined more strongly, and the lower eyelids with a light touch. The upper eyelid hugs the eyeball. You should pay attention to the difference in the opening of the upper and lower half of the eye section from the horizontal, the upper half is larger than the lower, this indicates that the upper eyelid has a greater bend than the lower. It should be taken into account that the surface of the eye is inclined relative to the vertical axis, i.e. the upper eyelid and the middle part of the cornea protrude forward, and the lower edge and lower eyelid go deeper, this is especially visible in the eyes in profile. It is necessary to strictly adhere to the principle of the sequence of work on the drawing: from general to specific, from specific to general.

Following the sequence of image construction, let's move on to clarifying the nature of the shape of the nose. With all the variety of nose shapes, the structural basis remains unchanged. The length of the nose is determined by two distances at the facial base and the length of the anterior plane of the nose. The shape of the nose entirely resembles a prism. With a precisely chosen proportional relationship, since the similarity is the result of the correct construction of the general form. When starting to build the shape of the nose, you should start with the basic proportional values, and then determine the inclination and position of the nose, taking into account the perspective. The points defining the upper surface are located at the level of the bridge of the nose and the tip of the nose, the lateral surface is at the top at the base - the inner edges of the tear ducts, and at the bottom the corners of the edges of the wings of the nose. In a three-quarter position, the side plane that faces the person drawing will be almost at a right angle of view, and therefore is not subject to perspective reduction, while the opposite plane will be in perspective reduction. Having built a generalized diagram of the nose structure, it is necessary to check and correct errors

The length of the facial base of the nose is measured from the lower platform of the end of the nostrils to the lacrimals, the length of the anterior plane is measured from the tip of the tonsils to the depression of the bridge of the nose.

From the depression of the bridge of the nose to the line of the superciliary arches there is a trapezoidal plane, which serves as a transition from the forehead to the nose. The front part of the nose is divided into three parts: upper, middle, lower, they have trapezoidal shapes, the first two sectors touching from above with their wide bases form the hump of the nose, the third from below, expanding at the lower base in accordance with the shape of the tonsil, determines the upper surface of the tip of the nose. The lower surface of the base of the nose has two symmetrical triangles, between them there is a narrow plane of the nasal septum at a certain angle.

One of the most expressive parts of the face is the lips.

Having checked the construction of the shapes of the head, you need to move on to identifying the volume using chiaroscuro. In order to understand well and not get confused in this, you can use the method of generalizing the form, this helps to correctly find and express in the drawing a “large form” without details.

During classes, students must check the position of bones and muscles according to the tables of the anatomical atlas.

Before moving on to clarification, you need to thoroughly study the structure of the frontal bone

At the fifth stage : - Tonal elaboration of the transfer of materiality.

At this stage of work, it is necessary to finally finish the drawing of each detail, it is necessary to monitor the smooth transitions of tonal relationships, identifying reflexes and the materiality of objects. When depicting a volumetric form in space, you need to monitor its perspective contractions.

The plasticity of the head is learned with the help of anatomical points - nodes (support points or beacons) and lines. The shape of the head from the front is determined by the frontal tubercles, temporal lines, orbital sockets, base and wings of the nose, corners of the mouth, mental tuberosities, crown, parietal tubercles, angles of the lower jaw, zygomatic bones.

It is necessary to understand the basic rule that the natural and falling shadows on the model, as they move away from the lighting, weaken in tone, and when approaching the light source, they intensify.

According to the same law, on the illuminated part of the plaster cast of the head, the background (the plane of the wall) looks darker, and on the dark side it is lighter. It must be remembered that there are shortcomings that should not be forgotten: excessive rounding of shape, obscuring volume, excessive blackness, confusion of tonal relationships.

At the sixth stage : - Generalization and summing up.

Generalization must begin by checking the proportions of the head, then it is necessary to check other relationships and subordinate the details to the whole.

Check the darkest and lightest tones on a plaster cast, comparing the halftones, and bring the drawing to a complete solution.

Background details should be less detailed than foreground details. Reflexes should not be in the same strength as light, blackened shadows should not create “holes”, contrasts of light and shadow in the background should not be excessive.

To see all the shortcomings, you need to place it next to nature and, squinting, compare.

Consistent drawing from the general to the specific and from the specific to the general makes it possible to most realistically convey an object or nature in the drawing. When working on a drawing, the sequence must be strictly observed: violating it slows down the assimilation of educational material.

In order to remember well the diagram of the structural structure of the shape of the human head, it is necessary to draw a constructive diagram and be able to use it in practice, in different perspective positions and from different points of view. Such exercises should be considered basic and extremely necessary. Therefore, students need to study and sketch, from memory or from imagination, a diagram of the structural structure of the shape of the human head.

A good drawing is considered to be one that comprehensively conveys the essential features of the model, that is, those features by which the viewer gets the most complete idea of ​​the subject.

Educational and educational - methodological literature.

Li N. Human head Fundamentals of educational academic drawing / N. Li-M. "Eksmo", 2010 - 264 p.

Li N. Fundamentals of educational academic drawing / N. Li-M. "Eksmo", 2006 - 480 p.

Educational drawing. Moscow State Academic Institute named after. Surikov. "Art" - 2003.

