- Lesson Details
Although the large forms of the nose are quite simple, in this lesson you will learn how to apply cast and occlusion shadows to describe the nostrils and you will use halftones to clearly represent the anatomical structure of the nose.
This lesson includes both the reference image used in the lecture as well as a 3d model of the plaster cast for your assignment.
Kneaded and Hard Erasers
Roll of Paper, Smooth Sketchbook paper
Used in Lecture
Long point sharpener
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and the mouth, let's move on to a nose and practice all those
same things that we have been on figuring out what's going
on with the changes in plane, the principles of light and
shadow, and just sort of beginning to apply it to
something that we're going to be seeing over and over again
and just getting you accustomed to this kind of analysis.
the thing about a nose is that in a sense as a basic
the least complicated.
And we can clearly
establish this big pyramid
and then you kind of you see that that's pretty much
everything we need right. The one thing we need to figure out
is proportions, what the general proportions and tilt of that
pyramid is. Keep in mind right I'm tilting all of them a
little bit back right to to not just think of it as a specific
anatomical element because we're not thinking of it as
such, we're thinking of it as the entirety of the cast.
So right just figure out your height proportions to
just where the widest point is,
but do realize that the nose is coming off of a ground, if you
will. Right, the base which in
reality would be the rest of the face, right? So make
sure to get these planes ,these underside planes right wherever
you can of the cast itself, right? Because you want to you
want them to dictate and help you establish where you really
have like what the tilt of the cast in its
entirety is. Because here, almost more than in any of the
other casts we've done so far, more than in the eye and more
than in the lips,
you really need a clear distinction between the front -
the front plane and the side planes.
All the other stuff that comes off of that is
Okay, right just follow along that center line. I will
mention some anatomical
terminology. I'm not going to terminology. I'm not going to
go too much into it. But at the same time right there's an
interesting idea here,
that the whole point
practice these casts but then realize that after you
do a bit of work on anatomy and you figure out what the
underlying structures are in the skull,
you're going to -
I recommend that you come back and work on these casts again
with the that knowledge in hand, you know, I think it's
of course, you'll be approaching it in a different
way than before then without all of that understanding but
at same time I think the very fact that you have already - that
at that point you will have already been exposed to
it, it'll be tremendous which tremendous
assisting you with your learning. The important thing
right here of course is the tilt of the nose. I Tilt the tilt of the nose. I
don't think I have it enough. So I'm going to tilt that
further back a bit.
Now keep moving, step back.
See where everything is. And of course the particular tilt that
I see from my angle and most of the time, right, unless you're
looking straight on, you're not going to see the front plane
and the two side planes are just going to see the front plane
and one of the side planes, maybe a hint of the other one, but
hardly anything so
that's more important than anything else, right so
we can already see the emergence of this pyramid
right? It's that pyramid
the front and side planes.
See where you can show that.
But of course we have the whole cast, right, so you can see I'm
not - I'm being a little bit more organic, right? But here I'm
just going to show you that change in plane, right, that
front plane is narrower actually here.
a drop along the side plane, but then, right, the plane of the
base. It's soft, it's soft curve, but it's there.
So pay attention to where it's cut, where we've cut the -
not we, but where the sculptor who
prepared this has cut the nose out of the face.
And there we have it. I think we're kind of
okay. I might even say why not make it a little bit longer?
I think it's a little bit on the short side and I'm
just sort of gauging that entirely by eye.
Once it's in place,
once we have everything we need, let's just take the general
proportion that the general height, not just
the nose but the entirety of the cast. Of all the casts, of
course, this one is
primarily a nose. The other ones have other sort of
structures around it and all that but here,
I would say it's a one and three quarters
of the widest point from here to here, one and three
quarters. Not the most convenient measurement I've got
to tell you.
See if I'm right. That's 1
and 1 and 3/4. I think it's pretty good. Look at that. All
right, I think I mean and then we'll adjust it slightly up and
down as we need to okay. So but before of course we get into
before we get into all that enjoyable stuff we need to
outline some more areas, some more elements that are
Here's where I mean. It's kind of hard to not talk about
anatomy, right? So a way to of course - so this whole part
right, that you
are aware of, that sort of the bulbous
part of the tip of
the nose is just alright ,is known as the alar
Jesus, yeah. Cartilage.
And then this part on top is the lateral
So where that bulbous part ends, that's the alar cartilage.
Everything above it right here up until
this area, which is no longer cartilage. But the
that's up top here.
And then this part, which we're all aware right?
