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06 Constructing the Head and Hands

06 Constructing the Head and Hands

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Published by Kevin Denon Steele

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Categories:Topics, Art & Design
Published by: Kevin Denon Steele on Dec 26, 2010
Copyright:Attribution Non-commercial

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05/12/2014

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Famous
ArtistsCourse
FamousArtistsSchools,lnc.,Westport,Connecticut
Constructingthe
h~eada:nd!
hands
lessonAlbertDomeFredludekensNormanRockwellAIParkerBenStahlStevanDohonos
JonWhitcomb
Robert
FawcettPeterHeickGeorgeGiustiAustinBriggs
HaroldVonSchmidt
COPYRIGHT
©
1960,FAMOUSARTISTSSCHOOLS,Inc.PrintedinU.S.A.
 
2
CourtesyMetrop
r
Q
(fanMuseum
of
Art
 
Drawingthehead
Thinkofanyoneyouknow-andyouinstinctivelythinkofhisorherface.Thesimplefactis,thefaceidentifiesandsetsaparteveryindividualonearth.Ourownfaceisjustasmuchapartofourpersonalityasouremotions,ourthoughts,ourlikesandourdislikes.Theseshowplainlytoothers,whetherwethinksoornot.Wethinkofandconstantlyjudgepeoplewedoordon'tknowbywhatweseeintheir[acesandwecannotdenythatwearemovedbythefeelingsoflove,hatred,amusement,disgust,andpityweobserveinthem.Infact,alltheemotionscanbeobservedintheface.Inmostpicturestheheadisthefocalpointofinterest.Itsat-titudeandexpressionquicklycommunicatetheideaofthepic-ture.Itexpressesthehumanrelationshipsbetweenpeople-bridgingthegapbetweenthesubjectwhohasbeenpaintedandthepersonwhoviewsthepicture.Theartistwhounderstandsthisandusesittofullestadvantagewill,indeed,besuccessful.Youhavebeenlookingat[acesandreactingtothemallyourlife.Fromnowon,however,youmustseethemwiththecareful,observanteyeoftheartist.Asyoustudyfaces,youwillseethattheyfallintocertainbasicgroups-thebroad,thelean,theround,theflat,thestrong,theweak,thehomely,thebeautiful.Theymaybeyoungorold.TheheadsontheoppositepageareareminderofthewidevarietyofhumantypesandexpressionswhichyourFacultymembershaveusedtocreateanemotionalresponseinmillionsofpeople.Thesedrawingsaresuccessfulonlybecauseeachoftheartistsfirstlearnedhowtodrawasolid,well-proportionedheadinanyposition.Thisiswhatyouareabouttodohere-learntodrawtheheadsothatithasthesolidityandconvictionofformsymbolizedbytheclassicalsculp-turedheadonthefacingpage.Theheadismorethanasolidform-itisaformthatex-pressesattitudeandemotion.Ourfeelingsarecommunicatedbythefeatures,andeveryartistshouldbeawareofwhateachonecancontributetoanexpressivedrawingofthehead.
Theeyes-themostexpressiveofthefeatures
Theeyesarethemostexpressivefeaturesoftheface.V\Thentheeyesareclosedorhidden,themostvitalimpactofthefaceislostandmostmeansofexpressionaregone,Generally,beautifuleyesarenotsetclosetogether,noraretheysmallortoodeep-set.Theeyescansometimestell,morevividlythanwords,ouremo-tionsandmoods,andusuallywecannotconcealtheseemotionsevenwhenwewantto.Theeyescan,morethananyotherfea-tureoftheface,betrayalltheemotions,fromhatred,contempt,indignation-tolove,tragedyandjoy.Infact,almosteveryhumanemotioncanbetransmittedbytheeyes.Directlyabovetheeyes,theeyebrowsfollowtheupperridgelinesoftheeyesockets.Theeyebrowsareonlytworowsofsmallhairs,buttheyhavegreatimportanceinshowingemotion.Theyaretheexclamationmarksoffeeling,emphasizingthemoodshownbytheeyesandtherestofthefeatures.Shock,suffering,
3
terror,oramusement-deepemotionsorfleetingsentiments-areinstantlyregisteredbytheeyebrows.Butevenwhentheyaremotionlesstheymakeadefinitecontributiontotheeffectoftheface.Beautifuleyebrowshelpcreatebeautifulfaces.Shaggyeye-browshavealwaysbeenlookeduponasasignofforceandviril-ityinyoungmenandauthorityinoldage.
Themouthshowsemotionandcharacter
Nexttotheeyes,themouthisthemostexpressivefeatureoftheface.Whenthemouthisinrepose,youcanseeitsfull,normalshape.Thisshapechangesgreatlyundertheinfluenceoftheemotions.Themovementsofthemouthcanshoweveryfeeling.Thelips,turnedslightlyupwardsatthecorners,mayindicategoodhumor-whentheyareturneddown,wereadunhappinessormelancholyinthem.TheycanshowdeterminationorIrus-trarion,ortheycansignify,withoutwords,distasteorthedesiretobekissed.Themouthlaughs-itcries-itshouts-itwhis-pers-itsings.Itsbeautyliesnotonlyinitsshapebutinitscoloraswell.Inwomen,thesoft,appealingredlipshelp
to
createsexappealinpictures-astheydoinreallife.Bothnar-rowandbroadmouthscanbebeautiful,dependingontheirproportiontotherestoftheface.Theshapeofthemouthmayalsoshowcharacterinbothmenandwomen.Thebroadmouthusuallysuggestsgenerosityandfriendliness-thethinmouth,sternnessorpettinessofnature.Theseassumptionsarenotal-waystrue,buttheyholdgoodinpictures.Youcannotconsiderthemouthapartfromthechin.Thechincanalsohaveadecidedeffectuponthecharacteroftheface.Asquare,prominentchingivesalookofaggressivenessandde-termination.Arecedingchinsuggestsalackofstrength.Inwomen,theroundedchinisusuallymostdesirable.Ingeneral,aprominentlineofthejawsuitsamanmorethanawoman.
Theotherfeaturesplaytheirpart
Inapictureofabeautifulwoman,anelegantlyshapednoseisalmostanessentialrequirement.Whileyouhavesomechoiceas
to
thetypeofnose,itmuststilIbewellshapedtoconformwithabeautifulanddelicateface.Indrawingahandsomeman,manylibertiescanbetakenwiththesizeandprominenceofthenose.Thenosecanbeusedverysuccessfullytohelpdevelopandportraycharactersofmanydifferentkinds.However,youshouldalwaystakecarethat,nomatterwhatthegeneralcharacterofthesubject,thenoseisalwayscorrectlyrelatedtotheotherfea-turesoftheface.
J
ustasthenoseliesbetweenandinfrontofthecheeks,theearsliedirectlybehindthem,onthesidesofthehead.Youwillobservethattheshapeoftheearvariesmostlyatthetopandthebottom.Atthetopitmaylooklikeahighorshallowarch,andtheturningoftherimmaybebroadornarrow.Thebot-tomoftheearformsalobeoritmaysimplyjointheneckwithoutone.Becauseofitswhorlsandconvolutions,theearhasoftenbeencomparedtoaseashell.Drawingtheearsproperlyisquitetrickyandtakesagooddealofstudyandpractice.

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