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Okay so here is my version of Plate 1,4 in pencil and charcoal.

Ears are complicated, so this is an important plate that you should copy repeatedly until you can draw correctly from nature.

Look at the finished drawings, and ask how you would yourself would plot the main lines.
Next week the fun begins as I begin work focusing on shadows and forms in the drawing.



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This is my version of Plate 1,3 from the old masters Bargue drawing course in pencil and charcoal.

The focus here is on noses. Just as the mouth was considered as an organic part of a face, the nose is here seen in its proper relationship to the eyes and mouth in profile.



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Welcome to Bargue Monday... Each week I share a drawing as I progress through the book, here is Plate 1,2 Part B in pencil, pen and charcoal. Next week the difficulty level starts to increase.

These models are idealized views of nature, taken from classical sculpture

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Bargue Plate 1,2 Part A in pencil, pen and charcoal

Simple profile of faces with focus on mouth and nose, next week I will add my drawing of the rest of this plate (part B) along with a diagram on how best to use the sight-size method.

The sight-size is a well known and proven method for taking measurements in a setting where the model is posed, or the subject is stationary .



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Plate 1,1 Part B in pencil, pen and charcoal

Next week, I will be uploading some profile exercises of the head.

They are completed using the sight size method, which was a common method of working for both students and accomplished artists prior to the twentieth century, during which it fell into disuse in most art education settings. (Since re-instated at all Atelier's worldwide)

The term "sight size" refers to making a drawing the size it would be if projected onto a plane extending left or right from your drawing board and intersecting your line of sight.

This enables the artist to look at the subject and the drawing from a chosen vantage point and see them side by side and appearing to be the same size.


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The Charles Bargue Drawing Course in collaboration of Jean-Leon Gerome is a famous and fabled publication of the late 19th century divided into 3 parts, precise drawings after casts, master drawings and male models, all arranged in a some what progressive degree of difficulty.
 
My mastercopy of Bargue plate 1,1 part 1

Plate 1,1 Part A in pencil, pen and charcoal

This is my journey as I progress through this epic course which was originally taught in Atelier schools in France and Europe.


For those interested in purchasing a copy of this book, this publication is available from various online book stores, and is a timeless reference book for all serious artists who wish to learn and master the techniques of drawing and creating exquisite tonal harmonies.

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