The Artist's Complete Guide to Drawing the Head
by Maughan, WilliamFormat: Paperback
Pub. Date: 2004-01-01
Publisher(s): PENGUIN
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Summary
In this innovative guide, master art instructor William Maughan demonstratesow to create a realistic human likeness by using the classic and highlyccurate modelling technique of chiaroscuro developed by Leonardo daVinciuring the High Renaissance.;Maughan first introduces readers to the basicsf this centuries-old technique, showing how to analyse form, light andhadow; use dark pencil, white pencil and toned paper to create full range ofalues; use the elements of design to enhance likeness; and capture aitter's gestures and proportions. He then demonstrates, step by step, how toraw each facial feature, develop visual awareness and render the head inolour with soft pastels.
Author Biography
William Maughan has taught advanced head drawing, head painting, and landscape painting at both the Art Center College of Design in Pasadena, CA, and the Academy of Art College in San Francisco. He lives in Napa, CA.
Table of Contents
| Preface | p. 10 |
| Introduction: The Drawing Method and Materials | p. 13 |
| Chiaroscuro | p. 14 |
| Sfumato | p. 15 |
| The Materials | p. 16 |
| Substitute Materials | p. 16 |
| Working with the Pencil | p. 17 |
| Drawing Shadow Shapes | p. 18 |
| Sharpening the Pencil | p. 18 |
| Principles of Chiaroscuro | p. 21 |
| Line Versus Value | p. 22 |
| "Lost-and-Found" Line | p. 23 |
| Value and Form | p. 24 |
| Paper + Two Pencils = A Full-Value Range | p. 25 |
| The Shadow Shapes and Their Edges | p. 26 |
| Form-Shadows | p. 26 |
| Cast-Shadows | p. 26 |
| The Shadow Edges | p. 28 |
| The Form in Light | p. 29 |
| Analyzing Form | p. 30 |
| Negative Shapes | p. 33 |
| Principles of Drawing the Head | p. 35 |
| Two Masses of Light and Shadow | p. 36 |
| Lighting the Head | p. 37 |
| Artificial and Natural Light | p. 38 |
| Light Advances; Dark Recedes | p. 38 |
| Single Focal Point | p. 43 |
| Perspective and the Three-Quarter View | p. 45 |
| Perspective | p. 45 |
| Planes of the Head | p. 47 |
| Foreshortening | p. 48 |
| Value Pattern | p. 52 |
| Addressing the Background | p. 53 |
| The Drawing Process, Step-By-Step | p. 55 |
| Sculpting the Head | p. 56 |
| Gesture | p. 57 |
| The Tilt | p. 59 |
| Proportions | p. 60 |
| Placing the Features | p. 62 |
| The Anatomy of the Eyes | p. 65 |
| The Orbicular Cavity | p. 65 |
| The Natural Slants of the Eye | p. 67 |
| The Eyelids, Pupil, and Iris | p. 68 |
| Positions of the Eyes | p. 69 |
| Drawing the Eyes | p. 70 |
| Highlights on the Eyes | p. 72 |
| Using the Paper Value | p. 75 |
| Examples of Eyes | p. 76 |
| Nose and Mouth | p. 82 |
| The Structure of the Nose and Mouth | p. 84 |
| Examples of the Nose and Mouth | p. 86 |
| Ears | p. 94 |
| Placement of the Ear | p. 95 |
| Hair | p. 100 |
| Troubleshooting Example | p. 105 |
| Putting it all Together | p. 107 |
| The Five Essential Drawing Steps | p. 108 |
| Review | p. 108 |
| The Demonstrations | p. 109 |
| Going Forward | p. 118 |
| Practice Ideas | p. 118 |
| Self-Critique | p. 121 |
| Taking Your Skills to the Next Level | p. 121 |
| Drawing from Multiple Sources | p. 123 |
| Combining References | p. 124 |
| A Demonstration | p. 126 |
| Examples of Composite Drawings | p. 128 |
| Working with Color | p. 133 |
| From Drawing to Painting | p. 134 |
| The Color "Wheel" | p. 136 |
| Complementary Colors | p. 136 |
| Color Intensity | p. 138 |
| Mixing from the Tertiary Colors | p. 138 |
| Color Temperature | p. 140 |
| Color Relationships | p. 142 |
| Warm Advances; Cool Recedes | p. 142 |
| Family of Colors | p. 143 |
| Expressive Color | p. 145 |
| Pastel Painting | p. 148 |
| The Materials | p. 149 |
| Caring for Your Pastel | p. 150 |
| Applying the Charcoal Pencil | p. 150 |
| Applying the Tone | p. 150 |
| Applying the Pastel | p. 151 |
| Painting the Background | p. 152 |
| Pastel Demonstration | p. 153 |
| Pastel Demonstration Two | p. 156 |
| Index | p. 160 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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