- Lesson details
In this lesson world-renowned painter Steve Huston analyzes a master painting by Swedish artist Anders Zorn and demonstrates Zorn’s approach to painting the nose. You will learn about the lay-in and correct construction of the nose, how to establish shadows to give the nose correct context, techniques for emphasizing the structure and how to give the nose the illusion of roundness.
- Gamblin Artist Grade Oil Colors
- Simply Simmons Paintbrush
- Canvas Panel
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world renowned painter Steve Huston analyzes a master painting
by Swedish artist Anders Zorn and demonstrates Zorn's
approach to painting the nose. You will learn about the lay in
and correct construction of the nose, how to establish shadows to give the nose,
correct context, techniques for emphasizing the structure,
and how to give the nose the illusion of roundness.
a Zorn nose today. This is Emma Zorn, Anders Zorn's wife.
He was born 1860, died in 1920.
Again a contemporary Sargent, Sargent was 56 to 25,
Zorn lived 60 years. A very prolific guy.
In other lectures I mentioned his work ethic. He was a
Swede and he went to art school for eight hours a day then he would
come home and consider that not enough practice so he's work for another
four at least the story goes and I can believe it. He produced a lot of work,
he did oil painting, fabulous watercolor work,
great portraits, he did Presidents,
notables, Europe like Sargent did,
he did a lot of outdoor nudes that were very,
beautiful light, airy, impressionistic, oftentimes by the water.
Often times the poor women were standing in the cold, Swedish
lakes and stuff posing for him. He did work from photographs from time to
time we see photographs of his work. And he did a lot of etchings and the etchings are
almost all from his paintings and so they'll be flopped
reversed versions of his paintings. You'll notice a self portrait
etching and you'll find an oil painting that was the source
of that and the reverse because of the printing process of the etching you
scratching into the plate and then flip it over to press and you get a reverse
image in that. He also sculpted a little bit
so he was very prolific. Painted his Swedish
characters and countryside, painted the portraits, did
the nudes, watercolor, oil. He did it all. Terrific draftsman,
great rich painter. Sargent -
I was gonna say Sargent helped with his career, I actually
have to check that fact. I can't remember now if it was Sargent or Sorolla. I know
Sargent helped Sorolla, I can't say he helped Zorn
but Zorn did very well, he ended up with a great estate
that has ended up to become a museum
and we're gonna paint, as I said, his wife
Emma who he painted several times, you know he would just
paint whatever was at hand it seemed like and this was
Emma reading a newspaper. And
we're not gonna paint the newspaper but we're gonna do a little study of the head and
a little fit of the eye because it's a nice angle of the eye
and I want to.
So there. He worked in
a very simplified pallet for his indoor work like this.
It was really just five colors and I'm not doing
color, talking about color on this, so I don't have the same pallet out
as him but we're gonna get a similar effect from him. He used titanium white
not titanium but he used white, ivory black, a cool black,
he used a yellow ochre which is dirty, slightly
greenish yellow, and then he used a terra rosa
Indian Red, kind of a brick red color
and it's basically a burn Sienna with a little bit of white in it.
And then he used a fire engine red, some kind of brighter red. We're using
naphthol crimson, and
we're gonna use India transparent orange
instead of the ochre and we can get that ochre
effect with that and mixing these up here.
We'll do some studies of Zorn, more careful studies
of a fuller composition and I'll walk you through his
color theory and his pallet more carefully but
that gives you an idea.
So he's got the eye socket in here and you can
see beautifully from this point, here's the forehead here.
Here's the far eyebrow,
here's this lovely descriptive nose
and European noses are great because
there's so many forms to see, you can really pay attention.
Now when I'm drawing something I just compare it to a vertical and horizontal. So I notice
the bottom plane of this nose is not horizontal, it lifts up a little bit.
And that allows us to get the correct angles. This forehead
is not vertical, it leans forward quite a bit.
So here's the - really the shadow shape
in here just so you can see it, so notice the
eyebrow is there, the hair of the eyebrow, there's a little space
between that little red structure that we talked about earlier, in earlier
lectures. And I would recommend you go to the
earlier lectures of the nose. This is the last lecture on the nose for a while,
we'll come back and do some other things, deep perspective and such, and
but this is the last one on the nose.
So those other lectures will give you a simplified
structure to it.
Now the eyeball is right here and so again
look at that nice lovely step back. All important, we've got -
push that eye back into the socket. Here
is the socket here more or
less. And here is the ball inside.
And so let's put it over here.
There's the ball
inside of it. Now because the
head is tipping down
we have that angle of socket and eye going
this way, more or less with the forehead. She has a very square forehead.
Most foreheads go back a little bit. Her's is squared off straight up
and very much in the line of the face -
in the line of the face, which would be
here. Where I define the line
of the face and it's just convenience sake, is where the
forehead meets the nose and where the lips meet the chin in this
position here. Now we're slightly on top
of this head too. You can notice that by the eyebrow line, back to the ear
which we won't draw and we'll see that
angle and we'll see it in the mouth
Going this way. Now she looks happy that we're
we've placed her so nicely on the page.
