- Lesson details
In this lesson, we are going to bring together all of the structure and anatomy of the head and neck we’ve been studying in order to create a fully rendered portrait drawing from a live model.
Students are encouraged to work from the NMA reference images and 3D viewer included on this page*, or from a live model.
Join Ukrainian-born artist Iliya Mirochnik as he passes on a 250-year-old academic method preserved at the Repin Academy in Saint Petersburg, Russia and seldom taught outside of the Academy and never before on camera.
The Russian Academic drawing and painting approaches were uninterrupted by the modern art movements that transformed representational art in the West, and as a result, they provide a unique and clear lineage to the greater art traditions of the past. As a powerful approach that is both constructive and depictive, it combines the two methods that prevail in contemporary representational art.
In these three drawing Courses, we have set out to condense the entire program, spanning over eight years into a logical, step-by-step procedure. We have made improvements and added resources and exercises to explicitly drive home the concepts that are required to work in this approach.
We have also structured the course so that it is not only useful for professional and experienced artists but also artists with no drawing experience whatsoever.
In the first part of our Russian Academic Drawing Course, Iliya taught you how to hone your fundamental drawing skills. In this next part, Head & Neck, you will undertake a new challenge: the portrait.
In order to draw the complexity of nature we need to study all the anatomy that makes up the surface form of the head and neck.
Head & Neck covers topics such as the structure of the skull, individual bones of the skull, deep muscles of the face, skeleton of the neck & shoulder girdle, muscles of the shoulder girdle, and the portrait drawing process.
The New Masters Academy Coaching Program directly supports this Course. If you enroll in the coaching program, you can request an artist trained in the Russian Academic Method including Iliya Mirochnik himself. Click here to enroll in the Coaching Program.
- Sanguine pencil
- Piece of sanguine colored chalk
- Vine charcoal
- Charcoal pencil
- Graphite pencils
- Kneaded and Hard Erasers
- Sanding Block
- Utility Knife
- Roll of Paper, Smooth Sketchbook paper
- Staple gun
- Artist panel
- Light source
* Reference material is only available for premium subscriptions. If you don’t have premium access to the reference, you can pause the video when the reference is shown.
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we have covered the principle anatomical structures of the
head and neck, let's see how we can put them to use when working
from a live model.
now that we've worked on the skull and the
shoulder girdle, it's now time to try to put all of that understanding
into a drawing from a live model. And here we have our wonderful model
Mark on whom a lot of these things that we covered are quite clear.
Now, it won't always be as clear
as you see here in front of you
but I think this'll be perfect
for trying to see how those
underlying structures all begin to integrate.
here we have a fairly large
piece of paper and we're going to try to include the head and the shoulder girdle
and even a part of the shoulder and
deltoid. So we're gonna spend some time just
trying to figure out how to compose this.
So I'm just going to get
started with the head here, kind of just placing it
and at the same time already beginning
where those parts of the skull are
most obvious. So here I even
already applied a little more pressure there because that is
our parietal eminence.
And then from the head there's - here we also
of course are experiencing a little bit more of a tilt of the head which is
excellent. So we can put our
center line in, just establish
where it is. And just approximate
placement for the eyes.
We're not worried about the eyes now, we're gonna be focusing more
on the underlying structures so -
the entirety of the eye socket. So here
we're gonna move down
a bit to establish the placement of the sternal
notch and actually take a vertical upwards
and see where it ends up and keep it there. And it seems to end
up right at - if I just
take a vertical upwards, right at the corner of the eye or in terms of the -
where the eye socket is
in which the frontal process of the zygomatic bone connects with the zygomatic process
of the frontal bone. So
without getting too much more in
we're gonna start to place
the shoulders a bit and going to
move down and establish where our manubrium is
to get the entirety of
the clavicle, remember that we
really want to have all of it so
almost outline it as if there wasn't any
skin on it at all. And then we're going to integrate it
into everything else. And then I'm
sure you're already seeing the parts that you are familiar with
so here we have the trapezius and then
at the end of the clavicle we have
pretty obvious acromion right there.
we can just continue down to get the
deltoid where you can see its attachment on the clavicle, you see the
right here and the clavicular head
or portion of the
So we're still just figuring out our place
and because our main axis are here and here,
I've moved the head over a bit to
so here this is
the first time that we've switched from the graphite to the
sanguine or Conté pencil and
to chalk and if you see
not particularly hard to
make that switch, make that
transition. So where we
are at the moment, you
will see that some of the difficulties
and some of the difficulties of working with
the chalk will arise once we start
applying a little more tone to
our drawing and so now
I'm just going to take the proportion of the clavicle and
the acromion and then I'm going to take that
measurement and move it from the sternal notch upwards. And it seems
from what we have here that
the upper margin of
our eye socket.
