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    6 PDF

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    Utsab Karmakar

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    © All Rights Reserved
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    of 34
    Famous Artists Course Famous Artists Schools, Inc, Westport, Connecticut Constructing the head and hands ton Albert Domne Fred Ludekens Norman Rockwell AlParker Ben Stahl Stevan Dohanos Jon Whitcomb Robert Faweett Peter Helek George Giusti Austin Briggs Harold Von Schmidt Drawing the head “Think of anyone you know —and you instinctively chink of hit for her lace. "The simple fact i the face identies and sts apart very individual om earth, Our own face is just as much a part ‘6f our personality ss out emotions, our thoughts, our likes and ‘our dislikes ‘Thee show plainy to others, whether we think so fr not We think ofa constantly judge people we do or don't now by what we sein their fees and Wwe cannot deny that we ate moved by the feelings of love, hatred, amusement, disgust, Sd pity we observe in them. Ia. fac, all the emotions can be ‘byerved inthe face ‘In most pitres the head is the focal point of interest. It a tise and expresion quicly communicate the idea ofthe pi tue. Te expremes the human relationships between people— bridging the gap between the subject who has been painted and the person who views the plete, The arts who understands this nd wes io fullest vantage wil indeed, be succes "You have ben looking at faces and reacting to them all your life From now on, however, you must see them with the earful observant eye of the artist, Ar you study faces, you wil see that they fall into certain basic groups dhe broad, the Jean, the round, the fat che strong, the wesk, the homely, the beautiful ‘They may be young o a, The heads on the opposite page are a reminder of the wide variety of human types and expressions ‘which your Faculty members have used to create an emotional Tespome in millions of people. These drawings are successful ‘nly Because each ofthe arse fist learned ow to draw a solid well proportioned head in any postion. This is what you are bout to do here learn to draw the head so that it has the {oldie and canvction of form symbolized by dhe clasical sup ead on the facing page ‘The hea is more than a sold form —it isa orm that ex: pres attitude and emotion. Our feelings are communicated by the fenures, nd every artis should be awate of what each ont fan contribute to an expressive drawing of the head The eyes — the most expressive of the features The eyes ae the most expresive features of che face, When the yes ate closed 0 hidden, the most veal impact of the face Is Towt and most means of expression are gone. Generally, beautiful jes ae not set lane together, nor ae they sal oF too deepoet "The eyes can somtetine tell, more vividly than words, our em tions and moods, and usually we cannot conceal these emotions even when we want to. The ejes can, more than any other fea ture of the fee, betray all the emotions, from hatred, contempt, indignation to love, ttagedy and joy. In fat, almost every human emotion can be tansmitted by the ees. ‘Directly above the eyes, the eyebrows follow the upper ridge lines of the eye sockets. The eyebrows are only to rows of all Insts, bat they have great importance in showing emotion, ‘They are the exclamation marks of feeling, emphasizing, the mood ‘shown by the eye and the reat ofthe features. Shock, slering, terror, oF amusement —deep emotions or leetng sentiments ~ fre inuantly registered by the ejebrows But even when they are motionless chey make a definite contribution tothe effect of the Face, Beautiful eyebrows help erate beautiful faces. Shaggy eye brows have always been looked upon asa sign of fore and ir ity im young men and authority in old age, ‘The mouth shows emotion and character [Next tothe eyes the mouth is che most expressive feature ofthe face. When the mouth isin repose, you ean see is fll, normal shape, This shape changes greatly under the influence of the femotions.