Need a little bit more juice here.
Steps around, steps around,
all the way through you can see the little lip here
stepping around. So we're slightly on top.
Back to the
eye - forgot where I was at for a second. And now look at how he
conceived that eye as a boxy form. You can feel the change
here. Now one of the advantages of having eyes
glancing down is then everything is lost in lid
The eyelashes and the heavy eye lid. Let me wipe that
back for you for a second so I can show you.
Here is the
edge of the lid. Now look at where the
eyeball, pupil iris is. Right
there. Way back inside. Look at how nicely it's connected.
And there's a little bit of the lower lid here showing
and you can see how it steps back.
do it over here.
Way back here. Lower lid's right there and you can see
even the lower lid steps back from the upper lid, right in here.
Right in there.
And then her lower lid
pushes against the cheek
and that's more or less
the bottom of the eye socket. The
cheek is way back
here wrapping around, you can see that light showing and
half light showing that pinching around of the
cheekbones that I've talked about so often. The
cheekbone wraps around, it's this protective ridge like a donut of bone
that goes around and protects that eye so it can't be struck easily
and then the cheek falls off and shoots right for the
mouth. But before it gets there it drops down
the line of the mouth and we'll look at that a little
more carefully when we get into mouths.
So this is all side
plane of the cheekbone going back, corner plane
of the forehead turns a little away from the
light source, which is coming this way. Seems like every painting we do is from the
The eyebrow, the forehead
I should say turns a little bit to the right, so it gets a little darker,
turns a little away from the light source, gets a little darker. The cheekbone turns
a lot, quite a bit away from the light source, so it gets
quite a bit darker. You can see that box logic
in play. Different value, different plane.
In every time we wanna show a plane change the front of the forehead, the corner
of the forehead we need to do a value change.
This is coming down here
and then we've got a terrific delineation
of the front plane of the nose
right here, and the side plane of the nose
comes on down here. And it just bounces,
this rickety, bouncing job getting down.
The cheekbone, since we're turned so strongly into
profile, the cheekbone meets the nose behind
the eyeball, right here.
And this drops.
and we actually need a little bit bigger nose
here. Intrepid teacher goofed it a little bit.
In there, we'll scoot it down just a little
We'll edit that out, we'll pretend that never happened.
Now let's do our nose. We'll get to a little bit
bigger brush. Everything that turns towards the front
plane is gonna get lighter. Everything that turns to a side plane
is going to get darker. Simple logic.
Everything that turns to a top place will get lighter.
Everything that turns to a bottom plane will get darker. As long
as you're consistent with that.
Now when I mix notice I grab -
I need to cool this off, this is too pink. I grab
a little bit of that dark
blue, the black he's using as a dark blue, and I put it over
here away from the pot and then come back into the pot.
And then if that's not enough I come and get a little bit more, a little bit more.
But she's in this north, cool, light coming
through the window presumably
and so she's very gray, cool.
You know these guy's didn't see sun for weeks sometimes.
Those northern climates. And so
And we're just gonna get
a little bit of the surrounding structure. Once again we need
the surrounding structure of cheek, eye socket,
forehead, to credibly build this
nose. We need the context for it. Art is about the relationship
between things. Between light and shadow, foreground and background,
smaller features on bigger
head, and so we need that contest.
Okay so I'm just gonna knock this all
into light there. And now
we'll start adding our secondary planes.
side of the nose, can be a little
pinker than that.
And I'm just gonna drag it on down.
And so this is all
side plane. Now in our last lecture we looked at
Thayer who vastly simplified the structure of the
nose. And that's a way we wanna paint in our nose here
is we wanna keep make it vastly simplified. The nose is just a wedge.
It's a wedge that goes in its own direction. Notice the face is going down this way, the nose is coming
out that way. And so it can be a foreshortened
affair if you're looking straight on at the face, the nose is coming at you.
Okay so side plane
of the nose and once again we talked about
this last time, the front of the forehead
and then the corners of the forehead. You can see the forehead
tilt out this way. And then once we get outside of the eyebrow,
eyesocket area, then it goes straight back more or less, it still opens up
a little bit to the wider skull but it's going back this way. And so we have these
corner planes that bevel out wide. We have the same thing on the nose but not as
extreme. It doesn't bump out as wide. We have the front plane
of the nose that corresponds with the front plane here and all the other front planes
all the way down. And then we have the side planes but they're kinda
halfway between the side and the corner. They don't box back, straight, they bevel
out wider. And so I can be a little bit tilted
at an angle and still see the far side plane of the nose
because it's wowing
out. It's coming down to a wider base, it's like a mountain
coming down into the tilted plane here.