And that is what we have on the page right now.
So I think
we're kind of alright.
Keep in mind that you do want to put both clavicles in but at the same time
they're not in the placement.
Mainly because the shoulder here is slightly up. And so
this is another - so it's
rather hard to simply take it across.
You have to find the particular
each of the clavicles.
So this one here
is sweeping back
a bit more
the one here
as well as that this clavicle
due to the raised arm is slightly higher.
before we move on, let's,
based on our understanding but also from observation,
really make sure
to find the manubrium
and our sternal angle.
Which I think is quite clear. So once we find
the end of the
manubrium and the sternal angle, we can place
rib number two as well and
take the center line
into the sternum.
And see I'm spending even more
time here at the beginning than I am on the head because I really
want to anchor the head in the shoulder girdle.
But I think we're
alright for the moment and we can sort of begin to move upwards.
And in order
to establish some of the placement
just going to make sure to get a clear read
our terminator here
but at the same time
making sure to align it with everything happening on the other
across from our center line. So -
but you don't want too much information inside without
more clarity on the outside. And so we can go up here and find the
highest point of the skull
and do the same thing, kind of just align it
on the inner margin
of our eye socket.
And then we can move this out to the
parietal eminence. So I'm kind of -
in order to establish proportions I'm just making sure that
this very important element
that we covered in quite
some detail is aligned with everything else
on the page. But at the same time, why don't we
the zygomatic bone,
and connect it to the zygomatic process of the temporal bone.
And so see I'm still
focusing on all those parts of the skull that we've covered.
Now it's time to place the angle
of the mandible and begin to see
where the entirety of the mandible is.
And here you can see the mass of the
And here you can begin to see
And it's not always
very obvious where
the sternal head is and where the
clavicular head is so we do wanna
try to get a grouping of it at first at least.
And here you can really
sternal head on the
So now that we have this eye socket here we don't want
to leave the other one unattended.
just begin to work across.
And see so I'm practically
drawing the skull
and if you remember what one of the more important points
is, it's this plane of the
Then that would be the end of
the nose and then we can begin to place
the obicularis oris.
See once again I'm not focusing on the shape of
the mouth I'm just
working a larger structure there.
And our chin
is right here and as you're
well aware of all of
the stuff that we're
talking about and that we're putting down on paper
is subject to change at any point.
And then let's just establish where the ear is.
I usually just compare it to the eye socket and
area here, it could be pretty much anywhere there.
So here we're gonna need to pull
back a bit more.
And I think we're just about ready to start thinking
a little more tonally.
I kind of - I work in a combination of
media and to just establish the large areas of tone
quickly I use a piece
of chalk like the one I'm holding here,
that in this case is a little bit larger than I need it.
And so that kind of can get the placement
of where our shadows are but at the same time
it'll play a role in establishing half tones also.
And a large part of this -
and that's kind of the advantage and the
enjoyment of working with
media that are
as soft as these
is that you can work with your hands
And we remember that
our temporal line
is an area
of major plane change between the front
and the side. And here I even want to begin to get
where - to place on the page
at least for now where
our front plane is going to be.
So I'm gonna keep that as is for now.
And do a little
bit more on this clavicle. It's higher so we're gonna get
that's concave right
here but then you can see it becoming
convex in that middle portion.
Then we can place our manubrium
and area around the sternal angle into tone.
And let's drop that cast shadow from the head
onto that other clavicle to give us the structure. You can see it falling on the
clavicle, it's falling into the
infraclavicular fossa and then
moving on top of the deltoid. Now
that's a hard line that we don't really want but at least
for now, to give us an idea,
that's nice to have there.
And then to just place some of these half tones.
And all of these areas and you can see that.
