| Line the base of the nose passes through the root of the nose and the lower edge of the zeugmatic bone. Between the lines of the base of the nose and ears are superciliary arches. Knowing this pattern, the student quickly and correctly identify the head position in space. For example, when drawing plaster heads of Apollo , having a very difficult slope and rotation, the student usually finds it difficult to determine how the head is tilted: down or thrown back up? Knowing the same features as structural layout of the structure forms a head, the painter can easily determine the position of head in space, is only to determine the location of the ears against the base of the nose: if your ears below the base of the nose, head thrown back up if your ears are located above the base of the nose and brow arches, his head is slope downward.
Line the base of the chin is on the middle ledge in front of him edge of the jawbone.
Segment of the superciliary arches to the base of the nose, in turn, is divided into three equal parts: between the first (from the superciliary arches) and the second part is the line of the cut eye, which crosses the corners of the eyes, nose and beak, or rather, through the seams connecting the temporal and the zeugmatic bone. The line cut eye can also be divided into three equal parts between the extreme corners of the eyes, in other words, the distance between the eyes is equal to the eye. Knowing this law, the painter will be able to avoid an optical illusion. For example, drawing from nature's head of Julius Caesar, students often make the mistake of having my eyes close together. This is because the long, thin, especially in the nose, the nose gives the impression as if the eyes are located close to each other. When the student measure the distance between the eyes, make sure that it is equal to the eye.
The distance between the base line of the nose and chin, the base line can also be divided into three equal parts, between the line of the base of the nose and the second part is a cut lip line, which runs along the border of the upper and lower lips, touching the corners of the lips.
Memorizing the patterns of division heads into proportional parts, the artist should not exaggerate it, and constantly check the proportional relationship in the figure with a ruler and compass, they do sometimes students. Repeating the words of the great artists of the Renaissance, it must be said that the ruler and compass should be in the eyes of an artist, not in your hand: the hand causes the image on the paper and the artist's eye checks its validity.
Thus, summing up, we can summarize that in studying the human head of great help the artist has the knowledge of the basic laws of the constructive structure and the ability to express in a drawing this line-constructive basis of the form.
Hence: linear constructive image of a human head is as follows: first, represented by the general shape of the head, but without the use of colors (chiaroscuro), only some lines that indicate the boundaries of the planes delimited form of the head from the surrounding space. Then on the front of the head is held the line profile, which is divided into three equal parts, and through these points are held constructive baseline cover the hair, superciliary arches, base of the nose and chin. Having received the necessary guidance, outline the main details of the nose-prism, spherical eye shape, the generalized shape of the lips and chin. All this still represented only one line, so you can make the necessary adjustments. Lines by which portrayed constructive framework forms helps the artist get right pattern of the structure of the form.
Outlining linearly constructive picture beginning to carefully specify the nature of form as the whole head, and each of its parts, achieving full compliance with nature.
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