That whole area is - I'll just refer to it as the wing of
So the alar cartilage, lateral cartilage, and
a wing on both sides. So
that is all we really need here. So
try to get the form of all this as much as possible without
the shadows just at the moment, right? We'll keep
this. Now the important thing to realize is that the form of
it's not just a hole in
in this whole area. It's composed of - don't think of it
as a hole - don't think of it as the empty space of the
nostril, think of the construction of the nostril
from the outside in terms of these component parts.
So for example, you could see that this part of the
nostril's created by this lower edge of the wing
and it has - right
it's not just completely flat. It has a width of its own.
So let's just get that in place, at least for now.
That is its width. And now it's hard to see really but the
front part, right, and the inner part of the nostril is now
created by the lower part of the alar cartilage known as
the both of them are known as the crura,
you have the crura on top and you of the crura on bottom as
well. And that is that plural and it's crus. Each
one individual. So that is so
this is the crus here that's creating that
inner part of the nostril. Now I know I'm kind of
going over maybe a little bit
more than we need but at the same time
this will really come in handy when you come back and spend
some time on on all of this after having gone into some of
the more complex anatomy of the skull, right? That's the
idea. We're still primarily focused on just figuring out
what the structure is
based on what we're looking at, but I'm more so talking about
these terms not so much that you
somehow use them in a sense because you can use an anatomical
like a term to define a part and then to apply it. I'm
more so just giving you a general outline of what the
major parts are called so that when I refer to them, you know
what I'm talking about.
As opposed to me saying the bulbous part here, I can just
say the upper part of the alar cartilage before
the upper crura.
Or something like that, right? Up here somewhere. Or like the
lower part of the upper crura.
So I'm moving up the front plane of the nose.
And that's great.
Re-establishing that central line every time I go.
cleaning it up, erasing, you know doing all that stuff. Now here
it's important to try to to see where this ends and to bring
all the way down this whole part which we encountered in
the lips, right? This sort of trapezoidal concavity is the
And we really need to get it in its proper orientation. Most
likely we might need to enlarge that plane underneath.
We'll figure that out as we go, right. It's a very structured
plane and it's that cut, right, it's that cut which is going to
tell us what these changes in plane are.
Of course we need to find axis, right? We need to see
are converging properly in space.
And I think we're doing okay.
Oh and in case you want to know so that it's not just a random
like a term in Latin, a crura means
legs, so it's the he upper, it's you know, it's sort
of an extension so they called it a leg.
let's keep going.
I think we're okay. I would like to establish a couple of
changes in planes and some more -
some things that are more structural not so much
anatomical, if you know what I mean.
All right. And in a sense
I'm using the shadows if you will too, because I think the
shadows here they fall in line
quite well with the changes in plane, right so you can see
all of that.
Here the nose, the angle between the front plane
and the side plane
comes much closer to a 90-degree one.
Then of course,
we begin to flatten out a little bit
and you can see how the shadows are helping. Right? So
this is one of the more important elements here , right,
because it's this curved convexity, right that's
extending out here
in the middle part before we hit that side plane of the
In general though I'm kind of - I think we're at a good spot.
Right, so we're hinting at the planes at the same time as
just basically where the shadows are going to be. What
I'm going to do here though, which is slightly different
from how I worked the other facial features. The
other facial features. Is I'm going to actually place the
half-tones before I do the shadows.
So I'm going to do it with a slightly harder pencil,
right? Because I think that it'll be greater clarity.
This is not a big deal.
I'm just going to get a value, right, and obviously where I'm
shading now clearly that's going to be a darker value too.
That's all falling into shadow.
And now I'm just going to block this all
in because this -
and let's say for now this would be the value of half tone.
And we can extend this all the way into here even though it's
shadow or something like that. Don't worry about that. Right?
Just clearly the shadow will be a darker values. We we don't
need to concern ourselves too much.
see how that already begins to help, that already begins to
establish that like front and side and it's essentially front
Just gonna kind of rub that in a little bit. So it's a little
bit smoother, little bit softer.
And that's it. I'm not going to overstate this. I just want
that to be in place so that we have that clear differentiation
between front and side. It might become a little bit
lighter in parts. You might become a little bit darker and
so, you know all those adjustments are obviously
just part of the game here.
now it's time for, as you well know, the terminator. The hard
part here, right is that of course, there are no real right
angles and yet it comes much closer to having these sharper
edges than any of the other facial features.
So let's just get that terminator along that front
Now this is supposedly the nose from Michelangelo's David, but
comparing it to Michelangelo's David the sculpture in its
entirety, I'm somewhat skeptical even though there are
certain parts that are close,
that look alike. And then there are others that I kind of
think are just issues of angle are not. It could be just the way
that it's cut out of the head.
so that's why I'm hesitant to call it
the Michelangelo David nose. But it's a nose and it's a good
one in terms of construction. So that's why we're doing it.