‘The movements of the mouth ean show every feeling ‘The lips turned slightly upwards atthe corners, may indicate ood humor — when they are wormed down, we read unhappiness fr melancholy ia them. They can show determination oF fru tration, or they can signify, wiehout words stste or the desire to be Kise, The moith laughs ~ IC eles —it shouts ~ it whit pom —it sing. Te beauty les not only in its shape but in is floras well. Tn women, the sole, appealing red. lips help to teate sex appeal in pietures~as they doin real life. Both ar row and broad mouthe can be beautlful, depending on their proportion to the rest ofthe face. The shape of the mouth may Slo show character in both men and women, ‘The broad mouth tually suggests generosity and {riendliness—the thin mouth, Sternness of petinest of mature, These assumptions are not a- ‘ways true, but they hold good in pietures. ‘You cannot consider the mouth apart from the chin, The ein can also havea decided fleet upon the character ofthe face. A Square, prominent chin gives look of agpeesveness and de termination. A receding chin suggests 2 lack of strength, In ‘women, dhe rotnded chin x sully most desirable, In general {prominent line of the jaw suits man more than @ woman, The other features play their part In a picture of a besuful woman, an elegantly shaped nos is los an esentfal requirement. While you have some choice fr tothe type of now, Te ust sill be well shaped to conform with a Beawtialand delete face. In deawing a handsome man Inany bese can be een withthe ize and prominence ofthe how The none can be ued ery sceesflly help develop and portay character of many deren kinds, However you should hay take cae that, no matter what the genera character of the subject, dhe nose is aay correty related tothe other fea: tures ofthe Face “est asthe noe Hes between and in front of the eee, the ais ie dtetty behind them, on the sides ofthe head. You wil oierve that the shape of the ear varies mostly atthe top and the bottom, At the top it may look like a high o shallow arch, tn the turning of the rim may be broad of narrow. ‘The bot fom ofthe eat form Tobe or ft may simply jin the neck Without one. Becaise of its whorls and cnvolutions dhe at has ‘tten been compared toa seashell, Drawing the eas properly i Gite wieky and takes «good deal of sualy and practice Femous Arts Course Constructing the head and hands: “6 “The centuries have tanght woman to make the most of her Irae and co use it asa means of decoration to frame the face [Av faions have changed withthe passing of ime and dictated ‘dnges in har style and color, she as made dhe most of ita Ihave the success artists who have painted her. The custom, forthe man, has generally been to cut the hai shor at frequent intervals so tha it served ava covering over the tp ofthe hesd and the back of the skull However, ever in these short crop- Pings men alo adhered to the syle dictated by the period Poets throughout history, have written about and sung of the beauty and color of women’s hair Indeed, some of the most beautiful lines ever written have been of the ha Finally we come tothe neck, The neck isthe key to the action ‘ofthe ead, since it enables the healt look up of down or turn to the sie, Don't drawe all necks alike they vary in shape from prion to person. A neck may be long oF short. thin oF fat. It the female, owing to the lack of any great muscular develop- Blocking in the head Ou this and the facing page are four views of a head — front view, sid view, theequareer front view, and three quarterback view. (The three-quarter front view is between the front and the side views, and the three quarter back View is beeween the side view and the straight back view) These step bystep demon: Serations give you a fundamental method for blocking in or ‘etching the overall shape of the hea! and locating the fea toes, Actualy, you'll nd that the shape of the head and the ‘ect size and location ofthe features wil vary with each in Vidal. One person's eat may be higher ~ another’ lower. One Imay have a shorter nowe— another's may be longer, ete. How- ‘ver, these principles of construction and proportion wil help Front view ‘tnt ot an pe oe See ton rent, itis willy round and smooth, at leat in the young. In the male, and expeintly in athletic sind old men, ic wl shove well tefined snd prominent muscles, These are more pronounced when the neck is inaction Ahead is aot just a shape; iis a vital, expressive thing with motives and character which you must like or dsb, agree with fredingree with. There is no such thing a+ an inanimate hesd (escept 1 dead one —and even then ie must look dead). A head Laughs, weep, Bellows —shows sprite and anger. Ie must be either fat, thin, long, square, round, mean, kind or omery. It tur represent some type of peron of character, and must a trays communicate sme emotion or create sme kind of re tion in you, Even when asleep, the head must show either Fepowe or the fact thatthe subject i having «good or bad dream Ima picture, a head