And see so a lot of it, after the basic placement
with the pencil I'm doing with the
piece of chalk. And it kind of - and because it's as
large as it is and you can hold it flat, you can block in
whole areas of plane.
And honestly you can actually begin with it within working with
the pencil. But it's
nice to have some guidelines.
or else there's
just an immense amount of erasing which
is interesting and I urge you to try it.
I think for where we are right now
we kinda have enough going on
so what we do need is to figure out where
that front plane of the ribcage is.
And so it's usually if you drop
a line from that major
change of plane in the clavicle after
its sternal end, it should give you that.
But at the same time we
want to figure out
what are the changes
in plane and how they're being altered by the pectoralis as well.
Because you can't see the ribcage in its entirety
so you kinda can
use the sternal angle to establish it.
And then that line is going
to give you that front plane of the rib cage
but it won't necessarily turn back
as quickly due to the fact that
there's this a mass there of
the two pectoralis
Okay, but now that that's in place
I think that we can
get some more work done on the head.
Due to the prominences of this
let's spend some time in this area.
And there's a large
portion of the modeling at the beginning
especially that can be done with
And you can
see and you can start placing those -
those highlights on those protruding parts
of the zygomatic almost right away.
Now in terms of the entirety
of the orbit with the eye,
you do want to make sure that it is in sort of a plane of its own because
remember it is a hole
in the head, in the skull, and so you
need to get that in place.
And a lot of the times,
due to a lack
students will spend so much
time working on the eyes that they
forget to establish
the orbits relative
tonality to the parts around it.
that's just adding a lot of extra work.
Then we can begin to get some things that are a little more characteristic
and we spoke a little bit about the
wings of the
nose and how this cartilage has to wrap
in and under.
But once again, don't get carried away with any of
the specifics. And definitely not with the
features themselves. I assure you -
I mean of course there's a lot
to kind of understand and practice when it comes to the feature but honestly
I think you'll arrive at that much quicker if you
ignore them for at least a certain amount of time
and focus on the underlying structures of the head.
as we know, if you begin to place
accents along the terminator and make these things clearer
this gives you more options for how dark
you can make the half tone
and use your erasers
and I'm going to bring this
down a bit even more
for the time being.
It might go back up, I don't know yet, but I think
it probably won't.
So let's get back to the
And see it's no
eyes yet. And I
kind of urge you to give
this a shot. Kind of ignore the features for as long as possible
and you'll see that at a certain point
you'll just be sort of working on
the skull inside the head and all these
things we've been talking about
and then you'll step away and you'll see that the eye is actually already in there.
Or almost in there and just a few accents will really
put it in place.
And I kind of
discovered that when I was painting a
portrait and I
didn't paint the eye at all but then when I finally
stepped away to take a look at
I had actually painted the eye in.
But it's so much easier
draw an eye or any detail once
you've established its placement.
this is still sort of
but you can already begin to see
those underlying structures of the skull.
also quite concerned with that overall
quality of the head in general.
Now I'm just going to place -
that line that we see in between
the lips just to make sure that our
proportions are in there and on the right
Well Mark is currently
taking a break and
want to give your models a break
as often as they require it but at the
same time, it does not mean that you necessarily have to take
a break. And I think it could be actually quite helpful
to continue for at least a little bit without
the model in front of you. So
at that point you aren't
kind of caught up
in these smaller details and then you end up
working slightly more from
your understanding of the anatomy
and the structures of the
head. So you can actually begin to
put them on paper and
you'll see that once the model comes back, you might actually have
something on the page that looks a little bit closer
to what's in front of you than you had when
you got sort of caught up in copying at least certain elements.
This happens all the time.
And so what we
could do right now without
our model is to make sure that we have a
good alignment and
placement of the edges between the front plane of the face
and the side and the intermediary planes.
So here we have the front plane up here of the frontal
bone and then we take
that line down the
zygomatic process and from
that point if you remember on the skull
we gotta move it down to the corners of the mouth.
Corners of the obicularis oris
on - and we're doing everything across
from our center line to make sure that
their proper alignments and everything is symmetrical. And from here
we can drop this down to
the chin, even though you remember there is
the mental protuberance,
we can drop this down to the chin even though
you know that there is the mental protuberance
and smaller changes
in plane here. So this isn't entirely as
flat as it might seem at the moment but honestly
all of these parts on top aren't either. But that's still the major
plane, simplified plane.
