In any educational process, it is always necessary to select an initial base from which further education will follow. For the initial study of the human head, the best basis is drawing a chopping head.

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

Obrubovka Is a diagram for drawing and analyzing the structure of the head, where a clearly marked structure gives a clear idea of \u200b\u200bthe shaping of the head and the clear location of light and shade on the surface.

Thanks to novice artists, you need all the same Jean-Antoine Houdon, who at the end of the 18th century created the best textbook for studying human body... Obrubovka is the head of the famous work "Ekorshe" of 1776, which was created for the preparatory stage and was named - generalized planes head.

Purpose of drawing the head stump:

• Explore the structural design of the human head and the location of key elements such as eyes, nose, mouth and ears.
• Remember the ratio of basic masses and nodal points of connection of volumes.
• Disassemble and learn how to use planes, plans in the construction of a drawing.
• Learn how to correctly apply a stroke and distribute the tone throughout the head.

Having mastered the construction of stubbing, the student will be able to lay out the edges and basic tones without any problems in any subsequent production with the participation of plaster heads, and then on location.
In Houdon's work, the head is divided into many planes and segments, which, in turn, are constructively connected into a single shape. Effective articulation of facets often distracts students from the purpose of the assignment. It is not worth starting work with marking the faces, trying to catch the location of individual planes. Here, as in every drawing, the principle operates: from general to particular.

A stubby design with a geometric base will help you work correctly with tone and outlines using the skills learned in. The direction and intensity of the stroke will set the logical segments of the design, which clearly demonstrate where the stroke should lie, where it is darker, and where it is lighter.
The skills gained while working on the chopping will come in handy 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 ancient heads, and later, with models.

The precutting sketch technique has been used by the most famous artists since the early 15th century. The earliest surviving example of a simplified drawing of a human head dates from 1404 and was created in the cradle of the Renaissance - Florence. This technique has been used by artists for centuries to pre-lay out volumes and plans. Thanks to Jean-Antoine Houdon, she was embodied in the image methodological manual and became the standard for building the head. This technique is very convenient for analyzing and constructing any formulation.

There are tasks in the program that are starting points, peaks, where the student ascends in the learning process and from where he goes on his way. Drawing a 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.

As a rule, the construction of the head begins with more generalized forms, this method of construction is called the SQUARE. Many famous masters began their masterpieces with this construction method. I think it will be interesting for you to know how this is done. So let's get started.
The depicted head is "chopping".

1) First, we need to determine where our head will be on the sheet 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 displayed 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) we 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 eyebrows, the middle line of the mouth, the chin.

4) Find the tilt of the head itself, and the lines of the facial parts in perspective (contraction occurs)
What is closer to us seems to be more, what is further - less, that is, it decreases.

5) Find at what angle the nose, build an axial one for the face. We start by building the nose.

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

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

Lips and chin

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

WORKING ON THE HATCH
1) Determine from which side the light falls.

In our case, Top right.
In this case, the edges on which direct light hits are the lightest, on which the glancing light is slightly darker, the darkest edges are turned away from the light. one should not forget about reflexes, but they are not lighter than light. If you are drawing a Gibbs head (as in my case) do not forget about the physicality of the Gibbs. Borderline contrasts should be enhanced and reflexes and light brighter.
In the end, this is what you get:

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

When I was in art college, we were taught to see and understand the form from the total volume, gradually narrowing the focus to more small details... Learning this approach to drawing and understanding the shape of the surrounding objects will help

Chopping off the head as a drawing method

The method is based on the idea of \u200b\u200bsimplifying any complex form to the level of primitive geometric shapes, and the subsequent tonal analysis of these forms in space.

This method teaches the artist to look at the shape 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 environmental object (real or fictional) that we want to draw is built, then in our illustrations we can consciously manipulate these indicators by creating more voluminous and interesting pictures.

i will tell you how to do this today, by at least I will try to push all 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 the following. As an artist looks at the objects around us. An artist analyzes any object like 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 immediately comes an understanding of how this object looks in space from all sides.

understanding the general shape of an object and knowing such a law aerial perspective how "closer is richer, further more muted" any object can be depicted correctly in terms of the volume of the form.

Obrubovka. Starting with simple shapes

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

Imagine an 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, more saturated, further more muted" and apply this rule to the drawing of our cube. The lines that are closer to the viewer's eye will be thicker, and the lines that are farther will be thinner.

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

Moving on to building more complex objects. Head chopping

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 the form, we should never forget about this point, and all subsequent lines should be more muted and not so saturated in tonality.

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

in art schoolsto train future artists and teach them to feel how the saturation of a particular "knot" in a drawing is changing, they use a plaster model - chopping off the head, simplified to plane forms, hence the name "chopping" By such a model, it is easier to understand and track how this or that point is located in relation to the artist's line of sight.

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

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

Learning to "correctly" look at environmental objects

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

the main goal of quick sketches will be to create a line 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, further - softer"

on the example of these sketches, it is clearly seen that the artist emphasized the area located closest to, the most contrasting. This is especially significant on the far right sketch. Notice the knee is richer in tonality than the head. But not vice versa.

