conversations.from: human
conversations.value: What could be a title for a book about Art, College, Center with the genre: Arts & Photography, History & Criticism?
conversations.from: assistant
conversations.value: A title for this book could be 'The Artist's Complete Guide to Drawing the Head'
conversations.from: human
conversations.value: Provide the first five paragraphs for this book.
conversations.from: assistant
conversations.value: The Artist's Complete Guide to Drawing the Head
  When drawing a portrait, you are creating an illusion. If you are successful, the head will appear three-dimensional, despite the fact that it is drawn on a two-dimensional surface. The technique to create this illusion is called chiaroscuro, an Italian term meaning "light (chiaro) and dark (oscuro)". Once you have mastered it you will be able to draw or paint anything realistically.
  Chiaroscuro is not an invented formula, but rather the result of the observation of light and shadow on form. When illuminated properly, form divides into two major masses of value, that is, of light and dark, or shadow. Duplicating the exact shapes of both light and shadow, and paying particular attention to the edges between the two, is fundamental to capturing a likeness.
  It was Leonardo da Vinci (1452–1519) who, in the late 1400s, first realized that duplicating the shape of shadows was fundamental to creating the illusion of three-dimensional form and a model's likeness. In the Mona Lisa (1503–5), Leonardo's mastery and refinement of the principles of chiaroscuro are fully evident. In this masterpiece Leonardo has clearly described the overall structure of his model's head, and the mass and specific likeness of each feature, by rendering the shadow shapes in value without detail or outlines. Leonardo's breakthrough use of value and shadow shapes ushered in a new epoch and approach to rendering that has been practiced by countless artists through the centuries: Michelangelo, Raphael, Titian, Rembrandt van Rijn, Vermeer, John Singer Sargent, and Thomas Eakins, among others. The first, a form-shadow, is caused by form turning away from the source of light. A soft, gradated edge is created between the lit portion of the form and the portion of the form that is in shadow—that is, the round part of the form that has turned away from the light. The second, a cast-shadow, is caused by form intercepting the light and casting its shadow on an adjacent surface. This produces a hard edge between light and the cast-shadow. Thus the division between the two contrasting values of light and dark will, depending on the shadow created, either be a soft transition or a hard, abrupt one.
  Leonardo must have observed that all shadows begin as form-shadows and end as cast-shadows—that is, each shadow shape begins soft and ends hard in relationship to the source of light. From experience artists learned that the more they emphasized the difference in appearance between the two types of shadows, the more effective their illusion; the closer in similarity, the less effective. Once you as the artist have convinced the viewer that a soft-edged shadow describes form turning away from the source of light and that a hard-edged shadow describes the protrusion of form that has intercepted the light, you have established a visual dialogue with the viewer. The more consistent you are in emphasizing the difference between a form- and cast-shadow edge, the clearer the dialogue. If the difference appears vague or inconsistent, the viewer will be confused.
conversations.from: human
conversations.value: Add another sentence about Leonardo, identified.
conversations.from: assistant
conversations.value: The Artist's Complete Guide to Drawing the Head
  When drawing a portrait, you are creating an illusion. If you are successful, the head will appear three-dimensional, despite the fact that it is drawn on a two-dimensional surface. The technique to create this illusion is called chiaroscuro, an Italian term meaning "light (chiaro) and dark (oscuro)". Once you have mastered it you will be able to draw or paint anything realistically. 
  Chiaroscuro is not an invented formula, but rather the result of the observation of light and shadow on form. When illuminated properly, form divides into two major masses of value, that is, of light and dark, or shadow. Duplicating the exact shapes of both light and shadow, and paying particular attention to the edges between the two, is fundamental to capturing a likeness. 
  It was Leonardo da Vinci (1452–1519) who, in the late 1400s, first realized that duplicating the shape of shadows was fundamental to creating the illusion of three-dimensional form and a model's likeness. In the Mona Lisa (1503–5), Leonardo's mastery and refinement of the principles of chiaroscuro are fully evident. In this masterpiece Leonardo has clearly described the overall structure of his model's head, and the mass and specific likeness of each feature, by rendering the shadow shapes in value without detail or outlines. Leonardo's breakthrough use of value and shadow shapes ushered in a new epoch and approach to rendering that has been practiced by countless artists through the centuries: Michelangelo, Raphael, Titian, Rembrandt van Rijn, Vermeer, John Singer Sargent, and Thomas Eakins, among others. 
  In his studies Leonardo identified two distinctively different shadows. The first, a form-shadow, is caused by form turning away from the source of light. A soft, gradated edge is created between the lit portion of the form and the portion of the form that is in shadow—that is, the round part of the form that has turned away from the light. The second, a cast-shadow, is caused by form intercepting the light and casting its shadow on an adjacent surface. This produces a hard edge between light and the cast-shadow. Thus the division between the two contrasting values of light and dark will, depending on the shadow created, either be a soft transition or a hard, abrupt one. 