Clearly you saw me to extend
that - you saw me extend that terminator into the core shadow.
The hard part here, right, as with the rest of the stuff that
because of the interference of light to make sure that we're
following principles when it comes to terminator, core shadow,
reflected light, cash shadow, as opposed to just observable
and somewhat accidental phenomenon.
So core Shadow, right, and the form of the nose. This is the
importance of establishing what the form of that nose is
before just placing shadows. And then this part right here
is already on that change in plane, meaning it should be a
slightly darker value ,should have a maybe slightly sharper
But will clearly make it seem as though on the page at least the
sides of the nose is casting that shadow onto the front
plane of the face
or that upper part of the orbit of the eye is what that
Yeah, let's keep going. Keep going.
Right away, because you don't want it - like I feel it could
be a bit too sharp right away,
I'm going to just work to extend that terminator into the
dark half tones
because if you really look, right, you can see that there's
an intermediary plane between front and side, right,
everything's organic. Right? So there's that intermediary plane,
front intermediary then side.
It's in between the two
where exactly and how will we have yet to establish that in
with greater precision. Okay, so I'm not going to touch this
right now, even though of course, there's something
a little bit more
topographical there, right? There's curvatures and that
side plane as I said, right, in general. There's a concavity
that there's a separation between what's sort of closer
to the front plane of the nose and then as a balloon
inflates out and then become side, blend all that stuff will
get there, but it's not shadow. So we need to take things step
Now I'm gonna - this is something
just going to warn you about.
The mistake that I see
all the time,
is that this area right here
is usually it's made as light as this.
I see this all the time. So the light on the wing
see is usually made much lighter. And the thing that you
have to remember is that the wing of the nose is on the side
This is extremely important. It's extremely important because
the reason is usually made to be look as light as that is
because it's surrounded by a shadow on the wing, the shadow
on the upper crus of the alar cartilage here, the shadows, cast
shadows coming off of the
wing, and so all of that creates a lot of small
And that is a problem
because it kind of makes it seem as though this area is
lighter than it is.
So that was essentially my main motivation for
establishing that halftone straight away. When you do have
a form that is sort of essentially just a little bit
more complex than a basic geometric, angular construction,
treat it like that simple construction. Establish the -
maybe even established the half tones before - I mean that
will depend on on where those shadows are and if
they're prominent or not, but establish that major
change of plane before making it organic, but that sort of
goes along what we have been doing up to this point. It's
taking organic elements, making them a planar and then
working to soften them back to something organic.
That's pretty much the process.
So a nose is perfect example of where this needs to happen.
Yeah a nose is a perfect example because it's organic
and yet very clearly a pyramid.
The eye what it clearly - by eye I mean the entirety of mean by I mean the entirety of
the eye -
with the orbits and all that stuff it's hard to say what
forms really are. There are a lot of things
in play there.
pencil is slightly -
always keep it sharp.
Do be mindful of course. Don't make them so sharp that they cut
the page. I think having extra sharp pencil may be a
little excessive but do keep them sharp as if you're doing
let's say if you're hatching then they need to be sharp. If
you're placing tone kind of flat tone or starting something
right, you just need a flow and you just need a
line, there's no need for the pencil to be that that
sharp. It needs to be usable, you to have the right amount of
graphite there, but
it doesn't need to be sharp enough to kill somebody, you
Okay, I'm liking what I'm seeing at the
moment and just going to keep going with this general core
on the wing of the nose and then cast shadow
coming off of the wing of the nose and here, right, using some
of these cast shadows. Look at that concavity. Look at that
concavity, allow these casts shadows from the nose to
inform the form, to inform the form. form the form.
All right. Let's just get a general placement of a tone
there. Nothing too specific, right?
It doesn't need to be
Let's see what we have. A B pencil, we're just trying to get
something. That's maybe just a tad
harder right to get some things here. Either way. I think it's
okay. Maybe right now
the hard part right is to define the forms when there's a
lot of structure inside of a shadow you could you have to
like pick your battles. If you know what I mean, you have
to really pick the parts of that structure that will give
you the most information without overstating or making
the shadow too active.
Just flatten it for now. See the nose as we have it on the
at the moment is rather structural.
Maybe more so than we'll of course need at the end.
And the wing of the nostril's been lost in there in that
thing and then
this tilt needs to be re-established and then some of
this placed to the side plane.