Have professional artists the spatial perception of the form is already sewn into the 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 of the form.

When I was an art student, my drawing teacher constantly demanded to "study" and "build" any shape we draw. To understand how she looks from all sides, and not only from the side where the viewer's gaze falls

How knowledge about the spatial construction of the form helps in the creation of cartoons.

How will chopping help?

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

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

Any drawing or painting begins with the most general sketch. At first, it would be very easy and subtle to place the masses of our production on a sheet of paper. In our case, we outline the head, neck and pedestal. It is worth remembering that in the case when a person is drawn, the head size will eventually be 99% smaller than the intended area. Very rarely, when the final result is greater. Therefore, you do not need to be small. But you should not get carried away with gigantism either.

After the areas are outlined, we need to constrain the dimensions of the head (top of the skull (2) and the bottom of the chin (3)). Again, it is worth remembering that these points can move a lot. Depending on which scale you choose. And it depends ... From the very first line that we outline - this is the line of the bridge of the nose (1). According to the proportions of the trimming, we calibrate its location and estimate the width.

Considering the perspective, we build the bridge of the nose. It is important to take into account that we must always build on our own first and with the help of sighting only determine how much we missed and correct mistakes. That is, in no case build with sighting. With its help, we only correct and check ourselves. It is also very important to always build a centerline, which will avoid displacement of parts of the face. The lips and nose are especially affected by this.

Always keep perspective and check lines. We know that the horizon line is at the level of our eyes. Having defined it on nature, estimate where this line will be on paper (or beyond) and with this in mind, imagine how the angles of the lines going to invisible vanishing points will change. Since the face is symmetrical in the stitching, it is advised here to first build one point, and then draw a line in perspective and first look for this point independently on the other side of the face, relying on the center line that we draw all the time. After that, we already check ourselves on nature, first with a glance, then with a visor. If we see mistakes, we correct them and analyze why we made a mistake and why exactly so. Remember that you can also make a mistake with the visor (it needs to be trained for a long time) and therefore it is better to check each point against two or three other points in which you are sure. Quite often banal logic and understanding of perspective help to find errors in sighting. There is nothing you can do about it. If your sighting still suffers and is not perfectly trained, you need a theoretical base.

After the brow ridges and part of the forehead are built, we cannot build the cranium without everything else. We don't have enough points and a big picture. The key points, as I believe in general, when building on the face are the bridge of the nose, temples, nasal points and cheekbones. If you have them, then everything else is easy to build. However, the construction of some points is based on the construction of others. It's easiest to start with the bridge of the nose, but that doesn't mean you can't try to start drawing the stump from something else.

In order to start building eyes, we need to separate them with our nose. But! The tip of the nose is usually built at the corners of the eyes. Both internal and external, so at this stage we only draw the line of the nose, but do not limit it.

The eyes, as we were told, are of three types. Which, in fact, is logical. In this case, the extreme angles of the eyes are lowered. First we find the corners, then we check along the lines and that they are on the same perspective lines. That is, so that there is no bias.

Now that we have eyes, we can finally build cheekbones. In general, the cheekbones can be built immediately along the superciliary planes, but it is better not to forget about the eyes, otherwise it may then turn out that they do not fit. Sometimes it happens.

Now that there are cheekbones and eyes, we are building the nose and nasolabial plane. It is very important here not to lose the center line and draw it correctly. We have a lot of space under the nose up to the nasolabial fold. Many people forget about it and get shrunken lips. The most common occurrence. Generally common when painting faces.

Now it's the turn of the lips. Without them, we will not be able to draw the lower jaw normally. First, we determine the position of the corners of the lips and draw down the edges of the planes. They are straight. We measure the size of the lip by any means known to you. Relationships relative to other parts of the face, other points, etc.

We measure out the planes of the lips. For some reason, at this stage I constantly freeze. Although there is really nothing complicated here. Perhaps it's a large number of small planes and it just needs more time.

We continue to draw the "face" with planes and find more precisely the point of the bottom of the chin. We draw a line.

Building a chin. Everything is quite simple here. My favorite part.

We build a jaw. Nothing complicated here either. The points are very easy to check. We finish building the plane of the lower part of the face.

Now we are dealing with the skull. There is very little left. But you should be careful with the skull. It has a tendency to leave, flatten, or expand. Check carefully. If necessary, move away from the drawing and look from afar.

We finish it. The head is ready. Finally. We check everything carefully one more time.

We finish drawing the neck and the pedestal. We do the same with the neck as with the head. There are also planes.

That's all. The chopping is ready. We do what we want with her further. You can take this one and try to paint it in different shades of gray in the editor to convey the volume.

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vakhara

In this drawing lesson, I prepared the material so that the key principles of drawing a human head are visible. To learn how to paint a portrait, you need to understand the shape of the head, and this is possible by simplifying and generalizing unnecessary details. For this purpose, I used a schematic image of a head called "chopping", academic drawing skulls, a phased drawing of a human head and additional schematic drawings to understand the features of the anatomical structure.

