Academic drawing of a plaster head stump. Construction of the human head. Pruning. See the proportions, designs and scope of the setting

The technique was submitted to the World competition of drawings and techniques ART LESSON

INTRODUCTION
An artist-teacher must not only possess a sufficiently high level of skills, skills of realistic drawing, painting, composition, deeply understand the essence of creativity, clearly represent the process of forming an artistic image, but also be able to convey to students his vision, understanding, transfer skills.
I, Andriyanova Elena Nikolaevna, am a teacher of drawing, painting, composition, isomodeling at the MBOU DOD "Children's Art School" in Dimitrovgrad, education - Samara State University majoring in Fine Arts and Drawing, specializing in World art culture, total teaching experience - 20 years.
After reading the regulation on the International Open Competition of Drawings and Methods ART LESSON, I realized that Gimatdinova Renata, my student, and I should participate and cope with the task of the competition.
In fact, every teacher dreams of an ideal student. This competition gave me an opportunity to demonstrate my creative potential as a teacher and my student.

Gimatdinova Renata is the 4th gold medalist regional stage Delphic Games in 2013, held in the city of Ulyanovsk, became a member of the delegation of the Ulyanovsk region for the participation of the XIII Youth Delphic Games of Russia and the I Open European Delphic Games, in 2015 received an award from the Governor for high academic achievements. She is a laureate and winner of inter-regional and all-Russian competitions, her portfolio also includes many grand prix in fine arts. Renata always correctly distributes her work in time, constantly actively learns something new in various fields of science and culture, sometimes, at the request of her comrades, she talks about her real achievements and shares her experience. Renata always achieves her goals, even if long-term efforts are required, she does not succumb to difficulties.
An important point in our communication is that the learning process is a movement "towards". Drawing is taught on the basis of fundamental academic principles and developments. They are in textbooks. There are no special discoveries, I teach according to established methods, relying on many years of experience. Discoveries happen in the process of communication. I, as a teacher, try to discover various facets of talents in my student, and she, in turn, helps me to “hone” the skills of a teacher. In my opinion, this is mutual cooperation, when the student and the teacher “move” towards each other.
METHODOLOGICAL PART.
Topic: Construction of a plaster head Trimming according to Houdon.
Purpose: To master the method of analysis and expression of a large form when constructing the head of the Trimming.
Tasks:
1. Develop figurative and technical thinking, spatial vision.
2. Logically comprehend and clearly represent the image of a given plastic head.
3. Create artistic image in a drawing based on solving technical and creative problems.
4. See the proportions, structures and volume of the setting.
5. Use expressive techniques to bring out the light and depth of space.
6. To convey volume with the help of chiaroscuro.
The work is designed for 6 academic hours.
Material: pencil, ½ drawing paper.
Stumping - a plaster head of generalized planes, made on the basis of Houdon's ecorche, a French sculptor, an outstanding master of psychological portraiture. This tutorial gives ideas about the construction of the volumetric-spatial structure of the head, the patterns of chiaroscuro, perspective contractions.
Trimming is useful at the beginning of training, when the demonstration of the basic laws of shaping and perspective helps in building volume, revealing the form.
If the student does not comprehend and imagine the features of the shape of the head, but is limited only by his own sensations and perceptions, then he will be forced to follow the path of passive copying of nature, copying the appearance.
The study of the method of analysis and expression in the "large form" drawing is often accompanied by difficulties for students. Starting to depict the general shape of the head, students, as a rule, are limited to a linear outline of the head and immediately go to the details, without specifying either the nature of the shape of the head or its volume. Hence the details, they begin to draw not from revealing the basis of the form, but from drawing the configuration of the shape of the nose, eyes, lips.

It is necessary to start building the head with more generalized forms, this method of construction is called CUTTING, and the head of the Cutting will help us with this.
Many famous masters began their masterpieces with this method of construction. The trimming method was developed back in the Renaissance by Albrecht Dürer. Following A. Dürer, artist-teachers began to develop their own schemes for expressing the constructive basis of the shape of the head, with the help of which they helped students learn faster and better educational material. In the future, developing a method for drawing a human head, each author of the manual tries to interpret the method of using a constructive scheme in his own way. Some took A. Dürer's scheme as a basis and suggested that all constructive lines should be outlined at once. Others preferred G. Holbein's scheme, which was limited to the "cross" - the cut line of the eyes and the profile, others tried to combine both.
The constructive pattern of the chopping head makes it possible to generalize and simplify the forms for a better understanding and analysis - initial stage building an image.
The chopping head is a diagram of the main structure of the head.
The trimming divides the head into many plans and planes, which can be conditionally combined into six large plans: front, back, two side, top and bottom.
Only after studying the location of the plans on the stubble head, one can then see these plans both on the plaster head and on the living one.
To learn to see as a whole, one must know what elements this whole consists of, how these details and parts are subordinate to each other. Mastering the method of analyzing and expressing a large form gives the student the experience of visually predicting the result of building an image, that is, to imagine in advance how his drawing will look in its final form.
The basis given task the analytical method was established. Depicting the generalized form of a stubble head, the student must learn to see how the volume is made up of separate planes, how the constructive basis of the form is organized, must, as it were, perceive the form visually, and subordinate the movements of the hand with a pencil to the plastic expression of this form, moreover, in a generalized way, without trifles.