If we take the line down to the angle of the
jaw and then follow it
upwards into our temporal line
we've established essentially the side plane
and then we have an intermediary plane up
here and one down
here. You can already begin to see how it's describing
what's happening here. It's describing this protrusion of the
masseter, this plane
right here is incorporating that kind of, the
mass of the cheeks here with the
buccinator underneath. Here you see the
line, giving you a
bit more of a prominent element in the frontal
bone and here you have
And so following our center line
we can also create a little bit of a triangle here that
kind of establishes how these planes
move upwards and then we can take the -
take those up as well. Now the idea is that
you don't always have to put them on paper but you do have to
keep them in mind. I'm putting them on paper
in order to show you
where those planes are. And also the thing -
our model is back and now we could -
we could compare
and see if those
changes in plane that I put are actually
in the right places and are
helping us. And I think they're all right.
there are smaller changes in plane along each of these.
And we could keep breaking
them down as much as
But at the same time
you have to
begin to think of
all of them without putting them down on paper. And that's kind of the thing that I
would like to urge you to do and that is
not to establish your outlines and then put all these
planes on paper before
you've even observed and before you've
put some tone on the
page. It's a lot like I recommend
not taking proportions until
something is on the page.
And then afterwards establish your
proportions and establish all those major changes in plane
essentially in order to correct yourself.
So now let's begin to get a little more specific.
And a good place to start is always
with our terminators.
And once the terminator eats
up a line that's important, make sure to put it back in.
Along that change in plane between the front plane and the side
plane of the nose
we're going to get a highlight. Remember to
use the highlights to establish
major changes in plane.
And here we seem to have a little bit of a
cast shadow from
the bridge of the nose
falling onto the eye but the eye itself -
ball begins to fall
into a shadow and you can see the core shadow and terminator there. So there's a tiny bit of light
that maybe kinda appears and dissapears
because that is what tends
to happen when you're working from a live model.
There is movement and this
movement is actually quite important
because as there -
as those changes
happen, actually they
end up giving you a better understanding of what's happening there. Of
what's going on in terms of the form.
So movement in
models is not only okay but it's
It's only not okay if you're not
analyzing and only copying, which we know
partake in that
Though of course there are parts that you copy and just kind of
observe and other parts you
analyze and understand.
Though ideally the whole point is to have
an understanding of all of those observed parts.
Okay so we have sort of blocked
out a head here.
I think we've got
Now would be a time to
go over and to check your proportions,
So why don't we
leave the head where it is at the moment
and move down
following the sternocleidomastoid.
And here we do get a
of the sternal head.
We do get a little
bit of the clavicular head. You can see
it right here. That
tiny area in between the two.
And then because of the skin on top here
you actually can see, sticking out
right here and kind of combining with this whole area,
Which look small and unimportant when we were working
on it our anatomical écorché
but you can see sort of creates quite
an important detail.
part that sticks out
And we're even getting a little bit of -
and you're doing a lot of angles on the head
you get a little bit of the
part underneath -
underneath the mandible. So you
remember that this whole part
ends at the hyoid.
So it's important to mark that area.
You even get a cast
shadow from the head there falling onto the neck.
is that area of the scalenes
and remember that they kind of
create the end of that cylindrical structure
that is going to establish the base
of our neck.
Then we can follow the forms here
and this is
And you can see that tiny,
for our purposes call it a line.
And that is where the
levator scapulae, right there,
swoops under the
trapezius right there. See, all those things
that we've covered.
And then in here we have
a bit of an empty area
if you remember.
And we don't want the neck to get more attention in the head
due to contrast that we
currently have because there isn't a tone over
everything. So we're just going to
make sure to place it in a general
tone. And of course once that happens maybe
there are parts that you've placed, that you've lost, and so on. But
that's okay because you can always
get them back. Here we have the head of the clavicle
and quite a strong half tone
And then to show
the bottom edge of the clavicle that's catching a bit of light we're gonna need
a half tone on the pectoralis.
And the exact same thing here,
remember to look for the origins
on the deltoid as it comes
off of the clavicle and the acromion. Because that, even more important
than allowing you to find where the deltoid is,
it gives you the
clavicle. Which you're always
on the hunt for.
