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Here's the other sections you'll find in Lesson 15:
The Case Studies
Here's the mindset I want you to shoot for while reading through these case studies. Don't worry about getting it all right away. Read through case studies 1,2, and 3 first. Click on all the additional links you find sprinkled within the text. There's embedded animations that demonstrate a point graphically, there's exercises (especially in the Ani DiFranco In-Depth discussion), and there's a smattering of anatomic charts that'll help you recognize and understand how and why faces wrinkle, change, shadow and highlight the way they do.
Read your way through to get a feel for the scope of things (details as well as landmarks) that you get to look for in any face you want to draw. As that becomes clearer to you (and it will as you work your through the repetition), you'll have a gestalt, an "aha!", about what it takes to draw and caricature a face. Then to really drive home what you read about in the three case studies, go through the Flash Interactive exercises.
THEN, go back and re-read each section again and DO the exercises in the Ani DiFranco case study and the assignments in Flash Interactives three and four. If you're intrigued by the Flash Exercises, check them out first - by seeing the same basic method used and re-used, you'll "get it". Now dive on in and don't be afraid.
lesson you'll be working your way through a front view analysis using
Hugh Hefner as our subject. You'll review the five main evaluation
techniques you saw in Case Study # 1. (You know, Keith Richards right there
just above). Prints out at about 60 - yes, I said sixty -
pages. Lots of pictures. Read to see what you'll learn,
rehearse, and review.
Review: The five
evaluation techniques as I see them
In this, the third section, I want you to get practice at using five more techniques of observation peculiar to looking at faces. The five main evaluation techniques are each concerned with different and relevant observational guides and all incorporate and build on the five foundation skills of drawing. And just what the heck are those five "guide" techniques and how will you use them? Here's how:
OK! We pulled out all the stops in this, the final in-depth example of "what to look for in a face in order to caricaturize it or draw a realistic portrait". It's five sections are comprised of almost 300 illustrations and over 140 pages of printable material. It's a small book in itself!
You'll pull everything together here: from mere rehearsal in recognizing the vertical and horizontal landmarks, the shapes of the head, to the female facial differences, line studies, anatomy, the most common shadow shapes, and lots of practice exercises. By reading your way through the easy-reading and cross-referenced text you'll nail down what to look for in a face - any face - and anything else you'll ever what to draw.
Case Studies One and Two (Keith Richards and Hugh Hefner, above) you got a
fair amount of introduction to a method of approaching a caricature or
portrait. Here you'll hone those skills to a fine precision. But will
your work be done then? Not unless you draw! So dive in fearlessly,
you can't go wrong! All your successes and your failures are stepping stones
to your final outcome: becoming one heck of an artist.
a break down to what really amounts
The Flash Interactive Exercises
Ok, you've read the case studies above so you've got a pretty good idea on what you need to look for when drawing just about any face. Now it's time to rehearse those skills, internalize them, make them part of your traveling repertoire so you'll know how to sit right down and zoom in on the most revealing, caricaturable features on anyone you want to draw. Here's four foundational interactive exercises Check 'em off as you check 'em out.
Exercise Number One
In the first exercise you'll concentrate on recognizing just the horizontal guides and landmarks in a real-time evaluation. You'll learn to identify them on the fly. I put YOU on the spot. :-) This is a chance to start actively exercising your powers of observation in a simulated "gig" situation (which are right brain muscles that you'll learn to build with practice and repetition). Dive on in! Be fearless! (And don't worry, it's fun!) (back to top )
Flash Exercise Number Two
The object of Flash Interactive Exercise Number Two is to further drill home the concepts of visually sizing up your subjects. In particular, Exercises Two's focus is on the vertical landmarks of the face - and itís easier than you think because thereís really only two you have to memorize (there were 5 horizontal landmarks). By memorizing these, by literally imprinting them and their proportions - as found on Mr. Average - into your brain, you'll be carrying around a mental measuring grid. At least thatís my hope.
Flash Exercise Number Three
Flash Exercise Number Three is going to make you work a little
harder. Yep, you'll have to roll up your sleeves today and really do
the work - but it IS fun I think. And it could be a little
challenging, since it is a large leap. But take your time and do the
assignment at your own pace - spread it out over several weeks if need
be. But do it. It'll really help hone your "rapid fire
A continuation of Flash Interactive Number Three - though
this will stand on it's own two feet. Flash Interactive Number Four
focuses on discovering your own built-in feature scaling system
(spinning off Mr. Average of course). By contrasting and comparing
side by side, focused pictures you'll gain yet more laser sharp skills
of observation and gain the confidence to start stepping off into your
own hilarious caricatures (or portraits - the lessons suit one as well
as the other). It's also concludes part II of a giant assignment
initiated in Exercise three. Chip away at it folks :-)
Links to past
step-by-step exaggerations in the Archives - going
from realistic to exaggerated. Click on these for specific, feature
by feature celebrity caricature mini-accounts:
Note on Web picture references
Due to copyright laws, I'm not allowed to scan or reproduce any photographs of art/subjects without the written consent of the photographer or artist. There's still lots of places to turn though. In many of the sections you'll find links to sites that have good pictures of the subject at hand so you can 1) draw the subject yourself and 2) see if we've captured a likeness. Enjoy.
Kasbohm & Company's
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