It opens up for structure and support. This can get
beat up pretty badly. It's little bones and cartilage that aren't very strong.
And so we want to have at least to have a wider base to give stability. If I wanna
be stable I'm gonna widen my stance out
shoulder width or wide to be shoulder so I'm not gonna move.
That's what's going on here. A wide base gives support and stability.
And so it
doesn't go into a full dark plane like it does here. It will up here
and we'll analyze that in a second but here it's kinda in a half light in this case.
It could well go in shadow but in this situation it's not. And that's why we have
the cheek in shadow and the inside
area here in shadow and the outside area here in shadow, those
are deep turning side planes. But this opens up a little
bit. And so we'll have to analyze that. And that's also why
we can see the cheek half tone here.
The same or similar
color because it's also, at that point before it
turns into the full side plane
in here. Let's
do a little bitter job with our -
you can see, to get my grays I'm really adding the
blue, the yellow, and the red. And since we have the
red lips and the red blood I'm using a fire engine red because
that's what Zorn did more or less.
But those three primers gray each other down into that Brown School
grayness that we're interested in. And
then I can just tint it a little redder or a little
greener or whatever I want
using the blacks and the others.
Let's thin that out just a little bit I'm gonna keep this nice and thin just
for - it speeds things along. We'll, as I said we'll
do a Zorn and Sargent
and all these other guys. We'll do some studies and paint
kinda like them I'm not gonna pretend I can paint like them but
we'll get - I'll show you the basic techniques of that, I did
a little bit on the eye for Sargent.
And we'll do some more careful analysis of how
they get the stuff down because it's interesting
and it's very useful. We're just gonna let that fade off.
So soft light, north light is soft, flattering light
you can see there's no heavy shadows under her nose
or across her cheek for her eye socket, those would be
heavy, strong, masculine. She's a delicate almost
frail woman and so these are delicate almost
soft edges. Everything's the soft edge, there's very few hard edges in the form
here. And that
flatters and speak to her personality. And that's one of the
things a portrait painter, good portrait painter, wants to consider,
is what is going to speak to the personality
or the mood you're after or
in a portrait usually both.
So you can see this is a talk on the
nose. We've done almost no work on the nose, it's all preparatory.
It's really a chess match.
to be successful doing a painting, especially if you're working from
life, which we're fortunate enough not to have to do in this case,
letting Zorn do all the yeoman's work
and were just coming in a chasing
after him. Makes life a little easier for us.
now this is the
shadow and that's that deep area where the eyeball ends and
nose ends and the forehead goings into a bottom plane. We don't often
times thing of the forehead as a bottom plane but it really does have a
bottom plane, it's the upper section of the eye socket. You can see
it right here and you can see it in this little wedge
spacing between the nose. That wedge point. We likened that
in the last lecture to the pit of the neck
on the body when we're drawing the
torso, that pit of the neck is really
the most important landmark on the body because it
ends the head and
shoulders, it gives us a track out to connect the arms
and it gives us the center line to build the
So we're just gonna do a little bit of this far
eye just to give you a sense of it.
Steps back, bottom plane, down the eye.
hiding like a little rabbit in a hole,
hiding in there.
Okay and I mentioned the
eye was conceived as a boxy
type of form.
And you can see how the darker
plane here and let
me lighten up this plane
And we're doing this bigger than he did it
for obvious reasons so you can see it, see these strokes.
And this information, let's push this a little darker. Now can you see the three
planes to the eye inside kinda what would be the front
view going off this way. And then the lightest plane
turning this way and then that more full side plane
going this way. It's almost as dark as this
because it's turning almost as tightly
around away from our light source. And then we have a tighter
turn even on top of that
and that would be our - the
shadow on that outer corner.
Let's lighten that up
get a little bit redder.
There you go. This plane of course belongs to that plane,
this gets almost that dark
this is that deeper
darker moment there.
So you can see that lovely transition.
around the eye.
Here so it comes across there
and then this opens up
as it bumps against her
hairstyle, her hair line there.
in here you can
see how the little bit of color here, I promised I wouldn't
talk about it and I'm going to, you can see how this little shadow gets
redder. Over here it's much bluer, here it's
grayer and in fact there's a lot of warms and cools in there that we won't get into.
This gets redder. When you get those deep shadows in between flesh,
in Bourgeois or
or Watteau you'll get
say the pinch between the breast and the arm
they'll paint just a bright fire engine red, almost pure
red right down there because it's a reflected light going back in its shadow
so it's not catching direct light but it's flesh on flesh, pink
lively flesh against pink lively flesh bouncing color back and forth and
ignites it and so these deeper shadows
under the nose you'll see the same thing
where flesh is facing
away from the light but towards other flesh we'll get this warm
energy going on and so the shadow often times
gets redder and that's what's happening here.