must always show an expresion of some Kind because the viewer mut fel tht he is loking a a Bving breathing person you get started. For this demonstration we have selected a man’s head Because the hair is ahotter and the bone structure is more apparent than in a woman, To draw each of these heals we start with simple shapes. Tn Arawing the front view of an average head we begin ith an cag shape. When drawing a side view we modify the eg becuse tthe projecting chi, ‘Learn these simple shapes and measorements. They will give you a base loundation of knowledge for drawing heads in any postion, When practicing the hend, draw de features very sim: Diy at frst, Later on, we wil ake up the features in deail and how how to vary the basic head to create diferent types. oy iter en ine bar awe ho tra hn ac re nd feel Lesion Famoos Ais Couns Constructing the head and hands Drawing the head indifferent positions On the last two pages we showed how to draw the head and lo cate the featores ina fev simple views Actually, ahead is hardly fever seen in there “sraighton™ views, Ie usualy tilted oF leaned to onesie or the other; ie may be ooking up or down for be tured in a diferent direction from the body. In these ‘ted postions it will not be possible co measure off the lca tions of the fentores the sume way we iin the straight views. ‘We will have to rely on our eye to tell ue ifthe fend is core raven, The drawings on these two pages show why this i 0. In the drawings, the frst thing you will notice is thatthe “measuring ines" become curves or ellipses a they rm around the solid form ofthe head. A good way to study how tilting a fects these lines ito draw a simple eof guidelines und features ‘onthe shell of an egg as we demonstrate atthe top ofthe page. iy sudying what happens to these guide Hines athe egg is ted and by making many sketches similar to those at the bottom of the page, you wil learn to estimate the placement and direction ofthese various lines correctly. Ax yo work, remember to draw tDyough so that you vill understand what happens on the far Sde of te form 36 well as on dhe side which You can see. In this way you can relate the various features and planes of the head correctly. "You will notice on the drawings below chat line runs down the middle ofeach face, ‘This isnot the simple guide line you frst put down the center ofthe fae, Tt actualy goes in an out ‘over the vari fetes, ack-under the chi, sown she neck find onto the chest, Thi line helps place the Features in the Correct postion and atthe same angle a the head. Ic alo eta lishes the proper depth of the now and wnderpart of the chin In actual practice it i not slweaye necessary to dre this line, ‘but you should at Teast imagine ‘At this stage. draw dhe neck as a simple evlinder whieh fis ‘onto the upper torso. Notice that tis somewhat lower in front than in back, In your more finished drawings you wil suggest the muscles and tendons ofthe neck ~ bt take care not to lone Seen = ra Ry fe Segond So ech oa \ Lesion Fomous Arie Course Constructing the head and hands You learn to draw by drawing — WWE So far we have been concerned with drawing dhe basic head in dlilferent postion. Now we wil begin to we Ito ceate various human types. While ll ofthe heads on these pages difler some: what from the simple head discusied earlier, the stroctre of cach ell bated mi — So that you can sce how thee heads are developed, we showe \ four tepystep drawings ofeach. Actually, each step Hy not a separate sketch, but isa more developed sage of the preceding ‘one It takes sone practice to lien eo dra the head well ~ but remember, the more hea you drat, he more silfal you will ‘become in drawing the. Fomous Artis Course Constructing the head and hands, wv “6 aon Famous Ais Count Constructing the head and hands nN The features Every ats since Leonardo ca Vine has fund the features an ‘cng and insigung subject to draw. No two faces are fey alles evely ct of leas cal for some sty and 0b ‘Ervidon, Badly, however, oe fae is very nue Ike the hext it has tno ches nove, mouth, x ha, ee, When you tov leaned to raw the etre incorrect relatos exch txer and tothe entire fae you wil have learned the bai or tawing convincing beads and eventually specie people. ‘this sation ofthe leon we aball ty the baie con tion of ech of the textures and mae a simple drawing anal ff ther, so tht yu will undertand them in detail. Then ‘we Shall pt them altogether ance howto dra them I co bina. Here we sal concentrate on standard oF tpi fx fhrer~ later on in our Coure we all