CREATIVE PART
Structural construction
1) It is necessary to determine where the head will be located in an A2 paper sheet. To do this, we outline the overall dimensions by finding the ratio of the width and height of the depicted object. You need to leave more space on the front side.
2) Let's outline the total volume of the trimming head.
3) Determine the angle of the head.
4) Let's find the front parts in our perspective.
3) Divide the face into proportional parts of the face. Let's outline the profile line.

Knowing the location of the profile line, Renata easily determined the position of the head in space. To do this, mentally connect with a straight line the point of contact of the profile line with the line of the superciliary arches (the bridge of the nose) and the point of contact of the profile line with the line of the base of the chin and determine what angle is formed between this line and the vertical, the whole head will be in the same slope.
Since the profile line divides the head into two symmetrical parts, Renate easily follows the location of paired forms (protrusions of the zygomatic bones, orbital cavities, corners of gy6, wings of the nose), which are outlined simultaneously in the drawing. She outlined the tip of the nose, the bridge of the nose, the brow ridges, the midline of the mouth, and the chin.
Horizontal constructive lines are parallel to each other and divide the head into proportional parts. The lines of the superciliary arches, the base of the nose and the chin divide the head into three equal parts. This pattern of proportional division of the head was established by ancient artists. We also find the tripartite division of the head shape in the canon of proportions. ancient egypt, and the artists Ancient Greece and Rome. Renaissance artists, based on mathematical measurement, also came to the conclusion that the front of the head is divided into three equal parts.
It must be remembered that what is closer to us seems more, what is further - less, that is, it is reduced.

Tonal work (minimum).
1) Determine from which side the light falls.
The edges on which the direct light hits are the lightest, on which the gliding light is a little darker, the darkest edges are turned away from the light.
Don't forget about reflexes.
2) It is necessary to achieve the integrity of the image.

RESEARCH PART
Dürer's scheme of the structure of the form of the human head is not an absolute truth, but it certainly correctly reveals the constructive basis of the form. The canon of the ancients about the division of the head into three equal parts is not an absolute proportion for each person, but as a general pattern of proportional division, it is correct.
The construction of a stubble head helps not only to study the methodical sequence of image construction, but also to master the language of realistic art. When a student determines the direction of planes in space and tries to convey them correctly in a drawing, he learns to convey the image of an object by means of graphics, and therefore masters the language of drawing.
Renata coped with this task easily.
FINAL PART
Interaction and cooperation are specific means of solving productive problems and a condition for students to master cognitive activity. A student who observes nature, so that the head does not turn out to be crooked, so that there is no gross violation of proportions, must use ways that facilitate work - he must know the norms, rules and laws that artists used before him and that helped them in their work.
Knowing all this, Renata did not have to constantly check the proportional relationships in the drawing with the help of a ruler and a compass, which students sometimes do.

Repeating the words of the great artists of the Renaissance, I would like to say that the ruler and compass should be in the eyes of the artist, and not in the hands: the hand draws the image on paper, and the artist’s eye checks its actions.
Drawing teachers should remember that special tasks for the linear-constructive construction of an image of the shape of the head help the student to better assimilate educational material, teach him to constantly think and reason while drawing, wean him from passive copying of light and shadow effects, since with the help of these tasks the draftsman begins to understand that the structure of the form always remains constant.
LIST OF CITATIONS
Aksenov K. Drawing. Help for a beginner graphic designer. M., 1987.
Barshch A. Drawing in the secondary art school. M., 1957.
Lee N. Fundamentals of educational academic drawing. M., 2003.
Lee N. Human head. Fundamentals of educational academic drawing. M., 2009.
Radlov N. Drawing from nature. 3rd edition. L., 1978.
Rostovtsev N. Academic drawing. 3rd edition, enlarged and revised. M., 1995.
Rostovtsev N. Drawing from nature. L., 1962.
Rostovtsev N. Educational drawing. M., 1976.
Rostovtsev N. Methods of teaching visual arts at school M., 1983.
Hogarth B. We draw a human head Mn .. Poturri LLC, 2002.
Hogarth B. Dynamic anatomy for the artist M., 2004.