That's a nice place to show you
that warmth in the shadows,
it's not just dead brown. Okay so
this comes out, let me
come back to that one more time
in here there's a little
Right here this little finger of tone, darker tone coming out
into the light side. This is all on the side plane of the nose, here's our front plane we're
stepping down from the forehead, back
and then the nose takes off. So that little
wedge shape, that gives oftentimes slightly darker. Here he doesn't bother
really to make it any darker.
In fact it catches a nice
there. This I'm gonna -
nose I'm gonna push down a little bit darker down here
to set us up
And often times you'll actually even push this even stronger.
Often times what you'll find is as you get towards the tip of the nose
it gets redder and redder and I'm overshooting what Zoran did with his
I'm just dragging that up carefully.
Let's put in a little bit of background while we're at it.
Once you get painting
on these things it just gets a little addictive and you have to go a little
farther and a little farther. And this is a slight
umbery color, slight yellowish
gray. A little bit more.
There we go.
And there's a slight gradation.
See my laws of light lecture
lessons, to talk about - where I talk about
gradation and the great tool gradation is.
Alright, get rid of that
Alright so just a hint of that. Alright so back to here. We got
distracted. This comes out this way.
Gonna take a little bit stronger so you can see it. And that's
the nasal bone. There's a bone that comes right off. If you look at a
skull there's no nose here, it's just a nasal cavity
and there's just a little turn, it comes about this far,
just a little wrapping out from the brow
that goes down, sits on top of the barrel of the mouth of the teeth
and that's that hole, that nasal cavity, where you breath in.
Then you have bone, cartilage, I
forget. There's six or seven there or something like that.
There's a bunch of little piece basically and they're all
just kinda laid next to each other, almost like a house of cards where you stack them
carefully and they don't move. It's very fragile, you get punched here a couple of times
and you end up looking like Michael Jackson, you're gonna lose your nose
basically. So fragile stuff. But that first
bone comes out and stick out and has a slight forked tongue look to it.
Comes down quite far into here and it can come
all the way into the bridge, the ball of the nose, and intrude. In
some characters you'll actually - the bump
on the bridge where that nasal
bone has come in
and actually intrudes
into the ball of the nose and we see a bump there, a stair stepping of those
forms separating out. In Emma's case here we do not
What we see is, let me just do this,
highlight, we'll come back to that and I'll take about that a little bit later.
And notice when we push that nose much darker, I pushed it redder to talk about
that blood, it's not that red in the painting.
But that's okay, we'll just leave that. But the main point was to push that
down dark enough to get this light side of the bridge of the nose
dark enough so that that highlight would track.
So when you're choosing the value
to place for
your half tones
you wanna make sure that you're setting
it up for the highlight. Make this dark enough so when that when you put that
highlight on there, there's my highlight brush,
it pops. It pops correctly.
In this case doesn't pop a lot but it's enough to give us that
little extra kick of form.
It's like a little bit of cayenne pepper in a recipe or something, it gives enough
to give it a little bit of punch.
Okay now you can see how this tracks down, that stepping down, hooks
down and as that nasal bone poops out then the ball
which is a soft, fleshy ball there,
And then look what we have here -
let me switch brushes again. I'll use one of my
brand new terrible brushes. Actually they're fun but when I
wipe this off it comes off.
Excellent materials here. That's what you get for living in a small town.
We get other wonderful things
instead. Alright so
let's bring this down. This is about in here.
Now look what we have here. Let me redefine
this dark area up here I'm gonna push a little darker so we can be
is a deep
hole basically. Way back in. And you can feel it
on your own head.
You are your own best model, you can just check and feel
where is the eye socket at. Does that really feel like a ball shape?
There it is. So this is way up in there. You can see that
bottom plane of the forehead, front plane of the forehead,
bottom plane of the forehead. And then the nose builds out this way, the eyeballs
build out that way, the cheek comes out from it,
they all kinda group together there. Meeting place.
And then let's -
there's our eyeball
I keep getting side tracked, let's get back to this.
There is our front plane - front plane,
side plane, front plane,
corner plane, side plane.
Where we put in those darker half tones.
now notice what happens secondarily. The way we've
Look at how this builds up, rises up, catches a little bit
more light, and drops off. So we have this kinda ski slope. This
lazy fun rise down, up and down, up and down
rise and fall. And that is that nasal bone
coming out. I just
pulled that off again. Now let's come back
in here and we can feel
how we wrap around that lower lid, that's that lower lid,
the fall. We wanna feel this. One of the problems we have, just think
okay if we're gonna look at this hand or paint that hand or draw that hand, you're seeing the front of
the hand, you don't get to see the back of the hand. Or if you see the back of the hand you don't
get to see the front of the hand. The most you're ever gonna see of a form
is about half of it. And then the other half is gonna be missing.
If you see the front you can't see the back, if you see the bottom you can't see the top
and you may well get overlapping forms that
cover even more than that. So the problem we have as an
artist is give the feeling of in the round. Feel
all the way around the form even though you cannot see all the way around.