aud Row to ees erent ypes of characters by varying the normal features The eye Besides being dhe ost expressive estar of he fete ee is {he moxt dlicate: Nate hs proece ie well, however. Tes et deep in a Bony recs in the faethe eye socket. Above, the tye is protected bythe frontal bone ofthe forehead below by {he checKbone, and on the far side by the os. You mu lice the eye acuratey inthis socket. “The eyebal is round in shape, Keep this in mind when you dre ft ever though you show only small par of the eye, the pare should sages feling of roundness “Tce pars of the eye are of parla importance to the sus One i the small dark center, called the pope through hich we se Sinvosndng the pupil ra colored area called the irs Around this seh white of the eye Since the eye i alvays thoi ie retlet ony ight tha sities This relletion forms 2 Bright spot which we call a highlight. Where his high light wil be depends upon the direction from which the Hight is Sorsing. In sy picture in which the eyer ate compieuo, the igh igh fa meer detail ~ place with cre "The eye has two lids o protect tan upper ane and lower one. The upper i isthe more active and moves up and down ‘over the ete exponed pate of the eye. The lower lid is almost ‘sion ~ ie moves very ide "The upp and lower sae ingd with nse These shade the eye a serve a senitiveIeles to protect it~ the instant they ate touched the eyes close instinctively "You will noice that there is'a diferenee Wetwetn the inner and outer comers of the eye, At dhe outer corner the upper lid ‘overhangs the lower one. At the inner comer, when the eyes are ‘open. the lis do not unite they are separated by 2 narrow recess of pinkish membrane. From this point the upper Hid rises sbrupely and caves over the round form ofthe eyeball to join the check tthe outer comer of the eye. The lower Ti, whic is thinner than the upper, curves gently downward rom the inner comer to point beyond the center of the eye. Then it curves upward, meeting the upper Hid almost ata right angle, How to skotch tho oye and lids Geo» Teg aren te a D> D> Poet tp 3 ee Beas ~ Mae ae ee ope we baer ed ee Ly Me ee ah i toe pt fe ti O won Fomous Arias Course 4 Constructing the head and hands The nose "The nose isa Tong, wedgeshape form, wide and chick at the bottom, narrow and thin atthe tp. TCs joined tothe forehead bbyameher small wedge shape form. Feel your oven nove and observe thatthe upper par hard the nose bone influences the general shape of the nose. For ex Ample, ifthe nose bone projets prominently the nose akes the shape we call aquiline or Roman. Ifthe bone is broken, ax it often iin prize fighters, the nove becomes fa, In «prety gi, the bone i ikely wo be shore, wi a slight inward curve. Five pieces of cartilage muke wp the lower pat ofthe nos. : srt thn Te cing erie and rep 0 SS Q) Ne the pul fhe fa me They mae he mt en Capt ar or sgsrine mos wey Ti part ofthe nose continues to grow and change shape with uge fam seg om te pat eo), she) - ate ih sreennty teen moe een oo tech etre at be pg food ey ago Wm The mouth Just asthe nose builds character i the face, the mouth gives it ‘ulmuation, No feature in the entire head is more exible. From rmament to moment, from mood to mood, the mouth iin action, ‘hanging ite sie a shape. ‘Athoagh the moueh i all Hes, owes much ofits shape to the hone and eethacrom which i¢ etches For dramatic prook of this obmerve a person who has Tox his teeth. His mouth is Toove aid sunken in and lem of the ips shows. The more the “dental arch” curves the more the mow curves, ‘The upper lip is quite dillerent fom the lover one. To grasp this dierence quickly and draw the lips coreeety eis help to think of the upper lip as having thre sections and the lower ‘one as having ony two. Always consider both lips in relation to fic other don’t draw then separately. "Examine the illustration of Ube mouth in profile and you will sce tha the lps are loeted on an imaginary line sloping back ward fom ne the tp of the nose to the furrow atthe top of the chin. Naturally, this vaties wid individual It is extremely important to place the corners of the mouth correctly in relation to the center of the lips. We ean best see ow the mouth curves toward ts corners in a three quarter view. ‘Where the comer ofthe mouth runs into the Hes fullness of the lower check there i light depression oF hollow. Study it Carcluly, This hollow is usually more pronounead on man than on & woman, ‘As the corners of the mouth are pulled back in a laugh or smile, the upper ip tends to become straighter and