[Daniel Daigle]

Hi Brittney, I think the ultimate goal for the assignment is to be able to construct the head from planes without draw overs. But you can definitely do draw overs to learn how the planes work. If you are having any difficulty, you could print out the reference photo and then draw the planes directly on the reference photo. Then as the next step, draw the head, and then draw the planes on top of that head drawing with or without tracing paper. Then finally construct the head from planes alone, with no under drawing.
Good Luck!

[Daniel Daigle]

Hi Anna, if you have any specific questions, we will try to help you 🙂

[Daniel Daigle]

Hi Nino Academia, We are working on the subtitles as we speak 🙂
They will be out shortly

[Daniel Daigle]

Hi Brittney

Maybe think more 3-dimensionally. You could approximate the nose with box forms, spheroids and cylinders. But that doesn’t mean you have to draw the entire primitive form, maybe you should at first though.
I recommend these lessons, but keep in mind that the instructors are always thinking about 3-dimensional forms. No line should be consider a line on a 2d plane. A line is meant to represent a curve in 3d space that suggests a larger 3d form

https://www.nma.art/videolessons/head-drawing-1-with-charles-hu-part-5-facial-features/

https://www.nma.art/courses/constructive-head-drawing/

https://www.nma.art/courses/structure-of-the-head-for-beginners/

[Daniel Daigle]

Hi Brittney, I believe Steve intends for you to use primitive forms to construct the facial features. So you aren’t drawing some one else’s features, you are pushing the features you see closer to boxes or egg shapes or cylinders etc. while keeping the face looking like a face.
Steve is very subtle about doing this, you hardly notice it at first, but its what makes his artwork so easy to read I think.
I hope this helps 🙂

[Daniel Daigle]

Hi Susan, if you have trouble measuring the angles from life, you could try doing it from a photograph like this, I quickly did this in ms paint just to get the idea across, probably not 100% accurate.
But i highly recommend that you watch this lesson on measuring from observation
https://www.nma.art/videolessons/russian-drawing-course-part-3-measuring-from-observation/

[Daniel Daigle]

Hi Chris, in the first 2 minutes of the video below, Joseph talks about which paints he is using.
He uses whites that lean towards yellow, but his primary yellow pigments are Michael Harding Lemon Yellow and Bright Yellow, which is similar to cadmium yellow light.
https://www.nma.art/videolessons/zorn-palette-long-portrait-demo/?course=640269

I hope this answers your question

[Daniel Daigle]

Hi Andreas, Im not certain which paper Glenn is using in the video, but I do know that he likes to use waterbrush technique in his Molekine sketchbooks. In general, water brush works better on thick/heavy weight paper. If you’re not sure, watercolor paper should work well.

[Daniel Daigle]

Hi Daniel, It should work now 😀
Please let me know if you have anymore issues

[Daniel Daigle]

These are very nice Elizabeth 😀

[Daniel Daigle]

We hear you Sam, and we are currently working on this 😀

[Daniel Daigle]

Hi Christina, we are currently working on a track system. The link below will take you to the rough draft. Just click on the path you are interested in, on the flow chart, and that will link you to the recommended courses doc

https://docs.google.com/drawings/d/1snb6iXfrqL8p1IJ1GFVW3X-EjRvQ1tnHSqGsnRBkwXQ/edit

Again, this is a rough draft and will be continuously updated, so you may see somethings change.
Let me know if you have any questions 😀

[Daniel Daigle]

Hi Stephan, I am double checking with our team, but I believe this was done intentionally. One of the reasons we study master works is because the masters do a lot of problem solving for us. This makes it easier to see the use of the Reilly method abstraction after translation. Some times reverse engineering is easier than starting from the ground up.
As part of my practice, I like to do master studies before attempting to draw from life because it gives me a chance to practice the ideas the masters used while I am life drawing.
I hope this helps

[Daniel Daigle]

Hi Daniel, are you talking about the backside of the cylinder? Iliya is simply completing the ellipse of the base. He already drew one side of the ellipse from observation. The non-visible side is an exact mirror. The nonvisible point is simply the tangent point of the line projected from the light source. You can also think of the light source as a vanishing point in this way. Does that help?

[Daniel Daigle]

Hi Alexandra, Active and passive is similar to pinch and stretch. Imagine taking a pillow and folding it in half. The outside would be the stretched / passive side, and the side folded on itself would be full of pinches and wrinkles, the active/pinched side.
However, active and passive is not limited to pinch and stretch, it can be thought of as which side has more action, or corners or movement. In his demo, he has a relaxed arm that is passive and and an upright arm holding something that is active. In this case its pretty literal, the active arm is being flexed, its actively doing something, but it also has more lines and corners than the passive side.

I hope this helps 🙂

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