Yeah, now it's time to get a little bit more organic with
all this. So just going to get started on that terminator.
Right, the first place to go to get a full curvature to get as
much of this as possible is the terminator.
It's to extend that terminator out
into the darker half tones.
Right and you can see that these dark half tones are not
random either. Right, see what's happening. They
form a little plane. It's that intermediary plane. You can see
the sculptor, be it Michelangelo or not, was thinking.
Right, and now we're beginning to define like - and
it works to coincide with this trapezoid of the front plane.
It's unbelievable. It's really really enjoyable to see things
come together this way.
It works structurally. We could have placed at the at the
beginning but we could also see how it works now.
Now, let's keep going.
All right, so see the all along that terminator on both sides,
halftone side and the shadow side, of course, the core shadow
side we're really going to get that information.
It's going to keep going with this. What's interesting
is to really come up to the form and see what's going on.
That's the fun part.
You can see that there's this whole area. It's catching a
little bit more light and really don't forget that
terminator on the lower part of the width
wing of the nostril of the nose.
I always call it the wing of the nostril, but I learned not that
long ago that it's actually officially called the wing of
Which I like, there's something sort of poetic about imagining
that a nose can fly.
I'm just giving you a little bit of time to think about
Okay. Okay. See so now I'm really entering those
I'm entering those half tones. This is the end the bottom part,
still of course simpler, still maybe a little more planar
than we need to have it. But
of course correct
our center line.
Of course everything's more rounded, but we just have
established that trapezoid of front plane, right, and
I like the fact that we are actually
arriving at that trapezoid of the front plane, not by sort of from play not by
intentionally placing and we did a lot of that but you can see how
even as you're just sort of moving along a half tone, observing,
being even - just kind of following
a value as it changes, as the form changes. You
kind of - you're establishing very clear planar
the thing about it is that it's
a technique. It's not
something that you learn and apply, it is a way of
interpreting everything. So it doesn't - it almost is
- it doesn't really matter if it falls in line. And
in the end, right, we haven't following a procedure, right?
We do establish things in a certain order. But you see as
you move on with this course, you'll see that the thing
then we begin to invert the order, but it doesn't matter
because the ideas are the principal. The ideas of the
principles are the ones that you need to be focusing on
And you see that they come into play you act upon it. You think -
you begin to think in planes automatically regardless of
start with the shadows or with a half tones or with line
or without line, if you're thinking in planes, if you're
aware of this not so much as a technique but a way to
experience the world, then I think
that's what this is about at. That's what I'm
I tried to say that in as few words as possible and it became
not at all in a few words.
I'm moving up the alar cartilage.
This part right here it's clearly a plane, you could
just see it with that half tone has an outline. And
that's interesting to me
because that half tone has an outline, but it's not
shadow. It's not shadow. But of course when it's a shadow that
half tone as dark as that clearly it runs into
reflective lights and then we have to tone down the whole
shadow and that's the name of that game.
this is the most rounded part, right,
the most intense curvature is that the
wing of the nostril.
that light is extremely important,
right? That light is going to show what's happening with the
wing of a nostril in space. It goes from having a shadow
to having a light.
So it's interesting
from just a compositional standpoint, right? It's light
against shadow and then we invert this with a shadow
against light. That's always exciting.
But more importantly
it's showing you the twist and turn of that plane in space.
But okay, so coming back to what I was saying about how
quickly the turn of the form is there.
Closer to the far end of the the wing of a nostril,
essentially what this means is that it's going to be a very
very - sharp isn't the word but considerably sharper
switch right as I move from core shadow and terminator,
that bright reflected light on the inside, right? Because it
turns so fast it begins to immediately catch
reflected light off of this
But also the flat plane that's right next to it, which
helps that of course.
At the same time, keep that in mind but don't overstate that
reflected light, right, we never want to overstate our reflected
lights. They're crucial to creating atmosphere and making
it, you know, and kind of establishing the interaction of
one plane against the other in shadows. But if you overstate
that reflected light, then you run the risk of collapsing the
general tonal structure.
The lights against the shadows. Okay, so you can see what I
And I think already we're running into this problem. We
can see how
half tone is clearly not as dark a value as it needs to be. So
before we get back into our shadows, but I don't think our
shadows are done.
I think we need to restate this side plane half tone,
now start from above, right, think of it as a pyramid
and you'll be fine.
Of course by doing this,
I know that I'm probably going to have to go back into
I know for a fact that has happened. Clearly this is too
These are okay, but I haven't done the change yet.
Okay. Okay. I'm liking that.
Right, and we're totally okay with it
up until now, right? It seems -
it works quite well,
we have plenty of room to knock that wing of the nostril into
It has to just be enough.
