The text discusses the practical applications of studying head proportions from both ancient sculptures and nature when learning to draw. It addresses a common objection, emphasizing that while classical proportions provide a foundation, understanding natural variations is key to capturing the likeness of diverse subjects. The importance of recognizing unique facial characteristics and applying these observations to achieve resemblance in drawings is highlighted.
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From a quantity approximately equal to what one found on the model, a second vertical line is lowered to give a second point represented by o. Then, using the points represented by c, n, a, o, this foot is drawn like the profile bulge.
To find the mass of a head seen from three-quarters view, or from the back, the same methods as for the profile and face view are used.
SECOND SECTION.
ON THE PROPORTIONS TO BE OBSERVED WHEN DRAWING THE HEAD FROM NATURE OR FROM A MODEL.
To better help the student understand what help can be drawn from the principles in this section while drawing the head from nature or a model, we might suppose a common objection raised: "You are going to give, one might say, the proportions of the head. Which head are we talking about? It will undoubtedly be one of the beautiful ancient heads, an ideal type of beauty which is so rare to find. What use is the knowledge of these proportions to the student who, according to your method, should focus on only one thing, which is reproducing what he sees, drawing from life, heads that will be very different from that of Antinoüs or the dancer from Canova?" It is well understood that the study of these proportions would be useful for drawing from antique and modern sculptures where these proportions are observed. Will it be the same when drawing all sorts of heads from life, where reality is always further from ideal proportions?
The response to this objection is simple. Recognize firstly that indeed it is from beautiful ancient heads, from the classical type of beauty, that we establish here the proportions of the head. However, when it comes to the benefits drawn from knowing these proportions for the drawing from life of any head, a little experience will suffice to make the following observations:
1. Whatever irregularity of the features of any figure, the difference will never be as great as one might imagine between the proportions found there and those corresponding in the ideal head.
2. It is precisely these differences that characterize the unique facial expression of each head, which observation and reproduction must bring to likeness in drawing.
Indeed, to execute a likeness while drawing a head from life, considerable attention must be paid to the unique features that establish the difference between this head and the general type of beautiful human figure. This cannot be done unless one first exercises oneself in understanding this type and the proportions of beauty found across all parts.
By knowing well the proportions of the beautiful human figure in general, the student searches, by comparison, in which parts the living model resembles this type and in which parts it deviates. This is how one can achieve a resemblance in their drawing. Furthermore, since there is no absolute resemblance, one can make it beautiful or ugly, depending on the care taken to adhere to or deviate from these proportions.