plate no. 1670

Head of a girl

metalpoint, paper, silverpointEarly Renaissancesketch and studyfigureportraitheadhairsketchfemale

what to study here

It shows a full range of form and hair structure achieved with only directional line, with the paper as the lightest value and no erasing possible.

The useful lesson here is how a head is built from hatching alone. The visionGuide describes a young female head in three-quarter view, facing left, eyes downcast, on warm prepared paper with light from the upper left. Look at how the paper carries the lightest value, so the forehead, cheekbone and nose bridge are mostly left alone while the tone is built around them. The face sits in a middle register of tans and warm grays, with fine cross-hatching in the cheeks and jaw. The hair is different: dense parallel strokes that follow the direction and mass of the curls, heaviest on the right side and crown. Study how those two kinds of stroke separate skin from hair without any hard edges. The eyes are the darkest accents, yet the drawing has no pure blacks, so values shift gradually. The head ends at the neck without shoulders, which reads as an unfinished study. Copy it by building tone in thin layers, since the instructions note that metalpoint cannot be erased and that layered lines read as transparency rather than opaque coverage.

key decision

The painter used two hatching systems: fine cross-hatching to model the face, and parallel strokes following the hair's direction to describe its mass. The paper was left as the lightest value, and the darkest accents were reserved for the eyes.

recreation guide

This artwork, 'Head of a girl' (1483), is a silverpoint drawing by Leonardo da Vinci, representing the Early Renaissance style. It is distinctive for its use of metalpoint, a technique favored in Florentine workshops for its ability to render precise detail without blunting easily (Source 2). The work is intimate in scale, consistent with the tradition of Old Master silverpoints which recall the technique's roots in manuscript illumination (Source 1). As a sketch and study, it likely served as a preparatory sheet or model book entry, reflecting Leonardo’s rigorous approach to capturing the human form through line and subtle tonal variation rather than heavy pigment application.

estimated time

10-15 hours over 3-5 sessions (including surface preparation and drying time)

materials

4 items

steps

4 in sequence

materials

item	purpose	modern equivalent
Silverpoint stylus (silver wire or rod)	Primary drawing instrument for creating fine lines and tonal gradations.	Pre-made silverpoint stylus or a silver wire inserted into a wooden handle.
Paper or parchment	Support surface for the drawing.	High-quality drawing paper or vellum.
Gesso or Chinese white ground	Preparation layer to allow the silver to adhere and leave a visible mark.	Commercially prepared silverpoint paper or a DIY mixture of gesso and white pigment.
Sandpaper or abrasive pad	To sharpen the silverpoint stylus.	Fine-grit sandpaper.

preparation

surface prep

The surface must be prepared with a ground, typically gesso or a mixture involving Chinese white, to ensure the silver leaves a visible trace (Source 2). Leonardo’s practice, as described in Susan Dorothea White’s work, involves specific preparation of the ground to receive the metalpoint (Source 2). The ground should be smooth and slightly textured to hold the silver particles. Modern artists often use commercially prepared video media paper or casein-coated parchment, but for historical accuracy, a gesso-based ground is appropriate (Source 1, Source 2).

underdrawing

Silverpoint is a direct drawing technique; there is typically no separate underdrawing phase in the same way as oil painting. The silverpoint itself serves as the primary line work. However, the artist must rely on a keen sense of construction and anatomy, as the medium does not allow for easy erasure (Source 5). The lines are definitive and require confidence in placement.

underpainting

Not applicable. This is a drawing, not a painting. Silverpoint relies on the oxidation of the silver over time to deepen the tone, rather than layered paint.

color palette

Silver/Grey

Pure silver metal

The entire drawing. The tone shifts from light grey to dark brown/black as the silver oxidizes over time.

composition

While specific compositional details of this particular 'Head of a girl' are not described in the sources, Leonardo’s general practice involves careful arrangement of figures. In his Annunciations, he uses formal arrangements with figures placed to guide the viewer’s eye (Source 6). For a head study, the placement should likely be central or slightly off-center to allow for the 'greater space in front' if the face is turned, as suggested by general composition hints for portraits (Source 7). The focus is on the line’s ability to direct the eye and create a harmonic sense (Source 3).

