ASARO PLANES OF THE HEAD PDF

Viktilar I thought it might be interesting to take an old master drawing and see if I could superimpose the planes on it, feel the form of the head rather than copying the drawing. The one on the left is a simple breakdown, with front, side, and bottom planes. Trusts only his eyes. At first I thought that looked like a very good way to proceed, very sound. Hard to describe, but tangible. How many paintings did Vermeer make a year?

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Thursday, 8 October Planes of the head Artists often like to reduce organic forms to something simpler, to make them easier to grasp, and reducing the complex, rounded surfaces of the human body to a relatively small number of planes can greatly clarify its relationship to space and to light.

Similarly, when we apply light to a figure, a strong light will make the patterns of light and dark clearer than a diffuse one. For realist artists at least, the important thing is understanding what happens in nature so that we can reproduce it. A plane is a flat surface. Each change of direction creates a new plane, and planes in combination make up the surface of a form. A cube has six sides, i.

An object like a nose or an ear, or an entire human being, is not made of flat surfaces, but a curved form can be built up using flat planes if we apply a series of increasingly small ones. Finding planes on the human head We need to identify the major planes: reducing the head to its most basic pattern of surfaces.

The model below is not meant to be definitive. Study these planes. If you like, find other interpretations of the planes of the head and study those too. For example, the artist James Gurney has a couple of lovely examples on his blog. This is a generic model but in reality, every head has its own individual planes.

We first introduced the head as a sphere, later as an egg. In reality it is a combination of roundness and squareness. An artist can emphasise the smoothness and soft roundness of a head, or the chiselled, geometric squareness of a head, or find a balance incorporating both.

The path you take depends on your artistic intentions. The middle path is to soften the planes enough to create realistic flesh while squaring them off in key places to preserve some draughtsmanlike solidity and character. You may wish to place less emphasis on angular planes when drawing women, as they tend to have softer contours than men. Your next step is to draw a series of heads with the planes indicated, at various angles.

For each head, use the divided ball and plane method to plan it out, then sketch the features and planes together. One way to make it easier is to trace over photos, which is a perfectly good way to learn. Using planes Why approach the head this way? Because you can understand forms better when you imagine them in simpler terms.

You can then gradually break down the hard edges and blend things together. Planes also start you thinking about perspective. A head is seen at an angle, at an eye level and relates to a horizon. Once you understand planes, your knowledge will start to appear in your drawings, giving your heads further three-dimensionality, solidity and character.

Such maquettes, by their nature as actual three-dimensional objects, force you to resolve any uncertainties about what planes are needed and how they fit together. If you point a lamp at the head and move it around, you can see how the light falls: planes hit directly by the light will be well-lit, planes that turn away will be in degrees of half-tone, and planes facing directly away from the light will be the darkest.

The planes on either side of the head are shown with different degrees of detail. Images from a series of photos of the Asaro head available on one of the Polycount.

Remember, when you draw you are describing form. By getting to know a three-dimensional object intimately — regular life drawing works the same way — you are helping to create a mental model that will make your sense of form stronger. Posted by.

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Feeling the Form – Loomis and the Planes of the Head

Thursday, 8 October Planes of the head Artists often like to reduce organic forms to something simpler, to make them easier to grasp, and reducing the complex, rounded surfaces of the human body to a relatively small number of planes can greatly clarify its relationship to space and to light. Similarly, when we apply light to a figure, a strong light will make the patterns of light and dark clearer than a diffuse one. For realist artists at least, the important thing is understanding what happens in nature so that we can reproduce it. A plane is a flat surface. Each change of direction creates a new plane, and planes in combination make up the surface of a form.

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Planes of the Head by John Asaro

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