How to Draw the Head From Any Angle. The Basic Forms To draw the head from any angle you must first understand its basic structure. Look past all the distracting details and visualize the underlying forms. This ability to simplify can be applied to the features of the face, but when starting the drawing you could look even further.
Ignore even the features and simplify to the most basic form of the head. I use a method taught by Andrew Loomis in his book, “Drawing the Head & Hands”. The head deconstructed into its basic forms, is a sphere as the cranium and a block as the jaw and cheek bones. A Sphere as the Cranium The sides of the head are flat, so we can slice off a piece from both sides of the ball.
A Block as the Jaw and Cheek Bones Attach the shape of the jaw. Constructing From Any Angle Step 1 – Determine the angle of the ball The angle of the head is established at the very beginning of the drawing with the ball. X Axis - The up and down tilt is established by the angles of the horizontal and vertical lines in the oval. Lessons. David Jon Kassan and His Oil Painting Techniques. This article on David Jon Kassan and his portrait painting tips originally appeared in the April 11, 2011 issue of The Artist’s Magazine under the title “Urban Studies,” by Jill Bossert. Brush Back (oil, 24×23) by David Jon Kassan The conventional portrait shows a seated figure ostensibly in comfort as he or she looks toward the viewer. David Jon Kassan, in contrast, often has his figures standing, and in place of a cozy interior, he positions them against the stark backdrop of a graffiti-laden wall. Visually trapped, the figures offer wary or veiled gazes—or avert their eyes altogether.
Nonetheless, they confront the viewer, just as Kassan confronts the challenge of painting. Early Commitment “I’m stubborn. Portrait of the Artist’s Mother (oil, 26×28) by David Jon Kassan Until the early 1980s, when the family moved to southern New Jersey, Kassan lived in Europe where his father was an Air Force pilot. A Clear Vision Kassan feels that “painting is about understanding yourself.” Meditations on Line: Composition, Chapter Two. "If the result has but a slight degree of line beauty it can be considered a first step in Art. " Arthur Wesley Dow, Composition. Teaching yourself is very much like setting out on a journey with no idea of the final destination.
It can be an unsettling way to travel, but it has its advantages. For one, it leaves you open to the unexpected. I'm currently working through the exercises in the book Composition by Arthur Wesley Dow, I have been for the last six months or so. These exercises have had an unexpected and quite profound effect on my thinking about why I make art and how I approach my daily practice. I want to try and share some of that with you in this post. This is a very practical little book and it's all about the exercises. In this post I'm going to cover the first practical chapter, chapter 2: Line Practice.
Meditations on Line Line is really at the root of everything we do, and is capable of the most beautiful expression and complexity. Here's another example of the change: Making Sun-Thickened Linseed Oil. Linseed oil is made from the seeds of the flax plant. It is the strongest of the drying oils suitable for oil painting. Oil is extracted from the seeds under extremely high heat and pressure. The oil is then refined using strong alkali chemicals. The process is cheap, has high yields, and is done on a massive scale by a few large producers. Most commercial artist's paints are made from this oil. The traditional process of making oil was far different. It was cold pressed and purified without harsh chemicals, usually just water. I began making my own linseed oil the older way several years ago.
I pour the oil into glass jars about an inch high. The closed jars are placed to sit under the sun for several days. The oil and water will eventually separate. Properly cleansed, the oil is placed out in the sun again. The sun will oxidize the oil, so that it becomes thicker and will dry faster. The finished product is crystal clear, and has been bleached by the sun to a pale, straw-color. Temperamente. Iluzjon: Polish film and theatre posters. A forthcoming London show features some great examples of 1960s and 70s Polish film and theatre poster design collected by archive and shop, Eye Sea Posters... From October 19, a selection of posters will be shown in the Iluzjon exhibition at 18 Hewett Street in east London. The rare examples on display (and for sale) will include posters by Wiktor Górka, Waldemar Świerzy, Franciszek Starowieyski, Andrzej Krajewski, Jerzy Flisak, Maria Ihnatowicz, and Jan Młodozeniec. Czarna Komedia by Franciszek Starowieyski, 1969 What typically makes Polish film and theatre posters of this time so distinctive is an avoidance of recognisable visual references from many of the films in question.
Under communism, Poland's state run film and theatre organisations commissioned original works by poster artists, often rejecting the imagery that accompanied Western film promotion. Presented by Protein, Iluzjon is on at 18 Hewett Street from October 19 to 29. Budowniczy Solness by Waldemar Świerzy, 1971. ORIGINAL VINTAGE FILM POSTERS - EYE SEA POSTERS / SHOP. Dsg.uniroma1.it/monti/ar-tetcss/testi/Appunti sulla Sezione Aurea.pdf. Figure Drawing Fundamentals. The Project Gutenberg EBook of Pictorial Composition and the Critical Judgment of Pictures by Henry Rankin Poore.