Right, we're being structural. We're not being too tonal.
Just like with the eye and the lips.
We just need enough
to make it work.
And you can see that's the sort of the magic of the
terminator, right, and the general area of shadows. I have
not done almost anything on the front plane or even in these
half-tones on the side. Most of the modeling, most of the
structural aspects of this appear
in the -
they appear like along the terminator, they appear on the
side plane. In this case. it's going to be - it's not often that
you get a lot of information though - I have to tell you on
it's not often you get a lot of information
front plane because it's it's generally flat, it's
usually in light,
but there are instances where it is in fact, for
example, if you have a lights from underneath and you do get
a little bit more information on the front plane.
A reason to practice a nose with the lights from underneath
so that you can learn some of these things, like
the basic idea is right is you can't learn everything in one
go, but you just by repeating assignments, exercises,
with slight alterations, that's the secret - you begin to that's the secret you begin to
them each time in a new way.
Adding to the entirety of your understanding
of a particular element - a form
and so on.
Right, try to view these things from as many different angles
as possible. And I mean that both angles like actual angles,
but also angles from a more slightly more metaphorical
meaning of the term.
Just going to block in this
side plane and this side plane
as clearly a darker value than the philtrum.
That's not enough of course, but you know, we'll get there.
You can see that curvature here and then this lower part,
right, has to -
we have to adjust some of these things.
If that's correct
then what is happening with
this axis, right? We have to see if our axes are properly
aligned. And for that just to you know, make the little bit
clearer and step back.
Now, of course, this is complex, right? This is what I
was mentioning earlier that it's an area just entirely in
shadow, but one that's really important. So, how do we deal
with it is the question.
We'll get to it. We'll get to it a little bit later. In the meantime I'm
just interested in figuring out general placement of shadows,
half tones and stuff and we go from there.
I think we're at a good spot.
Right now would be a good time to step away for a moment and then
allow our eyes to relax. We can come back to this afterwards
kind of go over everything that we've done, make sure it's in
the right place, and then begin to refine things, make them
more organic, move into some of those half tones. So let's
let's take a few.
to our nose.,
Okay. So the thing that of course, I noticed
straight off the bat, right, when I took a break Well when I took a break
because you take the break and you do let your eyes relax a
little bit. You don't look at the
drawing but you do,
you know after a while you do just find yourself unable to
look away. So you're sort of just standing away and looking
at it, this happens all the time. So, what of
course I noticed is that the
plane changes are maybe just a little too abrupt which is of
course our goal.
shadows, terminators are also just a little too sharp,
which also was at the time our goal.
So now is just the time to soften everything because we do
still want this to be organic.
All right, see that plane continue upwards though.
See that plane move up.
as you go into it
you realize that every plan of course has a little bit of a
curvature at least
in a human form
a sculpture of a human form. And so the idea is that we need to
establish that, and in a sense a lot of it happens on its own
when you are focused on figuring out how soft or hard
that terminator is, right, which is something you're observing.
But as long as you're working from observation, but asking
the right questions and you're kind of on the right - in the
right place, on the right track.
That more like it? Yeah.
Kind of get rid of the center line a little bit.
Now, of course every time you erase a lot of what you already
had that remains, so it's not a big deal.
This - you can see the changes in plane along the contour
right? This is a plane looking up and this one is looking
down a bit. So
I think it's time to
a general value on some of these lighter
half tones, right. The hard part here is how do we keep it - how
do we keep it light because you kind of overdo it and you're -
and it's already like pushed all the values.
Maybe a little bit more than you need it.
However, we do know that our half tones are on the
intersections of planes. So - I'm sorry our highlights are on the
intersections of planes. And so that's what I'm
trying to place right now. It's a - of course the quality of the
highlight on a human head, a live model, is usually
just because of the skin because of even some some oils
on the skin.
That highlight is much clearer. It's much like sharper edge to
it. Here due to the fact that this is a plaster cast, the
highlight is a much more,
much hazier. The edges are softer.
So we do still want this to be a cast, right, because we're
Every single - like everything we can practice we practice and
by that, I mean that we're not simply figuring out what the
structure is. We're not only getting into some of the
anatomy, but we're also practicing getting a textural
And of course the textural quality
it's not the most important thing we're focusing on but it
is - if we can - if we have the opportunity to practice it like
we do now then we should
so you're, you know, you're
for lack of a better term you're killing as many birds as
you can with as few stones as possible. cones as possible.
we're working on here. The - and so the reason of course I bring
up the textural qualities when I'm talking about the highlight
is that if you really look, you'll see that the only
necessary - that the only thing that will establish a textural
quality will give the illusion of that texture
is the quality of the highlight, how sharp or soft it is. That's
all it is. So if you used to
think that it has to do with the imitation of a texture. Say the
imitation of hair
with a hatch or something like that or the imitation of a
all of that doesn't do anything to establish the
illusion of the textural quality.