step by step

underdrawing→refining→finishing→surfaceprep

underdrawing

step 02
Sharpen the silverpoint stylus on sandpaper. Begin with light, tentative lines to establish the basic construction of the head, focusing on the bony structure and muscle attachment points.
Tip — Rely on knowledge of anatomy to place lines accurately, as erasing is difficult.
Construction drawing

refining

step 03
Develop the lines with greater precision. Use the silverpoint to create fine, curvilinear lines that define the features. Vary the pressure to create tonal variations, from light highlights to darker shadows.
Tip — Silverpoint does not blunt easily, allowing for precise detail. Use this to capture the 'firm definition' of boundaries (Source 3).
Silverpoint line work

finishing

step 04
Add final details and refine the tonal transitions. Allow the drawing to oxidize naturally over time to deepen the tones.
Tip — The silver will darken over time, enhancing the contrast and depth of the drawing.
Oxidation

surfaceprep

step 01
Prepare the paper or panel with a gesso or Chinese white ground. Allow it to dry completely.
Tip — Ensure the surface is smooth but has enough tooth to hold the silver.
Ground preparation

critical techniques

Silverpoint drawing

Dragging a silver rod or wire across a prepared surface to create fine lines. The technique relies on the softness of the metal to leave a mark that oxidizes over time.

Anatomical construction

Using knowledge of the skeleton and muscles to build the form from the inside out, ensuring the external appearance reflects the underlying structure.

Line rhythm

Using lines to direct the viewer’s eye and create a harmonic sense in the drawing. The lines should have a 'music' to them, guiding attention to key areas.

common pitfalls

→Applying too much pressure, which can blunt the stylus or damage the ground.
→Attempting to erase mistakes, which is difficult in silverpoint.
→Neglecting the preparation of the ground, which can result in faint or invisible lines.
→Overworking the drawing, which can muddy the fine lines and lose the precision characteristic of the medium.

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific visual details of the 'Head of a girl' (e.g., exact facial expression, hair style, clothing) are not described in the sources, so the recreation must rely on general Leonardo style and anatomical principles.
·The exact dimensions of the original artwork are not provided, though it is described as 'intimate in scale' (Source 1).
·The specific ground recipe used by Leonardo for this particular piece is not detailed, though gesso/Chinese white is the standard historical practice (Source 2).

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice and Science of Drawing↗
- IV LINE DRAWING — applied to Importance of line in directing the eye and creating harmony.
The Human Figure↗
- DRAWING THE HUMAN FIGURE — applied to Anatomical construction and understanding of form.
The Practice of Oil Painting↗
- HINTS ON ARRANGEMENT — applied to General composition principles for placing heads in portraits.

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Silverpoint↗
- Silverpoint — part 1 — applied to Materials, ground preparation, and historical context of silverpoint.
- Silverpoint — part 4 — applied to Scale and intimacy of Old Master silverpoints.
Wikipedia bio — Leonardo da Vinci↗
- part 12 — applied to Leonardo’s general style and compositional habits in his early works.

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A young female head in three-quarter profile view faces left with downcast eyes, rendered on warm-toned prepared paper. Light comes from the upper left, softly modeling the face while the far side of the head recedes into shadow. The eye is drawn first to the face—particularly the serene expression and carefully observed proportions—then to the flowing hair descending in delicate curls. The work shows the head alone without shoulders, ending in a refined neck transition that reads as incomplete study.

value structure

The paper itself is the dominant lightest value, warm cream-beige. The face occupies a middle register of soft tans and warm grays, with gentle transitions between lit and shadowed sides. Hair is rendered darker overall through dense parallel hatching, especially on the right side and crown. The eyes are the darkest accents in the entire composition. There are no pure blacks or harsh contrasts—values shift gradually, inviting the eye to move across soft modeling rather than following edges.