How do we feel that? Well the easiest way to do that -
let me make sure I'm on this surface here - is to
do as an
elliptical drawing around our cylinder or
feeling the front side by
dot dot. Pretty lousy dots.
We can feel - we see the front side but
dot dot, we feel the backside. And that's the ring, that's the
belt around your waist, the necklace around your neck,
head bands, that kinda thing. All the way around. We wanna feel
that movement around. So the trick to that, when you do that
ellipse, the ellipse has to move smoothly into the
side. It can't bump at a
corner, it has to roll around so that we can feel the volume,
feel the volume, not see it, so we can feel the volume on the other
side. If it's sliced off then yeah we get to actually see
that volume go around. But if it's interrupted, as most forms are,
we lose that. So that's what we're getting here. We're
getting that cheek wrapping around that ball and that's gonna do
a lot to give the illusion of turn. We're getting our boxy structure
one, two, three, and then that fourth final plane to step over,
or we could blend those together to make them ball like, just zigzag,
we could soften those later. But that
movement takes us around in terms of volume, of value.
But linear volume is important too. The linear volume is that
edge of the lower lid meets the cheek, and the cheek wraps all the way
around to show that movement around.
And so very important little bits and pieces there
to pay attention to. You look at this stuff and you think it's so
simplified, so simple. Sometimes you think that, sometimes you think
oh my god what have I gotten in to?
But really there's a tremendous amount of stuff going on there and there's a tremendous
amount of help that your audience is giving you to work
this out. They are doing half the work here. We draw the front half
they will feel the back half. They'll do the rest of that work
for us. So it's important that we set
them up correctly to have the tools
to have the confidence in us to
place that game. To follow the leaders and to move
on through and move around that
kinda obstacle course.
Okay now this plane steps down
So I'm taking that highlight out so you can see it. Just goes down a little darker then
it steps up, then the highlight rolls down that. And it also
gets little darker. Let's push that a little stronger. As we step
down the nose
it's facing up, catching a lot of light. Then it turns
down or relatively down, really kinda in straight on view, catches
a little less light. So the half tone drops a touch darker, the highlight
drops a touch darker. And then
the nose gets a little bit lighter here
but also that blood is coming to the surface. And that mitigates
And then it drops down
Let me bring a little bit of red back into that.
Down a little bit again so
lighter, a little darker, lighter, quite a bit darker,
way darker. Stepping down.
It's also turning down to her white
or very light gray newspaper and so we're getting some of that
gray, light pushing up back to it.
Okay so back to this. We step over that,
wow out, build out for that
wider base, it's just like a mountain eroding down into the
valley. Same kinda structure. And then this
is fairly strong separation
and then once we get down into here
it becomes a much subtler separation and often times
no separation at all, it just blends back in.
Now if it was a strong enough light source, strong enough
angle then this would all go in shadow and we'd get a cast shadow at the end of it. But the actual
form, let me track it for you,
has a bit of a bump there. But over
and we haven't done this, I'm just gonna start from here - over here
it can be a really subtle transition,
it can be strong too depending on the person but often times there's an out in here.
Notice how this separates from the cheek. The nose separates from the
cheek. At some point you wanna see how it blends back into the cheek. Sometimes
it's up here, sometimes it's down here, but now we have the sweeping,
that grouping together. So I'm always interested in separating the form,
this little tongue of bone, and then reintegrating it
and then separating this wedge plane, and then
move back in somehow, in whatever way.
And that's that gestural component. We need to
understand the part, that's the structure, the separate, distinct
beautiful, interesting, dynamic part, and then how it
integrates, relates back to the whole. That's the
compositional element, that's the melody in the song. It's not the notes,
it's all of those lovely notes in
relationship. Just this right relationship. And that relationship, when done
correctly is just absolute magic. It just brings
it all together. Everything is exactly where it had to be
it couldn't possibly - you couldn't conceive of it possible being anything else
And that's art. When you get that fortunate
parts that create something that's greater, a whole that's greater
than the sum of those parts. There's our
lovely cheek, ruddy cheek, the blood flushing.
in there. Alright so we're almost done here now,
we've got the end, the tip, the ball
the end of the nose here and then the wings. The wings
of the nose are actually
bridges that go over the plane of the mouth. We'll see that more clearly
and we talked about it, we had a nice, slight upshot of
last lecture where I showed a little bit of that structure, we'll show a lot more
in the mouth structure, how the barrel of the mouth
goes up into that nasal cavity
in there. And so the bridge here is actually
spanning over this pl;plane, this mouth plane
Not - we're not worried about the lips - the whole barrel of the mouth of the teeth. That goes
up in and then back into that nasal hole.
so we need to explain that somehow, show that off a bit.
And then the nose through the septum, thats the split
Right he is the split that separates the nostrils. That's
a little bone, it looks like a guitar pick going back. A bone - I can't remember, might be a
cartilage - going back in. And that's the transition down into the
the philtrum, that little depression there, little divet.
