The Supply Store
Back to YouCanDraw .Com
Whether you just jumped into noses as your first exercises, or you're going sequentially one exercise to the next, you'll see some repetition here in the methods. I'm trying to teach you skills that are going to serve your artwork way beyond just drawing caricatures. So even if it seems like "old hat", you're gaining depth in the 5 skills of of drawing.
the "Vase/Face" exercise to draw
In the first three sections of drawing noses, all the illustrations you drew were of the left ear. That was for a reason. I wanted you to get one ear pretty well memorized. Yes that runs counter to "seeing as an artist", but the thinking here is this: there's so much to see when you draw a human face, I think you need to be able to sift out what are the things common to everybody. So memorizing isn't all bad - as long as you combine it with R-mode observation: i.e., drawing what you see. (Your powers of observation are growing constantly. By drawing anything you're reinforcing them.)
I know you've seen the "vase-face" illusion before. (Sure you do, it was way back in lesson one.) We're going to springboard off this lesson, so a rapid review is in order.
The essence of lesson one was to get you familiarized feeling the shift into R-mode - the artistic mode. One way of tricking your brain into doing this is by presenting it with something that can be interpreted in more than one way. This picture can be seen as either two faces going "chin-to-chin", or you may have seen it as a vase. R-mode is invoked when you start switching back and forth between the two interpretations.
Now go ahead. Look at the illustration. Get it switching back and forth between the vase and the faces. You'll feel the switch of perception.
The famous Vase/Face drawing
Did it? Good! That's a simple warm up and a nice segue into this next exercise. And don't worry, this is a pretty short one - a grand total of three steps. In this exercise, you're going to be drawing the right ear - by "facing it off" with the left ear.
Time: 15-20 minutes for each part.
Materials: 1 Pencil; Several sheets of 8 and 1/2 x 11" paper: cut in half, into top and bottom half's (so you're cutting through it's horizontal center.)
Draw a right view of
the nose from memory to
It doesn't matter which way the ear points, it doesn't matter what hand you draw with. It will be a little easier if you draw the nose on the right side of the paper if you're left-handed, on the left side if you're right- handed. That's only for convenience - so you don't have to look through or lift your hand every time you make an observation. You might want to draw this exercise on a half sheet of 8 1/2" by 11" paper. Here's a Right-hander doing the assignment:
Draw a left view
nose from memory
If you're right-handed draw a right view nose - (the same as the nose in the illustration.) You've been practicing right-view noses in all the earlier exercises, so you're going to build right on top of that. The tiny penciled in scribble at the top of the illustration says "Middle of the paper".
Here's the fun part. Draw the mirror image of the nose. That is, copy the nose you've just completed but do it in reverse. Start at the top of the drawing and work your way down. When you're done, you'll have a completed pair of ears.
draw the mirror image of the
In Step three, just repeat the first two steps a half dozen times. You don't have to do them all today - but I bet you can. With the firm foundation you've built doing the previous exercises, you've got the depth to run right through this. Don't be afraid of drawing less than perfect noses! This is not the point. The point in this exercise is to get back into left-to-right brain shifting. (But I bet your noses are really shaping up. ) The repetition will burn the basic shape into your memory.
Here I've divided the nose in half in a front view. I recommend trying to draw the nose on to your paper as you see it on the screen. (If you're feeling really lazy, print this page out and do the assignment. Note: I'll be doing this less and less of this - if you're doing these assignments sequentially, every bit of practice you do will advance your progress.)
In this exercise you're going to do the exact same thing - except this view involves a little more complexity: you'll be including the nasal cartilages.
Drawing the mirror image profile will be different from the first profile you did. Why? Because you'll be drawing it from the R-mode of the brain. In Betty Edwards words this is "right-hemisphere / R-mode drawing".
Did you feel any conflict or confusion?
(Note: This is copied directly from the first lesson - everybody, even seasoned artists who've taken a break from drawing - go through this adjustment. I'm putting it here for you as a reminder that it's perfectly normal to go through these phases while drawing. Don't despair!)
In drawing the second profile, the mirror-image profile, did you experience any of the conflict I predicted you might feel? Any confusion?
How'd you get past it?
To get past this, what did you do? Did you find yourself scrambling for another way to approach the task? Some students say they had to picture the completed composition in their heads before they could "see" how to take the next step. Did you find yourself looking back and forth between the different parts of the ear? Comparing, measuring sizes and distances, reckoning angles? If you finished the picture and it look something like a symmetric pair of noses, then you were doing it!
The point of this:
That your drawing looks like two noses, symmetric and all, is not the point here. If you found yourself making measurements and estimations, if you found yourself making statements like "this curve goes out like this, and the other one goes in the opposite direction over here like this, this line angles away in relation to that one going in", then you were in R-mode. Correct representation will come.
Lots of students comment they entirely forgot they were drawing 2 noses. They were just caught up in going back and forth, comparing one section of line to its opposite section on the other side of the drawing.
Kasbohm & Company's
© Copyright, All rights reserved 1997