And by placing that I've lost the
the sternocleidomastoid a little bit.
And I've clearly I've lost the manubrium
along with group number one and two here.
And here we can also separate
the pectoralis and make
sure it reads but also keep in mind
that our light coming from here is going
to place all the forms that are curving away from it
into a darker half tone and eventually shadow.
let's get a little more
and see I'm working
broadly at the moment, just
making sure everything's in place and slowly getting
more and more precise.
As well as beginning to get our
important accents and this is
nice and easy to do with a piece of Conté
because it's so soft and
then it also erases
then I see, right now we're actually getting a little more clarity
on the sternal head,
clavicular head. I keep getting those wrong. On the clavicular head
of the sternocleidomastoid, now there's a shadow in there
and that's what I mean about the tiny
movements really helping you see
Like there's just a larger amount of
information that might be uncovered due to
tiny movement. So I -
and I'm not -
I'm not saying
that is already completed
I think if we get into it we'll really see
this cast shadow is describing
those inner forms of the sternal notch.
And here I want to get that clavicle
in there but I want to make sure that it's
in that half tone and
the shadow as well.
Now the thing about the chalk that
I'm using is that by now you've probably noticed
it doesn't give you as large of a tonal
a charcoal if you've used it, which gives you an incredibly
large tonal range. While here
there's a lot that's going
to happen where the values
in your half tones are gonna be very close
to those in your reflected, in your -
in the reflected light. And so
that is kind of just what happens.
So there's gonna be some time spent
on making sure that there is some
differentiation in there.
And it's easy to get sort of caught up in
But I also think that
that's kinda the charm of this
medium. It's that
you could get strong and exciting contrasts
and then also passages that are
really really smoky.
Now you remember that once we get
some of these areas of the clavicle and the acromion
we need to establish where that sort of highlight
is on the deltoid mainly to show our major changes
in plane between the
front, side, and the top
And then there's going to be
a change in plane over there also. Now here,
now even if I
squint, I do see that arm is catching
a lot of light but I'm not sure I want it to
be as sort of active on the
the one here. So I'm just gonna place
into a half tone and worry about it later.
Okay I actually think it's
time to get back to working on the head.
As you see my hands are covered in
the chalk, that's
But now it's time to get into some specifics.
certain cases I'm going to smudge
a little bit the stump
I have mainly in those areas that are just smaller. And so a stump,
a point can help achieve
that a little quicker and more precisely.
See there's still no
But we could begin to place it.
Inner corner and outer corner.
But if you're doing that one then
make sure to do the other one and the other one we have
I really want to use it.
And then let's get back to our
That's always where we come back to.
using everything I can here to establish
the roundness of the eyeball itself.
So the eyelids are
wrapping around there.
Making sure that
some of these important accents read and then
you can see all of this getting a bit softer as we move up.
And here we have that
major change in plane between the side plane of the nose and the front plane of the face
and of course that's going to give us some of these highlights.
Just imagining what's happening with
the skull inside. Really
really seeing these things as planes
and use the hatch to give you the
the fact that the
half tones end up being closer in value
to your shadows allows you to just
make sure that you have a clear area of where the shadows are.
And then to spend most of your time on your half tones.
That's kinda the reason why I like this medium is it makes you
focus on the structure if
you use it the right way as opposed to
simply comparing one value to another.
Though of course that's important.
But it allows you to work more in half tone
and explore more of the form.
The interesting thing here
is that what's gonna happen with the front
plane, like the most
within the front plane, the most protruding part
is that it's all going to be concentrated here.
Now it's not as easy to pick up because
of some of these elements that are
sort of interrupting
a bit more clarity along that
still free to see that the
center line that we put here is also the part that comes out
the most. Almost into a point
that kind of, that line of the profile.
So it's important to realize
that and to begin to
to see that despite some of the contrasts here,
all of this is
And that's also -
so it's the
Right, so the most outward points
are here and that's where you're going to get that
highlight also, which
will give you the
sort of the end of the upper line of the
upper lip and then here
see this edge of the upper lip
usually so clearly, that's mainly because of a change in color.
But that's not as sharp of a change
in the form. If you were to imagine the
color removed as if this were a cast
you really see more
prominence right here while all of t
these other areas, those changes in plane are much softer.