It's hard to shave around sometimes. And that makes that transition that way.
Alright so what did I have here. So this is
is gonna come up. Now this is almost always
a very hard edge and he brought that strong
red in a again like he did up here. Clever man
Almost always a very hard
edge where that bridge separates strongly
against the plane of what's now becoming the mouth, transition from cheek
This has a
secondary plane, very much like we had
the darker half tone than the shadow. Same thing here. Let me
warm that up a little
Bear with me here so I can get this to a place
where you can understand what we're doing.
There we go, alright.
So now you should be able to see three planes.
The side of the bridge
here, the wing of the nose, the bridge o the nose, and then as it
bumps back into that finish of the bridge bumps
I'm gonna take it this way
like that. Strong strong plane change. THe strongest
plane change along that side plane. This has a nice little bump
this has a nice little separation, this has a more or less complete grouping
this radically separates.
So there's where that nose - and that's what's
gonna help in a front view, three quarter view, this is much more of a
profile. Front view and three quarter view, that strong separation is gonna be one of the things
that help pull that nose off the cheeks. That we really
show there where that digs out and that nose is a very different
thing than these cheeks. The cheeks go back, the nose goes forward.
and so this transition
that sharp change, abrupt change,
does a lot for
does a lot for
separating out that nose. From a
profile we don't have the necessity of it so much.
because it's on silhouette. ANd
primitive art will do that, they will take - and children will do that
same thing. They will
they will take the most characteristic view of whatever they're drawing. So you'll think of
Egyptian Art. They'll draw the head in profile because the forehead
nose, lips, chin, into the neck
and down int he body is the most characteristic of those features. We can
really see these features in silhouette. They bump out and they bump in.
The eye though, that's in a deep perspective and it's
looking this way. That's not the characteristic view. The eye,
the characteristic view, is the front view. And so we'll draw a front view of where
an Egyptian of the eye and put it on a side
view of the head. And the shows the most characteristic view
is the front view again and so the head will be turned this way,
forced this way, and the shoulders and body will go this way and then you go down to the feet
and the feet, the most characteristic view, isn't doing that, it's seeing the feet
in profile. Turn the feet sideways. And so here
is presented in the most characteristic view. And sometimes
as realist painters we luck into that characteristic view.
This case the nose is going out into silhouette and so it's
very easy to explain to the audience
how that nose structures
out differently than the face
structures. So we lucked out in this
view, we don't always luck out that way.
And we have that problem with the eye and that's why
we wrapped it around. It's not as characteristic here. Alright
so we have those three planes, let's
push this lighter now.
I can do it. It's
interesting, you paint something here and you say well that looks very, very light, maybe it's too light
put it here it's not light enough. So until you get it into your painting
you're not gonna be sure of that mixed color, that mixed value
is really what you were after.
So there's that wing of the nose and it tends to
separate and swell out. The tip of the nose has a
ball front, sides, and actually a couple bottom planes that we'll
work with and already starting working with them. And then that's ball
or faceted structures
separates from the wing and the wing usually has some kind of
transition. Now on the Thayer we saw last lecture, he didn't really show any
of the difference between the ball of the nose and the wing
of the nose, it was just this classist
kind of neoclassicist slash art deco kind of
radically simplified, radically idealized
but on a real nose and in a portrait
where you're doing a specific character nose, there's probably gonna be
quite a change here. It bumps - kinda like it bumps up here.
This bumps and this bumps. Same way here. The ball of the
nose bumps and the wing of the nose comes out. So this is lightening up,
getting closer to these front corner planes and then this is
going darker behind.
And Zorn is terrific because he often times leaves more
clearly the boxy logic where Sargent will blend them
out. He'll use those soft luscious strokes, he'll work with
thicker paint they'll blend. They'll get these cream melting blends
of planes and colors and values and it'll be a smoother
transition. Zorn will oftentimes leave them a little boxier.
So let's get the
that bridge of the nose
now - or that tip of the nose I should say.
and here it is here.
Now we haven't dealt with how
this goes back into the end of the nose, reintegrates with the
side plane, we'll do that momentarily here.
That's down here.
That's down here. So now you
can see the fall coming over,
bump the wing coming over, bump, cheek and mouth,
bump. Big bridge that was so
separate reintegrates itself.
We get a subtle
bumping as it goes back in. Now this needs to
finish here. Let me get rid of that construction
construction line marks.
Okay then this
in this case and again feathers
back, reintegrates in that side bridge of the nose
and there's a subtle, continual
Bump bump, bump
bump, bump, in there.
and you can see how
in this case I'm doing a lot of little hatching and that's what a
pen and ink artist might do. And there's great, valuable
lessons to be learned from pen and ink
art because they've got only black and white, they can do
washes but just with a croquil or the pen, only
black and white and yet they've gotta create a whole range of grays,
they've gotta create with just a little scratch line,
a whole range of textures
and so you get these wonderful affects, these wonderful
inventions of how to get from here to there, from light to shadow,
foreground background, from skin to costume.