Topic: Construction of a plaster head Trimming according to Houdon.

Purpose: To master the method of analysis and expression of a large form when constructing the head of the Trimming.

Tasks:

To develop figurative and technical thinking, spatial vision.

Logically comprehend and clearly represent the image of this plastic head.

Create an artistic image in a drawing based on solving technical and creative problems.

See the proportions, designs and volume of the setting.

Use expressive techniques to bring out the light and depth of space.

6. To convey volume with the help of chiaroscuro. The work is designed for 6 academic hours. Material: pencil, ½ drawing paper. (A3 format is allowed)

Stumping - a plaster head of generalized planes, made on the basis of Houdon's ecorche, a French sculptor, an outstanding master of psychological portraiture. This textbook gives an idea about the construction of the volumetric-spatial structure of the head, the laws of chiaroscuro, perspective reductions.

Trimming is useful at the beginning of training, when the demonstration of the basic laws of shaping and perspective helps in building volume, revealing the form.

If the student does not comprehend and imagine the features of the shape of the head, but is limited only by his own sensations and perceptions, then he will be forced to follow the path of passive copying of nature, copying the appearance.

The study of the method of analysis and expression in the "large form" drawing is often accompanied by difficulties for students. Starting to depict the general shape of the head, students, as a rule, are limited to a linear outline of the head and immediately go to the details, without specifying either the nature of the shape of the head or its volume. Hence the details, they begin to draw not from revealing the basis of the form, but from drawing the configuration of the shape of the nose, eyes, lips.

It is necessary to start building the head with more generalized forms, this method of construction is called CUTTING, and the head of the Cutting will help us with this.

Many well-known masters began their masterpieces with this construction method. The trimming method was developed back in the Renaissance by Albrecht Dürer. Following A. Durer, artist-teachers began to develop their own schemes for expressing the constructive basis of the shape of the head to teach head drawing, with the help of which they helped students to absorb educational material faster and better. In the future, developing a method for drawing a human head, each author of the manual tries to interpret the method of using a constructive scheme in his own way. Some took A. Dürer's scheme as a basis and suggested that all constructive lines should be outlined at once. Others preferred G. Holbein's scheme, which was limited to the "cross" - the cut line of the eyes and the profile, others tried to combine both.
The constructive drawing of the stubble head makes it possible to generalize and simplify the forms for better understanding and analysis - the initial stage of image construction.

The chopping head is a diagram of the main structure of the head.
The trimming divides the head into many plans and planes, which can be conditionally combined into six large plans: front, back, two side, top and bottom.

Only after studying the location of the plans on the stubble head, one can then see these plans both on the plaster head and on the living one.
To learn to see as a whole, one must know what elements this whole consists of, how these details and parts are subordinate to each other. Mastering the method of analyzing and expressing a large form gives the student the experience of visually predicting the result of building an image, that is, to imagine in advance how his drawing will look in its final form.
This task is based on the analytical method. Depicting the generalized form of a stubble head, the student must learn to see how the volume is made up of separate planes, how the constructive basis of the form is organized, must, as it were, perceive the form visually, and subordinate the movements of the hand with a pencil to the plastic expression of this form, moreover, in a generalized way, without trifles.

CREATIVE PART

Structural construction

It is necessary to determine where the head will be located in an A2 paper sheet. To do this, we outline the overall dimensions by finding the ratio of the width and height of the depicted object. You need to leave more space on the front side.

Determine the angle of the head.

FINAL PART

Interaction and cooperation are specific means of solving productive problems and a condition for students to master cognitive activity. A student who observes nature, so that the head does not turn out to be crooked, so that there is no gross violation of proportions, must use ways that facilitate work - he must know the norms, rules and laws that artists used before him and that helped them in their work.

Aksenov K. Drawing. Help for aspiring graphic designer. M., 1987.

Barshch A. Drawing in the secondary art school. M., 1957.