  Leonardo must have observed that all shadows begin as form-shadows and end as cast-shadows—that is, each shadow shape begins soft and ends hard in relationship to the source of light. From experience artists learned that the more they emphasized the difference in appearance between the two types of shadows, the more effective their illusion; the closer in similarity, the less effective. Once you as the artist have convinced the viewer that a soft-edged shadow describes form turning away from the source of light and that a hard-edged shadow describes the protrusion of form that has intercepted the light, you have established a visual dialogue with the viewer. The more consistent you are in emphasizing the difference between a form- and cast-shadow edge, the clearer the dialogue. If the difference appears vague or inconsistent, the viewer will be confused.
conversations.from: human
conversations.value: Provide four more paragraphs.
conversations.from: assistant
conversations.value: A detail of the completed eye including highlights. The triangular depression on this particular female model is quite shallow and her brow is full. Therefore there is less shadow along the bridge, exposing more of the orbicular muscle to the light, especially toward the inside corners of the eyes.
  The eyes seen in context of a completed head drawing. High cheekbones, as can be seen on this model, give the face a broad appearance. This appearance is created by the large negative shape of light between the outside corner of the eye and the form-shadow of the cheek on the nearside.
  Just as in the case of the eyes, the nose and mouth are described through light and shadow. The nostril opening is located on the bottom plane of the nose and therefore is in shadow when the nose is illuminated from above. The area above the upper lip is in light. The underside of the upper lip is in shadow, but the lower lip is in light. The next shadow begins soft at the curve of the bottom edge of the lower lip and ends hard above the chin, which is in light. The last shadow begins soft as the chin curves away from the light source and ends hard on the neck outside the picture plane. Light, shadow, light, shadow, light, shadow, from top to bottom.
  From a distance a form-shadow edge on a small round object, such as the tip of a nose, will sometimes appear to have a hard edge. Nonetheless, it is a form-shadow and must be rendered softly, regardless of how hard it may look. Remember, all shadows begin as form-shadows and end as cast-shadows. Because the nose tip is so small, the turning of the form (that is, where the shape of the nose tip turns away from the light) takes place in less than one-sixteenth of an inch.
conversations.from: human
conversations.value: Provide the last five paragraphs.
conversations.from: assistant
conversations.value: STEP 6. I added reflected light in the orbicular cavity and bottom plane of the nose. I added green to all other shadows that received bounced light from the background color. To the shadows I added dark accents in dark green (dark green and dark red-brown create a color close to black in value but without the lifelessness). Since the light source is cool, it thus produces cool light masses. I added the highlights in a light blue-green.
  Step 6. Note the temperature of your light source when adding highlights and dark accents to your painting. A cool light will produce cool highlights on the light side of your model and warm accents on the shadow side.
  These paintings are examples of a technique called Peinture à L'essence (meaning "painting in spirits," or "turpentine"). The Impressionist artist Edgar Degas invented the technique to create artworks that imitated the appearance of pastel drawing but that did not require glass for protection. To create a Peinture à L'essence, the artist applies oil paint to a cardboard palette, which draws the oil out of paint. The pigment is reconstituted with turpentine and applied to a cardboard support. The turpentine evaporates, leaving the pigment dry and chalklike in appearance. Since it dries so quickly, it is possible to paint light over dark and dark over light as well as warm over cool and cool over warm without the color becoming muddy. If the pigment contains too much turpentine, the finished work looks like a painting rather than a pastel drawing.
  Turpentine's quick-drying property can be a disadvantage, since the paint tends to dry before it gets to the support. The only solution is to add a touch more turpentine and work faster.
  Artist William L. Maughan graduated from the Art Center College of Design with distinction in 1973. He began his career in commercial illustration in New York in 1974. He is also an accomplished fine artist in oil and pastel mediums, producing a wide range of paintings—including Westerns, Civil War scenes, plein-air landscapes, and portraiture. His paintings are shown at the George Stern Fine Arts Gallery in West Los Angeles, California, and Di Tommaso Galleries in Scottsdale, Arizona, and are in private and museum collections. Examples of his illustrations and fine art can be viewed at www.Easelpainter.com. Maughan has taught advanced head drawing, portrait painting, and landscape painting since 1976 at the Art Center College of Design, Pasadena, California, and the Academy of Art College, San Francisco, California, where, since 1989, he has directed Graduate Studies in Fine Art Painting and Traditional Illustration. He lives in Napa, California.