Educational drawing at the Academy of Arts, “Fine Arts”, M.1990

Educational drawing, Russian Academy of Arts. St. Petersburg State Academic Institute named after. I. Repin, “Fine arts. M 1995.

Stroganov School of Drawing, Moscow State University of Arts and Industry. S.G. Stroganov. "Svarog and K.M. 2001.

Educational drawing. - M "Art", 2003-92p.

Leonardo da Vinci, Judgments / Leonardo da Vinci, -M, EKSMO-PRESS, 1999-416c

It is no coincidence that the study of head plastic surgery begins with drawing plaster models of the head. A plaster head is a good model, since it is uniform in texture and motionless, which facilitates the drawing process, conveying proportions and constructing the shape of the head.

Drawing plaster heads is also advisable because forms taken from reality have already been found and generalized in the works of great masters. This simplifies the task for the beginner, allowing him to concentrate all his attention on building the main parts of the model.

When starting to draw a plaster head, it is advisable to conduct a general analysis of its shape and become familiar with the diagram of the main planes that form the volume of the head (Fig. 26).

If you have a choice of plaster casts of ancient heads, then it is better to start drawing with more generalized models, such as Doryphoros, Antinous, Apoxyomenes, etc.

When starting to draw a plaster head, you need to take care of its placement and lighting.

The surfaces that form the head and its volume are best revealed by an artificial light source illuminating the head from above at an angle of 45°. Too dark shadows on the model’s head should be softened by placing white paper or drapery nearby, which gives the necessary reflexes.

For the first drawings, the head should be placed at such a height that the eye level of the person drawing is at the eye level of the plaster model.

Another important condition for the work is to maintain the position of the nature and a constant point of view on it during the drawing process. You should not sit too close or too far from the model. The distance from the painter to the model should be equal to three times its vertical value, which will allow you to clearly see the details and monitor the overall construction.

Rice. 26. Diagram of the main planes forming the volume of the head

Before you start drawing, you need to take a good look at the nature from all sides, note the features of the shape, tilt, and turn of the head. You need to choose a point of view on nature and determine the size of the drawing (usually a little smaller than life).

The head is placed differently on the plane of the sheet, depending on its tilt and rotation. In the drawing, the shape of the head is placed slightly higher than the middle of the sheet, since the lower part of the face exceeds the frontal part in terms of the number and expressiveness of details, which will make the drawing not seem shifted down. The profile image of the head should be positioned, leaving more free space in front of the front part, so that the face does not appear to be “buried” in the cut of the sheet.

Rice. 27. Sequence of drawing a plaster head in an upright position

Let's consider the sequence of drawing a plaster head (Fig. 27).

First stage(Fig. 27, a). We determine the general compositional placement of the drawing on the sheet. Using light lines we outline the total mass of the head and its movement in relation to the neck. By drawing the middle axial lines along the oval of the head and neck, we clarify the tilt and rotation of the head. We draw a horizontal line passing through the tears of the palpebral fissure. The profile line divides the head in half. The intersection of the middle and horizontal lines - the “cross” - gives the position of the head in space and a clear division into the facial and brain sections.

Second phase(Fig. 27, b). We divide the facial part into three equal parts: frontal, nasal and labio-mental. In the upper third we outline the volume of the forehead and the configuration of the hair. In the middle - the location of the eyes, nose, eyebrow line, cheekbones. In the lower third we outline the mouth gap and the groove between the lower lip and chin.

While working, we check the paired planes, identify the shape and volume of the head (temporal lines, frontal tubercles, eye sockets, cheekbones, chin eminence, width of the upper and lower lips). We clarify the boundaries of the transition from the front to the side surfaces of the head volume.

Third stage(Fig. 27, c). We continue the linear constructive construction of the head shape. We move on to working out the shapes of smaller details: eyelids, eyes, nostrils, lips, hair, etc. In this case, you should remember about the interrelation of details and the laws of perspective reduction.

Fourth stage(Fig. 27, d). To give the drawing volume, we begin the cut-off modeling of the shape. We determine the lightest and darkest places and tonal transitions. It is better to initially leave illuminated surfaces untouched by strokes. Gently and gradually work on the halftones when transitioning from light to shadow, paying attention to the reflexes in the shadows.

In the process of drawing, it is necessary to strive for the integrity of the drawing and avoid tonal diversity.

We looked at the sequence of drawing a plaster head in a frontal position.

Rice. 28. Stages of drawing a plaster head in rotation

In Fig. Figure 28 shows the stages of drawing a plaster head in rotation. In this case, the same sequence is maintained, only it is necessary to take into account the perspective reductions of the surfaces of the head and its parts: nose, eyes, forehead, cheekbones, mouth.

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:

1. Eye sockets and orbital sockets
2. Zygomatic points
3. Frontal tuberosities
4. Chin point
5. Angle (point) of the lower jaw
6. Highest point on the skull
7. Temporal points (how they are formed, we will tell below)
8. Parietal tubercles on the back of the head

Axes dividing the head into certain parts:

1. The line dividing the head vertically into two symmetrical parts is red.
2. The line dividing the head into the upper cranial part and the lower facial part runs along the brow ridges - blue.
3. The line dividing the head into the occipital and facial parts passes through the highest point of the skull and the ear openings - green.
4. 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.
5. 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