3. Li N. Fundamentals of educational academic drawing. M., 2003.

4. Lee N. Human head. Fundamentals of educational academic drawing. M., 2009.

5. Radlov N. Drawing from nature. 3rd edition. L., 1978.

6. Rostovtsev N. Academic drawing. 3rd edition, enlarged and revised. M., 1995.

Construction of a plaster head Trimming according to Houdon

When I was in art college, we were taught to see and understand form from general volumes, gradually narrowing attention to smaller details. Learning this approach to drawing and understanding the shape of surrounding objects will help

Head cutting as a method of drawing

The method is based on the idea of simplifying any complex form to the level of primitive geometric forms, and the subsequent tonal analysis of these forms in space.

This method teaches the artist to look at the form of any object more consciously, constantly analyzing spatial characteristics such as depth, sharpness, saturation.

And if there is a basis for understanding how this or that object of the environment (real or fictional) that we want to draw is built, then in our illustrations we can consciously manipulate these indicators creating more voluminous and interesting pictures.

I will tell you how to do this today, at least I will try to push all the self-taught people in the right direction on the path of artistic self-education.

"Artist's View"

Before moving on to theory, I want to focus your attention on this. How the artist looks at the objects around us. The artist analyzes any object as a 3D scanner. He looks, as it were, through the object and sees it as "transparent." Not literally, of course. It's just that if the object being studied is transparent, then an understanding of how this object looks in space from all sides immediately comes.

understanding the general form of an object and knowing such a law of aerial perspective as “closer is more saturated, further is more muffled”, any object can be depicted correctly in terms of the volume of the form.

Pruning. Starting with simple shapes

For example, consider a simple cube. The fact that the cube has faces, I think everyone understands and does not require additional comments.

Let's imagine the image of a cube in the form of a wireframe (transparent) where all its faces are visible. draw all lines of the same thickness. The result is a flat drawing.

now let's remember the concept of aerial perspective "closer is more saturated, farther is more muted" and apply this rule to the drawing of our cube. Lines that are closer to the viewer's eye, we will make thicker, and lines that are farther, will be thinner.

on the diagram (fig.2) with a red circle, I highlighted the closest point, it will be the most saturated with us. further downward, the gaze gradually glides along the faces of the cube, the thickness of which should decrease. With red lines I show the movement of the eyes.

We turn to the construction of more complex objects. Head trimming

when the task is to “build” a complex object in a drawing, it is extremely important to determine the point which, according to the artist’s intention, should be located closest to the viewer. - this will be the starting point, which will be the most contrasting and saturated in our drawing. Further, when building a form, we should never forget about this point, and all subsequent lines should be more muted in tone and not so saturated.

without knowing these basics, one can observe drawings where the artist depicts an ear in a portrait, for example, with more contrast than a nose. But we already know that this cannot be according to the laws of aerial perspective, since the ear is further from the viewer than the nose

in art schools, in order to train future artists and teach them to feel how the saturation of one or another “knot” in a drawing changes, they use a plaster model - head cutting, simplified to planar forms, hence the name “cutting”. , it is easier to understand and track how this or that point is located in relation to the line of sight of the artist.

understanding of these fundamentals is basic and opens up unlimited possibilities for the artist to experiment in drawing with form and space.

If you omit these basics and do not try to disassemble the form, then the drawing will be “flat” and not expressive.

Learning to "correctly" look at the objects of the environment

to consolidate this skill of spatial vision of the shape of objects, I recommend regularly practicing creating simple sketches of people around you

The main goal of quick sketches will be to create a linear drawing in which the shape of an object in space should be clearly traced. Always keep in mind the rule of aerial perspective "closer - richer, farther - softer"

on the example of these sketches, it is clearly seen that the artist emphasized the area located closest, most contrastingly. This is especially true in the far right sketch. Notice the knee is richer in tone than the head. But not in reverse.

For professional artists, the spatial perception of form is already sewn into subconscious level, and the process of work looks easy and natural. But behind this “lightness” are years of practice of “conscious” drawing and constant detailed analysis forms.

When I was an art student, my drawing teacher constantly demanded to "study" and "build" any form we draw. Understand how it looks from all sides, and not just from the side where the viewer's eye falls

How knowledge about the spatial construction of a form helps in creating cartoon pictures.

How will pruning help?

A cartoon illustration is still based on a linear drawing. According to the linear drawing, I recommend that you separately study the lesson "" I explained in detail the methods for creating a linear drawing in the context of working on a cartoon character.

So, without the basics that are outlined above, it will be extremely difficult to create an expressive linear drawing. In working on the line, we reduce everything to our formula “closer - richer, further - softer”, or if we talk about the line, then the rule can be formulated as follows: “in objects that we want to highlight and emphasize, the line should be thicker, everything that we consider insignificant for perception, there we make the line thinner "

As a rule, the construction of the head begins with more generalized forms, this method of construction is called CUTTING. Many well-known masters began their masterpieces with this construction method. I think you will be interested to know how it's done. So let's get started.
Depicted head "cutting".