Think about it.
different types of cloth.
So for example, if you're thinking of a
you are aware of as that fabric due to the fact
that the highlight has a very particular quality.
it has relatively sharp edges, but they're not extremely
sharp, but the contrast between the highlight and the
other parts of the fabric is quite high. So you're thinking
of the quality of the highlight in terms of its contrast in
relation to everything else, but that of course it is
dependent on the color of something, but then you're also
adding into that
the softness or hardness. So for example, right, to think of
a glass and for the most part
your understanding of it as glass comes from the fact that
the highlight on the glass
is extremely clear, extremely sharp.
So just pay attention to highlights. We're not doing too
much of that right now but you know.
So the highlight on this particular plaster because it's
matte, is going to be
a bit hazier, bit softer.
Here is the outermost part, the most protruding parts
of the alar cartilage and that is our highlight there
and intersections of planes.
Now, of course if you maybe overemphasize a highlight over over emphasize a highlight
in this exercise
mainly because it helps to get you the proper curvature
something or like you establish this,
on the inside here
a little more clearly because you've sharpened it up.
I mean, I think that's okay right because
we are still
worried about the
the illusion of three-dimensional space.
Now what's interesting
if we look,
come real close,
is that this area is a little more complex than that.
What's actually happening right is our light is that this plane
is casting a shadow
the lower side of that concavity I was talking about.
But because of the interference of this light on top
right that reflection, there's a lot of reflected light that's
falling into that cast shadow meaning it's inverting our
principles. So let's avoid that even though of course
in this case that almost always happens because it's always
going to be a strong light underneath it, but let's make
And see as soon as that happens on paper I think we
think the things are much more -
much more precise
in the sense of that I sort of believe what's happening in
terms of light and shadow.
It's not anything like you just have to believe it.
I'm sorry, I have allergies so
if you hear something,
that's me and my allergies.
you can see how everything is becoming a little more organic
and yet still kind of intensely constructed.
I'm still curious if we can soften it, if we can get it - I
think we at this point though it's interesting. Right like
when you realized that everything is kind of over the
top in terms of construction
you're not really at - like you can pretty much work to soften
it from this point on and you will still have all the
necessary constructive qualities.
So that's something to think about, like you can
overemphasize the structure
at first, right, and then not even have to think about it.
Just think about softening edges. Just think about
just getting a, you know, softer transition from one softer transition from one
value to the next
that is of course not entirely the way that I think one should
thinking about everything. I'm more - I'm more of a proponent of I
think of everything at the same time all at once all the time,
but it's you who are interested in
simplifying the process a bit to aid in your practice of
it and your understanding of it. And I think that is a
Okay, so just reinforcing that side plane of the cast itself,
the outer parts of it.
We don't have to figure out what to do with that plane,
right? It's clearly much brighter as we get down here
towards the wing of the nostril, wing of the nose.
And a darker value as we move up so we could just begin maybe
an even harder pencil, right, something. How is this 2H
because I like and honestly, I like the switch, I like
the softer - sorry the harder media, how hard can we go?
What do we have here? We have the 2Hs,
let's see. What seems okay. I like the feeling of the harder
media on a cast. It's not so much that you can't do it all
with soft - with a softer pencil
or a softer medium. And in fact, you know as I mentioned
before, practicing doing it all in a soft medium is great
because great for learning to control the pressure
it's a technique issue.
But at the same time, at the same time, I'm kind of I just
like, I think it looks more like a cast and this is clearly
a part of my education, right? So it just feels more like a
cast and has that like structural look. Its extra structure? Look it's
entirely an aesthetic preference on my
Just gonna make sure you get that terminator on the side
plate, extend that out.
Hmm, not bad.
And then I'm going to soften it, right because I'm not so sure
I want too much hatching. Not a big deal there, not a big
And then possibly clean up a little bit with the eraser.
Now of course we do need to remind ourselves as well as
the audience. Once again, I use the word audience kind of like
in a sense of purpose in like in the Performing Arts
the audience is the viewer in our case. in in our case.
I would like to
place that cast shadow
just enough to get a little bit of a ground,
right, it's always kind of the same, like I'm not
trying to imitate what it actually is.
I'm not trying to get more information there.