Okay. And then for Zorn he actually did soften this place
and just let that be a
But anyway if we use those hatches
we can get that lovely affect
of stitching these forms back
And then not have to
do smudgy blending, it's just one more way. One of the things I'm interested in
as a painter, which we can't deal with with these little
analysis but we certain can when we
get into the art of finishing a painting, is I'm
interesting in how the colors come together. Whether they're foreground, background,
lighter, shadow, local color, differences, how that paint
comes together because I wanna make it interesting I don't just wanna make it functional. It needs to be
poetic, it needs to be evocative, it needs to be
surprising. You need to teach your audience about
this is what a nose can be, this is what
a personality can be.
And so now I've got a lot of little hatches in here
all stitching together.
And that integrates things together and can be a very lovely way to work
and a very quick way to work. A shorthand where you don't
have to constantly blend and smudge. And when we stroke
on those colors, each little color, like this cheekbone is really kinda
stroked on, each little color can be a little more intense because they'll weave together
the light with the dark, the rich with the gray and settle down to where
they're supposed to be. If they don't you go back over them and you can
weave it together surprising
little notes of color, of interest, of paint quality,
that kind of thing. Alright so now we're
gonna feel that bottom plane reintegrate
with the mouth below.
Which we won't get into. And then we have that last bit of information
we have to work out here. What's going on in the bottom.
There it is there, there's
septum going into the philtrum there
and then inside the bottom plane, dramatic pause,
we've got our nostril showing off, but the nostril isn't
a form, the wing
that we've so carefully set up and separated
ball is the form. And so
what we're getting here is either the bottom plane
or if it's the nostril itself, it's a
hole into the nasal cavity but we don't actually ever see
that. What we see is the wing ending
there. And then let me come below it,
bottom plane - oops gotta go a little light than that
the bottom plane
little light, little more, little more
and I paint just that way. Little more,
little lighter, oops too light, incrementally change it
to easy into that solution. At some point you get going and you just have to have
your pots of color and often times you can
know exactly what it needs to be that if I go to that
red, that's just right, if I go to that red it's too dark.
Let me darken this background a little bit so you can see it.
And I'm gonna lighten that
one step more.
There we go.
And we keep seeing
alright and it's not alright and I keep going. Okay let's stop there, we
have a couple more little things to do on that but we'll stop there. Okay so here is
is the bridge, the wing of the nose, spanning the tip of the nose, it sticks
way out in space and the cheek and mouth structure that is
the anchor for that movement out. And the spanning
back, bumping over, separating, going back in.
And then the bottom plane of that bridge, bottom plane,
side plane, bottom plane, and the nostril - what we think of as the nostril
is actually just the absence of form. The bridge
has ended, now it's nostril, the mouth plane has ended, now it's
nostril. The bottom plane of the nose has ended, now it's
nostril. And so I see this brighter red underneath, that's the bottom plane,
the tip of the nose going back underneath to that
septum philtrum connection. Right in there
and reintegrating with
the face. Extending out into space then coming
back and reconnecting to the anchor. So this
is the space. And we never even see the actual nostril, the hole
that goes in. We think of that and again a
a primitive art or
a child will do this or even a young art student
will often times do that for
the nostril. You don't usually - never say never - but usually you don't wanna
do that because that just is a hole in. What we wanna feel is the plane,
here's the ellipse here
what we wanna feel
is that plane of the mouth going back
up into that.
And then the last
little bit here, come back to me.
Oh I think my power died
on me, that's okay we'll do it computer
blew up you can probably see it smoking off the edge there.
Here's the last little bit here
And what we actually get -
soften that I'm gonna lighten this a little bit more.
You can feel the -
I hope you can feel
that philtrum area out a little bit more and
drag this out a little bit more.
Right here this slightly light mark,
I'm gonna lighten it up like it's in light for a second.
That's the wing of the
nose coming around, around towards the cheek, but
also around that hole, that bridge
we draw it down here. Well go underneath it a little bit. That bridge
like this. This is where it meets the cheek. The mouth is down here,
the tip is over here, the nostril is
or plane of the mouth going up in. And if we're underneath it as we
are here, then we might see -
probably would see a little bit
of the actual nostril there. There's the hole going into the
nasal cavity. This is the bottom plane
of our bridge. This is the side plane
of the bridge hatching over as it comes
and meets the cheek here.
And notice how this, like an ellipse but we're underneath
that tubular model now, wraps
around here. Mouth goes up here and this
kind of poops out here. And so this little light section is really
right there. As this comes around, this
is in a darker cast.
And we're catching that and then this goes back in here. Now of course this was not
truly light, it was
a shadow there. But we'll leave it lighter
and it was actually quite light and it possibly could catch light but not from this angle.