1) First we need to determine where our head will be on a piece of paper (A3 or A2 format). To do this, we outline the overall dimensions by measuring the ratio of the width and height of the depicted object. It is best to leave more space on the front side.

2) Next, we outline the total volume of the head, determine the angle, the location of the front part in your perspective.
3) divide the face into proportional parts of the face (in this perspective, the middle line of the eyes is located in the middle), outline the tip of the nose, the bridge of the nose, the superciliary arches, the middle line of the mouth, and the chin.

4) Find the tilt of the head itself, and the lines of the front parts in perspective (there is a reduction)
What is closer to us, it seems more, what is further - less, that is, it is reduced.

5) Let's find at what angle the nose, build an axial one for the front part. We start by building the nose.

It all depends on our perspective, if we are below the depicted object, we see the lower edge of the nose, if to the right of the object - the right side of the nose, and the frontal, in perspective. (As in our case. Here are examples of building a nose by chopping.

6) in the same way we will build other parts of the face:
Eyes

Lips and chin

The whole face and head should be built along the edges. And as a result we get this:

WORK ON HATCHING
1) Determine from which side the light falls.

In our case, top right.
In this case, the edges on which the direct light hits are the lightest, on which the gliding light is a little darker, the darkest edges are turned away from the light. you should not forget about reflexes, but they are not lighter than light. If you are drawing a gibbs head (as in my case) don't forget about the materiality of the gibs. Border contrasts should be enhanced, and reflexes and light should be made brighter.
In the end, this is what happens:

P.S. Thanks to everyone who liked my lesson, I tried. I will be glad to see your robots. And good luck in your endeavors and talents. If you have questions about the lesson. I will listen and help in any way I can. Sorry for the image quality (taken on mobile phone). The author of the first trimming is Art_Yana. Source

In any process of education, it is always necessary to single out the initial base, from which further education. For the primary study of the human head, the best basis is head stump drawing.

Cutting, according to artistic terminology, is a sculpture of a human head with a constructive structure. In the trimming, it is emphasized that the frame is highlighted, on which the faces and planes that make up the human head are located.

trimming- this is a diagram for drawing and analyzing the structure of the head, where a clearly marked structure gives a clear idea of the shaping of the head and a clear location of light and shade on the surface.

Beginning artists should be thanked for the same Jean-Antoine Houdon, who at the end of the 18th century created the best manual for studying human body. Chipping, that's the head famous work"Ekorshe" 1776, which was created for the preparatory stage and received the name - head of generalized planes.

The purpose of drawing the stub head:

To study the structural diagram of the construction of the human head and the location of the main elements, such as eyes, nose, mouth and ears.
Remember the ratio of the main masses and nodal points of connection of volumes.
Disassemble and learn how to use planes, plans in building a drawing.
Learn how to apply a stroke correctly and distribute the tone over the entire volume of the head.

Having mastered the construction of the cutting, the student will be able to lay out the edges and main tones without any problems at any subsequent production with the participation of plaster heads, and then on location.
In Houdon's work, the head is divided into many plans and segments, which, in turn, are structurally connected into a single form. The spectacular articulation of the edges often distracts students from the purpose of the task. You should not start work with marking the faces, trying to catch the location of individual planes. Here, as in every drawing, the principle applies: from the general to the particular.

A trimming design with a geometric base will help you work correctly with tone and plans, using the skills learned in. The direction and intensity of the stroke will be set by logically located segments of the design, which clearly demonstrate where the stroke should go, where it is darker and where it is lighter.
The skills gained while working on the trimming will be useful in subsequent tasks. Especially, the ability to use the scheme of plans and faces indicated on the sculpture will come in handy when working with antique heads, and later on with sitters.

The technique of preliminary trimming sketch was used by the most famous artists from the beginning of the 15th century. The earliest surviving example of a simplified drawing of a human head dates back to 1404 and was created in the cradle of the Renaissance - Florence. This technique has been used by artists for many centuries to pre-layout volumes and plans. Thanks to Jean-Antoine Houdon, she acquired the embodiment in the image methodological manual and became the standard for head construction. This technique is very convenient for the analysis and construction of any productions.

There are tasks in the program that are starting points, peaks where the student rises in the learning process and from where he goes on a further path. Drawing the stump is one of the most important tasks in the program, where it is desirable to pay more attention and try to depict the production from different angles.