I really need - I'm just trying to make it clear
with the cast as a whole with an object in space
more than anything else.
And it's leaning so I would actually even hint
at yeah, some of these shadows coming back up.
And then extending it
that way, right? I'm not looking into doing any more than that,
right. If this is just just slightly a darker value right,
hardly noticeable. I can just rub it into the paper
and slightly darker value than this then we're set, right?
Clearly this is light and that's already shadow, but
because it's not in the foreground
it's not a big deal. Now
I'm going to
begin extending this area outwards more, right. We can really words more right? We can really
begin to outline the form.
And cleaning up the edge . So you can see what really we're
getting closer and closer now.
Clearly working on that terminator, right. Terminators
repeat again and again,
clearly getting that terminator in the right place.
Along this edge, but when it does fall in an actual edge,
then it is simply an edge.
I've maybe overstated
the form on top. So we can see
as I look again
what's happening on top there. I'm making
the nose protrude out
kind of a little bit more as if I am looking at everything from
In reality, right, from this angle there's hardly anything
there. It's pretty much just a straight line with maybe minor
curvature, but I feel, you know, for the sake of expressing the
form I don't see why we can't exaggerate this.
And see I did it kind of automatically.
I didn't really think about it that much. I just thought that
would be a good thing to do.
Here too, at times, you know, if you actually have one of these
casts or any cast or any object hold it in your hand,
right? These are tactile objects that the things you can just -
you can feel it with your hand. You can feel what the
change of plane is that will just clarify it for you. For
we mentioned that earlier, I mentioned it at the
very beginning but there's that clarity of a cast shadow there
because that's already the side plane casting a shadow onto the
plane of the face, which of course ends very abruptly for
us because it's cut however, you know,
in reality would be just on the side of the face - on the front
of the face rather.
And we will put all this together soon.
We'll - when we do a full head cast
we'll take all of the features
and put them together.
Keep stepping back.
Notice I haven't done that much. I still haven't done that
in the front wing,
but we'll get there last I think.
Most of the darker half tones that are darker half tones that
there's more variation between the darker half tones than the
So I'm using as much as I can. I'm pushing the darker half
tone on the side plane to define that form.
As opposed to
spending all my time in the lighter values where the in the lighter values where
it's easier to get confused and overstate things.
Getting back into that lower part of the wing of the nostril,
right, figuring out how wide that is, where those
- where it's really turning in space.
It's hard to tell but you can actually see it wrap around and
I'd rather be overstated at that point than understated.
But I want that to wrap.
Let's just get this a little bit softer, little bit softer, little bit
I think we're definitely closer and closer definitely closer and closer
every time now. I can see it
that's sideways with the reading there's a clear
differentiation between front and side. There's a nice
interest and variation and very precise sort of topography on
the side plane while
still being very clear.
And now I'm just going to get this cast shadow from the wing
nostril - see I can't I can't help myself - the wing of
the nose onto the face.
Right making a darker value though. I'm making it clearly a
Re-establish that central line
and begin to curve.
Right now, I'm sort of slowly inching towards the lights.
As much as I can from the terminator, right, you're
always still - you're still starting from the darkest
half tones. So the before I get there,
I'll take a step back again from them and make sure to get
clear origins of cast shadows as I can, right, the origin is
where it needs to be sharp and clearly a darker value than the
reflected light. When it's large - when the cast shadow's large you
kind of can't help, in almost all instances unless very
controlled situation of lighting you're going to have
interference and reflections and all that and that's good.
That's nice. It's not really a problem. But that origin needs
to stay sharp.
We don't need to overwork anything here, right? This is
Just get this side plane.
Just get this side plane, get that side plane.
Maybe even get a little bit on that concavity,
right, just a tiny bit.
Just enough there
and maybe even realign some things. Where is that? It seems
reasonable actually, it's okay.
Here too, continue this. Maybe that's a little bit darker than
it needs to be but let's do it.
All right out it goes.
So, it's nice. Okay, get the plane. We're going to need the
all right, to really clarify some of these things.
And it's okay to keep these things at the bottom just that
little bit more structural. It's not -
I mean first of all, they're clear sharp edges, but you
don't need to overstate like over curve and make things
more organic than they are or even how they are like, this
could be kept rigid.
And then we're here, right?
All right, cool. I'm fine with that as it is.
Okay. So before we
work to finish stuff and
work to complete everything in accordance with their outer
edges, right, because outer edges is what is going to
really finish stuff. Let's
do that work
in the lighter half tones and highlights that I've been
talking about and avoiding for talking about in avoiding for
most of this time.