But it's just a lighter and that gives us that wrap around structure.
That band like the ring kind of thing.
Wraps around. So I hope that makes sense. And I want
you to start looking at the old masters and
carefully look at these structures and see where they missed it sometimes because they did.
We're gonna look at a Titian for his lips.
Not his personally but the lips he painted. And we're gonna see
where he let the structure fall away a little bit.
And you can decide whether it was a good thing or a bad thing but it's actually not
Now I'm gonna soften this edge, I just wiped off
most of the paint and then I laid - I had two
colors coming together and I laid the brush across the border
of both and drag it down and that will soften that edge. Alright
so anyway we're gonna stop there. Oh, one other thing I meant to say,
now here is my highlight
on the nose. And when we do the highlight
we wanna make
sure it goes down that long axis whenever possible
to show that gesture, that flow down. And when we do that
highlight it's gonna go over that landscape, that architecture, it's gonna rise
and fall and we wanna make sure that that highlight as it stretches
that long distance, varies in value.
So I'm gonna push this way too light really, way lighter than
it was in the painting. Starting out lighter and go
softer. Or start off softer value and go stronger value.
In this case it kinda dies out and then picks back up
at that tip of the nose.
And again I'm pushing it stronger than Zorn did in the
painting. He softened that up and backed off but we didn't need all that.
I'm just doing it so we can talk about our structure here. So this is overdone.
Overblown. It make too much out of the structures of the nose, we want
that to be softer and more distinct for this young - or actually middle aged -
But what I was gonna say is highlights typically
the reason we feel the structure of this even though there's
no structure, it's just flat surface
with colored mud on it. The reason we feel that is for that
formula different value, different plane. If I give the side plane of the
nose a different value than the front plane of the nose, we'll get that
box logic. If I make the side plane of the nose the same value as the front
plane, it'll go flat. Different value, different plane, same
value, same plane. So where a darker value
meets a lighter value in the most dramatic
instance of that and the most important instance of that is where light meets shadow.
But in this case it's light meets half tone, down here it's light meets
shadow again. But where that darker value meets that lighter value we have
that pop of form. Now the great thing about highlight
is highlights can be put
where there is no value change. So you get a plane in light,
front plane in light and side plane in light, they're both in light
then how are we gonna turn that form, how are we gonna describe
that, there's no different value there. We put a highlight at the corner.
Notice, we're to the far side here.
The light is over here. And so we don't have
two planes coming together that are the same value. It's
a glancing light and so those planes are changing on their own. So the
highlight's not all the useful. If we were over here looking at it, we'd put
this highlight over on this side and it would be over there. Because we get that
front plane and that far side probably exactly or very close
to the same value. So typically highlights are most useful
where two planes in light are meeting - excuse me - and need
to be separated. In this case he didn't have that need because it was just an edge
right here. And then we go into the darker half tone and lighter half tone.
Darker again. And so there was a lot of value work being done.
One, two, three, planes. One, two planes without
those subtleties. So he pushed that highlight over to the corner still
made that highlight sit in the corner. You're never gonna find a nose
where the highlight's right down the center unless you get the rare instance where the nose
actually has kind of a pyramid, triangular top to it. And that
does happen where you don't get a flat bridge, a point
an edge down the center, and then the highlight can happen. But typically
the highlight almost all the time the highlight will be where the side plane meets
the front plane, right at that corner on one side or the other. He already
had a good separation between the light side and the darker
half tone side. The lighter half tone to the darker half tone. So he didn't need a
highlight there. But he put it there anyway. He
saw it and put it there and he put it much more subtly than we did of course.
because he didn't that pop. But in a different situation, if I'm
looking at this three quarter view and the light is with me
on that three quarter view, then these two planes
will be the same value. We desperately need that highlight to
separate. So that's one of the reasons
his portrait is - has a soft
highlight set than ours here because
we're talking about how to push form and he's talking about
how to create a beautiful loving portrait of his wide
and so he's softened those things, played those down. We've built those
up far too strongly.
I'll soften it just a touch
We'll still keep it a little strong
but we'll make it just a touch less.
By the way
here's that one, two, one, two, three, four.
Now we added a little extra plane here to get that bottom plane, that bottom
side plane of the nose going around before we hit the nostril.
Okay, I'm gonna shut up, I'm done. We'll see you next time, we will be looking at
the planes and structures of the
lips and mouth, if you're following these lectures in order,
and thank you for your time.
Watch the whole lesson with a subscription
11m 40s3. Establishing Shadows to Give the Nose Correct Context
11m 18s4. Techniques to Emphasize the Structure of the Nose
11m 54s5. Giving the Nose the Illusion of Roundness
11m 16s6. Separation of the Forms with Gradation to Give the Nose Definition
11m 11s7. Adding Characteristic Detail to the Bottom Plane of the Nose
8m 56s8. Finishing the Master Study