Sketch Head 1--Art College Pass

Author: Fang Zheng, Wang Zhu (editors)
Publisher:
Publish Date: 2005-01-01
Features: In-depth analysis of the examination patterns of art academies; comprehensive decryption of art academy application techniques; a collection of outstanding art academy works. The seemingly complex head structure actually follows certain patterns:
(1) Fundamentally, bones are the essential cause of the external form of the head. Therefore, familiarity with the structure of the skull is crucial. The skin and muscles are superficial layers of the face and exhibit many expressive variations with age and body size, but bones are the foundation that supports the form.
(2) The head shape can be visually understood as an organic composition of several symmetrical geometric blocks. Light or natural light (shining) on these blocks creates varying layers of light and shadow.
(3) The real human head is elastic and round, not thin. Correctly grasping the transitions and connections of volume directly affects the liveliness of the portrayal.
(4) The portrait has rich textures. Skin, hair, and eyes all differ and should be distinguished when rendering. Additionally, the human face exhibits various changes in its inherent color.
(5) Male heads have distinct bone structures and stronger volumetric features, making them relatively easier to portray. Female heads are rounder and more reserved, and their inner bone points are often overlooked when focusing solely on the surface. Female head structures are subtle, so the surface details can be minimized, but this risks making the portrayal simplistic. Therefore, it’s important to consciously enhance these features to enrich facial volume and fully depict hair and facial features. Elderly heads resemble the shape of the skull more closely, with sunken eyes and cheeks and knife-like wrinkles. They are easier to shape and observe but can also easily result in "fragmented" or "scattered" issues.
Key aspects to note in portrait sketch training:
(1) Beginners should practice short-term head sketches and quick sketches, combining an understanding of the skull to work on large block shapes and approximate light and shadow distribution. During training, focus on analyzing the structure from several typical angles, carefully (perceiving) the inner bone structure and the resulting perspective.
(2) In the representation of perspective and symmetrical structures, we often only notice the side body transitions and tend to treat the front part as a plane, ignoring its unique curved structure. In fact, the nose is the most important feature in facial composition, objectively linked to facial features and serving as the central reference point.
(3) Sketch training typically begins with static still-life or plaster studies. During live model training, you can refer to the experience of plaster studies to understand head structure. Of course, plaster portraits in academic teaching are mostly based on European classical sculptures. Europeans have high noses, high brow ridges, and deep-set eyes, which differ from East Asians and should be noted.
(4) Beyond live drawing, you should also study and copy outstanding sketches, analyzing their distinctive elements. During live drawing and memory drawing, imitate and apply their shaping techniques. This is the most direct and effective way to learn techniques, and excellent works are also great teachers.
(5) Memory drawing should not be overlooked. It requires correct understanding and extensive repeated practice to form a deep memory of the image.
(6) The reasonable use and expression of painting tools should not be underestimated. Different tools have different techniques and effects. Pencils are easy for detailed rendering and subtle layering, while charcoal pencils have a strong effect but are harder to control locally. Choose the appropriate tool based on the subject’s different sensations.