All right, this is bright. So this is bright, but maybe can't
be that bright. Maybe it just needs to be knocked back just
enough, right, that aspect of the wash right,
replacing a wash or a glaze over this almost as if -
because you want this highlight to be the white of the paper.
That's the real area. Tone down this reflected light and
possibly because of you know, this makes sense. It makes
sense for that reflect light to be bright.
Okay, okay. Okay. So
large areas right? Just get that side plane of the
And yeah, let's get some of this to work, right, just the
slightest variations in the nose.
Okay, not bad.
And just keep in mind how changes, right, it's wider on top
and more upturned. But then as it turns down a little bit
because it catches more lights from our perspective and from
our source of light.
At the same time immediately get some of those outer edges,
right, kind of let's do,
you know, multiple things at once. It's possible,
challenge yourself with that.
Okay, okay. Okay. We're getting somewhere there, but I'm losing -
I think this is a little bit too organic. I'm losing the
structure and direction of that highlight. The highlight has to
be an edge to a halftone, right? There's the edge of the There's the edge of the
highlight that will give you the plane of that highlight and
the form of that edge in between planes.
There is the edge of that highlight which will give you
texture but then there's also
the edge of the highlight as defining the plane next to it.
So it's all to be considered.
I'm just locking in these forms. I'm kind of only making
accents on the contour where there's a change. I'm not
overdoing it, I'm not.
I'm kind of using that contour, bringing it in a little bit and
if it's - this is
more invented by me then I actually see so don't really
worry about it too much at this moment. We'll be getting into
that a lot in future assignments, but
how to curve that outer edge and that halftone on that outer
edge into the form itself is what I'm talking about the what I'm talking about
And what I need to do to get a good feeling of
something solid and completed.
And at times it's just a line, at times you just want a
Okay, what I am getting though, right, the more values I place
onto the front plane, the the more this comes up,
the more it needs to recede again.
The more I can knock it back.
Now I'm just kind of putting some
finishing hatches on it, not so much for the sake of the hatch
but I find that a large hatch at the end kind of has the same
effect as wash or glaze and that stuff we talked about.
I think it has a unifying quality right? It's just -it
just establishes a full plane, right, in one go while due to
the fact there's a hatch. Meaning they're empty areas
there in between the hatch marks. they establish.
They establish the -
they keep what's underneath right? That's what I'm talking
Okay, though. Okay. I think
we kind of have done a good amount with the
I like what's happening here.
I'm gonna use an eraser to kind of clean up a little bit as I
always do because I'm -
I don't have - I'm not very clean in my work. I get everything
covered and everything else and this -
it's totally okay. So if you this happens to you,
you know, it's totally fine.
Okay, just going to maybe get a little bit more of a value on
this shadow just - yeah.
Just so reads a little bit more, right, just so the nose
stands out from it and from the paper just a little bit more
without too much interference
of, you know, well one value falling into the other.
But I'm like what I'm seeing here.
We've slightly encountered this when working on the lips,
right? We don't have enough information here and it's a
little simplified right but to get that curvature, but just
hint at that perhaps.
And then for the sake of structure now, right at the end,
let's reinstate and you can see how far off it always was, right,
always being corrected, that center line is constantly
moving to get more and more precise as you go.
Just place that center line and again
you can always round off. Right? So like from this point
on you can keep at this rounding and rounding, rounding
off the forms until you get something extremely organic
with all those proper structures in place. However,
right that's the interesting idea
of this exercise and of any like structural approach, but
that's what we - what I'm going to leave at this because I
think this clearly
established what I
intended to establish.
Okay. So now that we've done a nose,
let's move on to the final assignment in this group:
provided with this course, you're going to be working on
the cast of the nose.
It's very important that you're working on the cast, not asking
to pose and working on an actual portrait. Even if it's
just a part of the portrait. The idea behind working on
these casts is that they are large enough for you to see the
constructive elements as well as they remove all aspects of
color and the textural differences that we find in
The point here is to either
take what we've covered in the anatomy portions of this course
and begin to apply them here or assuming you haven't gotten to
that point, to take a form that is a bit more organic and
figure out how to break it up into planes. That's the idea
behind this assignment.
With that, I wish you luck.
Free to try
1. Lesson Overview42sNow playing...
Watch the whole lesson with a subscription
2. Blocking in the Major Forms of the Nose23m 51s
3. Rendering the Cast and Occlusion Shadows of the Nose20m 10s
4. Refining the Halftones and Highlights of the Nose21m 9s
5. Clarifying, Resolving, and Cleaning up the Final Drawing16m 34s
6. Assignment Instructions1m 14s