And then here we have
the chin. So that's
where we'll have our main area of
light. If our light, you know,
granted that this will be the major
change in plane between the front
most plane and the one that's beginning to
turn away, even though all of this is front plane.
let's get back to it.
Now here we have a bit of a
form that we didn't really cover we saw part of it cut
on the head but it is the
And it is helping us distinguish between
that intermediary plane and the side there so we're gonna put it in.
As you can see from a tonal standpoint
things are kind of all over the place at the moment so occasionally just
kinda go back
and even things out a little bit.
Alright so -
and then we can hatch into it
and smudge and all that stuff to make sure we
get what we need.
And our outlines are still practically
non existent but it's about time to start
putting them in to make sure we have a clear end to
the end of the skull there.
And the same on the other side.
Make sure to have the highest point there and then
to take it
And then to get a little more
contrast along our terminator though
what we have behind there as reflected light. And see
even that still reads like reflected light.
Now we're getting a little bit of
right there as well
but it's a darker half tone
and we can see a little bit of the
sort of on top of the
frontal bone and that are kind of
getting all of the structures
of the frontal bone, like the arches right here
and the frontal eminence, making them a little bit softer.
So we don't really see too much
here but at the same time
we work a tone into there,
could still be rather clear that there is
a light right here on that
slightly more outer part
of the arch there.
Now you don't need
to keep the pencil
sharp but it will lose its sharpness quicker than
we do want to
to get it to just a slightly finer point.
And if you saw, you don't need it too sharp
mainly because you're not doing too much with the pencil. A lot
of the work
done with your hands,
stumps, and the erasers.
at the point that is
really kind of, in a sense, the edge between everything here
and everything here, this end
on that side of the face and the side plane of the nose.
We can make sure to emphasize our terminator.
I'm just gonna clean this up a little
bit even though I promise you it'll get smudged up again.
And then making sure to get our skull in there
clearly. You're always coming back to
really figuring out where the skull is inside the head.
A lot of time
is spent on that. That essentially is one of the main things you're thinking about.
Where can you see
the skull underneath
all of these forms. Here you
have a little bit of a change in plane as well, small
one, and we also
saw a little bit of it on the ecorche head
and this is the zygomatic minor.
muscle right there. So this is the
zygomatic major and that's the zygomatic minor.
But I don't
talk too much about
muscles that really aren't
playing a primary role
in the structure of a head.
Now see I still haven't worked too much
on the features,
mainly focusing my attention
what I consider more important structures.
Here to kind of
end the mandible by finding
And then all of this stuff
on the other
side there we can make sure sort of
placed in a general area of reflected light.
the ear we do need to
do a little bit of work on it.
ears are quite characteristic and I think
that's going to help us understand a lot of
what's happening. So here you have the tragus,
this part that comes out. I'll just go over some of the
major parts. Down here you have the antitragus
which connects upwards with a form know as
And there's that part that
fits apart up there. And then
here you have the earlobe and
if, moving up, it connects to a part known as
So you have helix on the outside, antihelix on the inside,
tragus coming out right here, also outside, and then the
antitragus inside there.
And, for our purposes,
that's what we need. And then we just need a general
tone on the ear and we can
mod a little bit more with the eraser.
Now here we have that line
known as the naso labial
fold or crease, I actually don't remember.
But it's that line you see quite often, going from
the wing of the nostril to sort of the
end, the sort of outer corner
of the obicularis oris. Now
it's very common that students over emphasize
it so it obviously plays a large role in character
but you don't want to make that the most important
element on the page.
Here in the corner of the mouth
we have a little bit of a
cast shadow. It's really gonna be
And then from here
from the tragus
I'm just gonna make sure to continue
downwards into the masseter
even though there's no clear line there, we need to
emphasize the angle of the jaw.
Here we have the thyroid cartilage.
And our main terminator
is gonna help us establish the cylindrical,
sort of overall cylindrical form of the neck.
All stuff that we've been talking about.
And this line
right here currently is not as descriptive as I want
it. There's some overlaps
that really wanna capture this sternocleidomastoid
these are the other forms of the neck.
now right here -
so let's get some work done on the
trapezius and in general, this area
from a tonal perspective, really see a light
only on the clavicle where it's the clearest
in between the infra and supra
And everything else can be placed in a tone.
