A SHORT CHAT WITH THE READER of drawing, the chances are that we will do the jawbone

and features to it. Some years ago just the wrong thing. Instead of moving an eye I hit upon this
plan and made it the basis of my into its socket, we trim down a cheek; if a jaw first book, Fun
toith a Pencil. I am happy to say line is out, we add more forehead. We should that the plan was
received with great enthusiknow, in first laying in the outline, that the asm and is now widely use
d by whole head is in construction. This I am sure professional artists. Any 9 / 141 you can learn
from the pages that follow. proach must presuppose
Arts The big difference between the completely and its points of division. I am
casonamateur attempt and the well-grounded ap- able to start drawing a wheel with a
square as proach is that the beginner starts by setting it is to start drawing a head with a
cube. By eyes, ears, noses, and mouths into blank white cutting of corners and further
trimming the space, surrounded by some sort of an outline square you could eventually
come out with a for the face. This is drawing in the two dimen- fairly good wheel. You
could also chip away sions of height and width only. We must some the cube until you
had a head. But at best it's how get into the third dimension of thickness, a long way
around. Why not start with the circle which means that we must draw the whole or ball?
If you can't draw a ball, use a coin or head as it exists in space and build the face upon
a compass. The sculptor starts with a form of it. By doing so we are able not only to
place the general shape of the face attached to the the features, but also to establish
the planes of ball of the cranium. He could not do otherwise. light and shadow, and,
further, to identify the present this simple plan in this volume since humps, bumps, and
creases as being caused it is the only approach that is at the same time by the
underlying structure of muscle, bone, creative and accurate. Any other accurate apand
fat.
proach requires mechanical means, such as the To help the beginner to start out with
this projector, tracing, the pantograph, or using a third dimension, many approaches are
suggested squared-off enlargement. The big question is by various teachers. Some use
an egg shape; really whether you wish to develop the ability to others a cube or block.
Some even start with draw a head, or whether you are content to use one feature and
start building the form out mechanical means of projecting it. My feeling around it until
the whole head is encompassed is that, if the latter were the case, you would not
However, all these involve many chances for have been interested in this book. When
your error. Only the front view of the head looks bread and butter depends upon
creating an abso We an egg, and even that gives no line of the lute likeness, and you
do not wish to gamble, jawbone. In profile the head is not like an egg make the best
head you can by any means posAs for the cube there is no accurate way of sible.
However, if your work is to give you joy setting the head into it. The head is totally and
the thrill of accomplishment, I urge you to unlike a cube from any angle. The only value
aim at the advancement of your own ability. the cube has in drawing heads is to help set
the The drawings on pages 14 and 15 show the construction lines into perspective, as
you will possibilities of developing all kinds of types out learn later.
of the variations of skulls. After you have learned It seems more logical to start with a
shape to set up the ball and plane, you can do almost that is basically like the skull, one
that is simple anything you please with it, fitting all parts into to draw and is accurate for
purposes of con- the construction by the divisions you make struction. This can be done
by drawing a ball across the middle line of the face. You have at resembling the
cranium, which is round but your disposal jaws, cars, mouths, noses, and flattened
somewhat at the sides, and attaching eyes, all of which may be large or small. The