In depth demonstrations teach how to interpret the basic shapes of the head and facial features.
Everyone who paints or draws portraits worries most about one thing: getting an accurate likeness. But getting a likeness doesn't take genius and isn't based on a bag of tricks. It's really a matter of learning to use a logical procedure, based on careful observation of the subject, and then lots of practice.
Drawing a Likeness is divided into three parts. In the first part you learn how to analyze a head--how to recognize the basic shapes and their variations, and place the features within the larger form of the head. Drawings of many different subjects serve as examples. In the second part, the actual drawing procedure is analyzed in minute detail as three different-shaped heads--oval, rectangular, and round--are drawn. Each of these three demonstrations contains a photograph of the subject and develops the portrait in great detail (45 actual steps) right down to the finished drawing. In the third part of the book, you learn how to use different combinations of drawing materials to create a wide range of effects: charcoal, Conté, and carbon pencils on both gray and white charcoal paper, graphite pencils on illustration board, soft and hard charcoal sticks and pencils on smooth board, charcoal and carbon pencil worked over acrylic-gessoed chipboard. There are six demonstrations in this section showing how to draw men and women of different ages. Each demonstration has ten steps, one per page, and includes a photograph of the subject.
Drawing a Likeness is a basic, practical book for anyone who has ever tried to draw or paint a portrait--students, amateurs, professionals, and teachers.
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Light and its colors
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Adding white Additive synthesis artist background bananas bluish broken colors burnt sienna burnt umber cadmium lemon yellow cadmium yellow medium chromatic tendency cobalt blue color blue color figure color harmonization color in darker color of shadows color range color theory colors in unequal colors of light complemen complementary colors cool colors create crimson shade cyan blue dark blue darker tone dirty dish dissonance dominant color emerald green example factors fauvists flesh color grayish harmonizing colors Henri Matisse khaki khaki color light green lighter look luminous madder magenta Maurice Denis mentary colors mixed with white objects obtain orange painter painting palette plementary color post-impressionists produce Prussian blue range of colors range of grays reflected colors remember secondary colors shad spec spectrum subtractive synthesis tertiary colors three colors three primary colors tomato tonal color trum ture ultramarine blue deep unequal proportions violet warm colors yellow ochre yellowish