See that's really close to the value of our
shadows. So we might need to
bring it up a notch or tone down our
shadows but keep in mind that working with
this chalk kind of places a cap
on how dark you can push your values.
At the same time I kind of like how that looks.
So if you like how something looks on one part
then it's your
job to figure out how to integrate it
with all the other parts.
That's kinda part of the -
that's all quite exciting.
It's almost a puzzle.
So in order
to do that probably
some of these accents here
might need to be made more clear, more obvious.
And there begins to read like half tone now.
I think this is a little bit,
it needs to be a little bit rounder, I have it
quite acute so
I'll just soften that a little bit.
And then just using the eraser, begin to
figure out what's happening here with
the sort of the end of our clavicle and our first rib.
The manubrium itself.
rib number two right there. You can
really see it
I don't advise making it too light.
I'm just placing that
in a general tonality to make sure we really can get our
So here we have rib number two. You might even
at least to place it, almost outline just like we did with the clavicle.
The clavicle here,
also quite an interesting area but
we have a little bit of a half tone there mainly
signifying the outermost part
here and then the change in plane underneath the clavicle
into the infraclavicular fossa.
the curve of the clavicle isn't as obvious from a certain angle
then you might just need to invent it.
And here too I'm just
gonna get a general half tone,
we don't want too much information
down there because our focus is still up here.
So see so
while still thinking and figuring out
some structural things, what I'm doing now
is mainly just making sure that we're getting a little bit
more clarity on our
between shadow and half tone as well as
within our half tones.
This part is quite enjoyable.
And then here, overall I just want some sort of
half tone up here so that we have room,
and by room I mean tonal room,
to establish that our main
highlights, which are sort of
disrupted by the creases here which we're going to
put in and that are really characteristic
but it's - they are -
it's on that intermediary plane between the front and the side.
And that's often
a place where you're going to see the highlight
on the frontal bone.
See so at the same time I'm sure you're seeing those
creases but I urge you to not
in yet. Leave them until almost the very
just have a word on the
way that I use
that large piece of chalk. You'll see that in some places
I leave it in such a way where
by placing it onto the paper it gives you
a little bit of a grain.
other times I rub it into the paper
to get a smooth area of
tone. And so I think it's
important to play around with those kinds of variations.
And I wish I could give you
sort of a rule for where to use one
and not the other but I almost can't.
We just have to experiment with it.
And also I don't think it would be that enjoyable if I did give you a rule.
There are a lot of things here that are open to
improvisation and I think
that that's what really makes this kind of approach
exciting. Now here
even though this is in this area of shadow and it sort of kept much calmer,
we do see how the other,
the nasal labial fold
on the other side is there
and we can just hint at it so that we
establish that alignment because
alignment is not only our main elements
aligned with their opposites, it's even
something as small as a crease
needs to be
thought about in conjunction with its
pair on the other side.
Now you can really see the
of the eye socket there and I think that needs to be
a clear accent, a clear point.
And then here we need to
complete the eye socket down there as well.
And because of
we can see that the front plane of the chin is also in
somewhat of a half tone in relation to
this kind of area. That is also can be considered
an intermediary plane between the front and side.
Now I've lost a little bit of
the clavicle here so we're gonna have to go back and find it
and at that point just almost outline it again.
And then we're gonna really make sure to have
all of our accents there.
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on your 20 by 24 inch board, use
the photographs of Mark to draw a highly rendered portrait
drawing in either graphite or sanguine, making sure to focus
on the skeletal and muscular anatomy of the head, neck, and
shoulder girdle. If you have access to a model, do
a portrait of the model from life.
Free to try
Watch the whole lesson with a subscription
1h 8m 19s2. Portrait Assignment Instructor Demonstration Part 1
29m 15s3. Portrait Assignment Instructor Demonstration Part 2
23m 4s4. Portrait Assignment Instructor Demonstration Part 3
28m 27s5. Portrait Assignment Instructor Demonstration Part 4
31m 17s6. Portrait Assignment Instructor Demonstration Part 5
25m 25s7. Portrait Assignment Instructor Demonstration Part 6
36s8. Portrait Assignment Instructions