1. Volumetric form. Simplification and generalization.

At the initial stage of learning to draw, people most often see the outlines of an object instead of its volume. This is how beginners draw a portrait: they sketch out the contours of the eyes, nose ... But the human head, eyes, nose, lips - they all have volume, these are not just outlines. In addition, they have a rather complex shape. Therefore, at the beginning of training, you need to be able to generalize the secondary and be aware of the volume of each form.

First, let's try to draw a person's face with a protruding nose and forehead, presented in the form of rectangular geometric shapes.

2. The skull is the basis of the head shape.

Next, you need to learn one important lesson... All major curves and contours of the face come from the bulges and curves of the skull. After all, it is the skull that is the basis on which the shape of the head in the portrait is built. Try to trace this relationship by matching the shape of the skull to the drawing of the head. This is a very important point in learning.

Since the skull has a complex shape, it will be difficult to immediately understand this relationship. Therefore, first we will draw the skull in general.

The skull consists of two main divisions: the cerebral and the facial.

In addition, the shape of the skull can be roughly represented as a cube. The skull has a frontal side, two lateral, occipital and the so-called vault or roof.

After the conventional, generalized drawings, I cite as an example an educational academic drawing of a skull. With a lot of detail, you can see the frontal, occipital, sides and vault in it. You can also see how the details are grouped into two main sections - the brain and the facial.

It should also be noted that the widest part of the skull is closer to the back of the head. It can be clearly seen in the figure below.

For those learning to paint a portrait, the following anatomical names for the various parts of the skull may come in handy:

• superciliary arches;
• frontal bone;
• parietal bone;
• occipital bone;
• temporal bone;
• zygomatic process;
• cheekbone;
• maxillary bone;
• mandibular bone;
• nasal bone;
• eye socket or eye socket.

3. "Orubovka" - the key to understanding the shape of the human head.

In addition to the skull, the shape of the head and face is affected by muscles, cartilage, fat deposits, etc. In order not to get confused in details, chopping will help to understand the anatomical structure. Chipping is a conventional image of a human head, consisting of faces. With the help of such planes, the volume of the entire head is formed. Thanks to these facets, the main curves of the skull and the main muscle groups of the face are clearly visible. In any portrait, in any person, the shape of the head is built on the basis of these cutting edges. Of course, each person has his own facial features, his own proportions, but the key points in the construction of the head correspond to the stitching. Therefore, in drawing a portrait, the artist always keeps these key facets in mind.

Try to trace the main planes of the chopping in the skull drawing and in the tonal pencil drawing of the head.

4. Formation of volume through chiaroscuro on the frontal, lateral and upper sides of the head.

In order for the head drawing to be voluminous, it needs to be worked out with hatching. Hatching creates the desired tone. By changing the tone (lighter-darker), we see volume and shape. According to the law of chiaroscuro, light is distributed on the surface of the form in the following sequence: glare, light, partial shade, shadow, reflex, falling shadow. If you draw a ball or similar simple geometric figures, then everything is much simpler. But how to show chiaroscuro in the tonal drawing of a human head? In the portrait, chiaroscuro is also laid out with shading as in the drawing of the ball. But with the difference that the artist must trace the light and shadow on each individual fragment of the face in particular and on the entire head as a whole. That is, you need to show light, partial shade, shadow - on the nose, on the forehead, on the eye sockets, on the lips, chin, etc. But besides this, light and shadow must be shown on the entire head as a whole, that is, on major major faces or sides. For example, one side of the head may be darker than the other. This is an important point when creating head volume in a portrait.

For a better understanding of this topic, I cite as an example illustrative diagrams and drawings of plaster stubs, a skull and a human head. In them, you can clearly see the front, side and top edges of the head. The diagrams and pencil drawings are designed in such a way that with the help of them you can gradually trace the main facets of the head, which will help novice artists see chiaroscuro on the surface of the head as a whole.

5. Brain and facial parts of the head.

Above, I have already given a schematic drawing in which the brain and facial parts of the skull were visible. But how do you actually see these areas in portrait painting? A number of figures and diagrams below can help with this. Here you can trace the boundary between the facial and cerebral parts of the head in the familiar pencil drawing, plaster stitching and training skull drawing.

6. Step by step tonal pencil drawing.

After studying the basic anatomical features of the structure of the head, you can proceed to a phased pencil drawing. Here you need to learn the following sequence. First, we draw in general terms. Then we complicate the drawing by adding details.

and) Since the shape of the head resembles the shape of an egg, at the beginning we draw a corresponding shape with a line.

b) After that, we carry out the construction of the head drawing. We draw an axis of symmetry, which will run in the middle of the head. This is very important as the axis will allow the left and right sides to be compared, thus avoiding errors and unevenness. Next, we outline the levels at which the eyebrows, eyes, nose, lips are located. We outline them using light lines. I wrote about how to determine these levels in the lesson

in) In the next step, you can outline the eye sockets, eyes, nose, lips, as well as the zygomatic bone, frontal lobes, major muscle groups and folds on the face.