observed palette and mixes

#e7dec8
Paper ground (gesso or bone dust base)
Background and overall tonal foundation
#dfd3bc
Warm beige; silverpoint on paper
Lightest values on forehead, cheekbone, bridge of nose
#d5c8b2
Warm tan; light metalpoint strokes
Mid-face tones, cheek form, upper eyelid
#c5b7a4
Medium warm gray-tan; cross-hatched metalpoint
Face shading, neck, transitional tones
#b5a895
Tan-brown; dense metalpoint hatching
Hair mid-tones, shadow side of face
#958a77
Dark brown-gray; heavy metalpoint layering
Eye pupils and iris, deepest hair shadows, darkest accent lines

edges and brushwork

Contour lines throughout are precise yet gentle, establishing form without harshness. The hair is defined entirely through parallel hatching strokes that run parallel to the hair's direction and mass, never crossing chaotically. Face shading uses much finer, subtler cross-hatching especially in the cheeks and jaw. There is almost no visible texture from the drawing tool itself—the metalpoint glides with refinement, and layers of parallel lines create transparency rather than opaque coverage.

a working sequence

01
Establish the head shape and proportions
Lightly sketch the basic ovoid of the head and locate the centerline for the three-quarter view. Mark where the eyes sit (roughly one-third down), noting that this head has a longer, narrower proportion than a typical adult. The overall head-to-profile proportion is quite elegant and elongated.
02
Outline facial features and structure
Refine the contours: the profile of the nose, the mouth line (softly smiling), the jaw and chin. The eye facing forward is positioned high and sits well forward on the head; the far eye is barely visible. Mark the ear placement behind and above the visible eye. Use light, confident lines—no heavy pressure yet.
03
Map the hair form and flow
Establish the hair's outer contours and the direction it flows—it moves down and curves gently outward. Notice it's fuller on the right side (from our view) and there are several distinct curl formations visible. Sketch light guide lines for where hatching will follow these curves.
04
Develop the eyes and focal expression
Work the visible eye carefully: it's downcast but not closed, with a soft, introspective quality. The lid catches a small reflection of light. Make the iris and pupil clearly present but gentle, not staring. The far eye is just barely suggested. These eyes set the entire mood.
05
Model the face with subtle shading
Begin delicate cross-hatching on the lit side of the face (the left in our view) to define the cheekbone, temple, and forehead form. Keep these strokes fine and close together but not heavy. On the far side of the face (the right in our view), introduce slightly denser hatching to show the shadow plane, being careful not to make it muddy—silverpoint shadows are luminous, never opaque.
06
Render the hair with directional hatching
Begin laying in parallel hatching lines that follow the direction the hair flows. Work from the top of the head down, following the curl structure you've established. On the right side, build denser layers to show shadow and form. Let the paper show through between lines to maintain luminosity—this is a study, not a fully finished piece.
07
Deepen shadow areas and refine transitions
Layer additional hatching in the hair shadows and where the head meets the neck. Darken the eyes with careful, controlled strokes. Add definition to the cheekbone shadow and under the jaw. Work the entire head as a unified whole—don't finish one area completely before moving on; this ensures coherent value relationships.
08
Refine edges and add final details
Review the subtle contours of the profile, the curve of the hair, the delicate transition at the neck. Add any final definition to facial features—the nostril, the mouth line, the upper eyelid. Step back frequently to judge overall unity of value and expression. This is a head study, not a portrait; preserve that quality of investigation.

where studies of this painting go wrong

Overworking the paper—metalpoint requires restraint. Multiple layers create a darker value than you may expect, and you cannot erase. Build slowly and test hatching pressure on scrap paper first.
Making the hair too uniform in value or direction. The curls have rhythm and flow; if your hatching doesn't follow the actual hair structure visible in the reference, it reads as a generic wig rather than observed hair.
Overstating the downcast eyes. The gaze is contemplative and subtle—don't make the eyes too dark or emphasize the lids too heavily, or the expression shifts from serene to sorrowful.
Neglecting the profile's elegance. The nose, lip, and chin line are refined and proportioned carefully. A clumsy profile spoils the entire likeness, even if the three-quarter face reads well.

measured difficulty