dhe lower lip more curved. When the mouth is open, as in a smile the upper teeth are visible, but we seldom Sce much of the lower teeth except in extreme action of the mouth ‘Ofcourse mous vary a gueat deal from the “ideal” ones we discuss and picture here. Some lips are thicker and others thin ther, But moat mouths ae cansrated 9¢ we describe them The chin “The chin sticks forward or “bulges” mos just above its center, “This i eases to sce from the side. From the frone the chin ap- pears nearly straight acros the bottom, with a slight depression fr dentin the center. Like all of th other features, chins vary Troan person to person. You will notice that one person bas & round chin, the next person as 4 pointe chin; chins may be rarzow or broad or Nat and square: Some chins hae a dsinct yy w ite a) {ae sap heme dp Tardy ce creo +2 teson Femous Ariss Course 16 Constructing the head and hands The ear When you draw the ear its important to place i in its corect in the lewon position on the ead, as we demonstrated earlier "The top of the ear eon line with the eyebrow. dhe bottom of the cari on line with the base of the nose. Tn 2 side view the front ofthe ear ison 3 line halfway between the front and the buck of the head, The sdewiew diagram shows this and the angle ofthe ear in relation to the now. ooking atthe eas from the font, you can see that the slant oxen and in, parallel to the sloping planes of the side of the head. Always draw the ears dose to the head unless you are drawing a specif person whove ears project away from it Ears vary greatly from person to person, but they all have the same hare “shell ike" constrtion. The er ie mostly made up ‘of cartilage, with a sft, Reshy lobe atthe bottom. Tn the mide there is'a “bowl” shape whichis surrounded by whorls and curves. These curves are diferent in diferent people. Their most ital desig is dhown in the drawings here, Helpful suggestions for studying the head and features You, as a student, wil find it rewarding to pay close atenion to hele details that give life and reality toa feature or a face. ‘You should make many sketches of ll par of the head. As you sy and pot down on paper the tinge you obser, your owledge ofthe head wil Become deeper a more inmate "A knowledge of the basic construction of the head ~ of its planes, ormsy and featres is of fmmensirable belp. Te gies ou the sold foundation on which you can develop sucessful Tished drawings. But, important as this knowledge i, again eee ee ‘ ‘we with to impros upon you that the final answer to Iearning. Tow to draw people TO DRAW REAL PEOPLE ble f Dog ght no to looked you~ eo dy and shh all he , the people who make up your life your family your tends hs to tp yor rs tort a secre Sout nh. Peple hove tobe seth and wl aly oa Tory Observe everyone claely note hi eye the shape of 1s Ror nouth, the spec character of fs fet ll aye Isic ere irene peste sd yo wil lia pnt deal i you will only SEE, OBSERVE, AND DRAW them, ‘Cary a sketchbook with you constantly, and draw the persons yo ace when riding the bus or waiting snywhere. Make quick eches of their heads, noting anything tha i diferent about them. Your sketchbook can ft into your pocket and be in your hands ian insta to record what you see. Every great arise A tha been helped inno small measure by his most faiful frend _=hisskeichbook, a set he aes | You leer fo draw by drewing Lets Male and female heads -— differences When we draw male and female hends, we usally follow certain ideal standards designed to make our men look really matculine, our women realy Feminine. ‘To achieve these eles, cere ae a mumber of outxanding diferences between the male and female heads that we me tke into sccount. The strongest liference isn the shapes that make lip the head, In the male these are usvally angular —con trasting sharply with the rounder, softer forms in the Wo ran’ face, sthich How gracelully into one another. ‘Ara rule, the bony sructre is more pronounced in the male head, particularly in the bony ridge above the brows the angular jw, andthe square chin. Ta dhe woman, all of these fentures tend 40 have smoother, gentler curves. Her face tends to be oval shaped, as opposed to the man’s, which wwe show a more blocky and rectangular, “There ia diferencein eyebrows oo. Generally we make the man’s eyebrows heavier, straighter, and closer to the tes The woman's eyebrow arches upward, lesving Inger fea between it and the upper fi ‘A woman's nove and eas are amaller and more delicately

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