plate no. 2527

Heads of an old man and a youth

chalk, paperHigh Renaissanceportraitfiguresportraitsold manyouthdraperyprofile

recreation guide

This artwork, 'Heads of an old man and a youth' (c. 1495), is a study executed in chalk on paper, reflecting Leonardo da Vinci’s rigorous approach to anatomical and tonal observation. Unlike his oil paintings, which utilized complex layering and glazing techniques (Source 5), this work relies on the direct manipulation of dry media to capture the subtle transitions of light and shadow. The piece exemplifies the High Renaissance interest in the contrast between age and youth, utilizing a limited tonal range to model form without the distraction of color. Leonardo’s training in Verrocchio’s workshop exposed him to a wide range of technical skills, including drafting and the study of light, which informed his ability to render the human figure with structural accuracy and atmospheric depth (Source 5).

estimated time

10-15 hours over 3-4 sessions

materials

4 items

steps

4 in sequence

materials

item	purpose	modern equivalent
Brown or toned paper	To provide a mid-tone ground that allows for both highlighting and shadowing, consistent with studies on brown paper in charcoal and white chalk.	Strathmore 500 Series Brown Toned Paper or similar heavy-weight toned drawing paper
Black chalk or charcoal	For establishing the underdrawing and deep shadows.	Conté Noirs or vine charcoal
White chalk	For applying highlights and broadening the lights almost up to the commencement of the shadows, simplifying tones.	White Conté crayon or white pastel chalk
Blending stump or soft cloth	To smooth transitions and create the 'sympathetic charm of half-light effects' by softening hard edges.	Paper blending stump or tortillon

preparation

surface prep

The surface is likely a toned paper, possibly brown, which serves as the middle value of the tonal scale. This allows the artist to work from the middle tones outward, adding lights with white chalk and darks with black chalk/charcoal. This approach aligns with the principle that tone relationships are most sympathetic when middle values are used, keeping lights low in tone and darks high (Source 1).

underdrawing

The underdrawing should be executed with a keen sense of construction, focusing on the bony structure and muscle attachment points to ensure the forms are solid and three-dimensional (Source 6). Leonardo’s training emphasized a comprehensive understanding of structure to apply knowledge to artistic ends (Source 6). The lines should be resolute but preparatory, allowing for the subsequent application of tone.

underpainting

Not applicable for this dry medium study. However, the concept of a monochrome preparation is relevant; the artist may establish a brown and black monochrome base to define the forms before adding highlights (Source 4).

color palette

Mid-tone Brown

Paper tone

The ground, representing the middle values of the scale.

Black/Dark Grey

Black chalk or charcoal

Shadows and deep contours, creating dramatic contrast.

White

White chalk

Highlights, simplifying tones by destroying distressing shining lights and broadening lights up to the commencement of shadows.

composition

The composition likely focuses on the heads in profile or three-quarter view, emphasizing the contrast in texture and tone between the aged skin of the old man and the smooth skin of the youth. While specific compositional details are not described in the sources, Leonardo’s general practice involved careful observation of light and shade to render the human form with success (Source 6). The arrangement would prioritize the study of anatomical structure and the effects of light on the surface.

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Lightly sketch the basic proportions and structural landmarks of the heads using black chalk or charcoal. Focus on the bony structure and muscle attachments to ensure anatomical accuracy.
Tip — Ensure the underlying construction is sound before adding tone, as the artist must possess a keen sense of construction to build up the human figure successfully (Source 6).
Structural drawing

first pass

step 02
Establish the dark values using black chalk or charcoal, working from the deepest shadows outward. Use the brown paper as the mid-tone, so you do not need to fill in every area.
Tip — Aim for dramatic contrasts where the jumps from dark to light are sudden, enhancing the intensity of the study (Source 1).
Mid-tone ground technique

refining

step 03
Apply white chalk to the highlights. Use it to simplify the tones by destroying distressing shining lights that cut up the masses, and to broaden the lights almost up to the commencement of the shadows.
Tip — Avoid over-doing the highlights; the goal is to create a sympathetic charm of half-light effects by keeping tones in the middle range (Source 1).
Highlighting with white chalk

finishing

step 04
Blend the transitions between light and dark using a stump or cloth to create smooth gradations. This helps to unify the quality of the tones and prevent a deadness in the quality.
Tip — Preserve a oneness of quality throughout the work, relying on the grain of the paper to give necessary variety and prevent flatness (Source 1).
Blending for tonal unity

critical techniques

Tonal Simplification

Using white chalk to destroy distressing shining lights and broaden lights, simplifying the tonal masses. This creates a sympathetic charm of half-light effects.

Structural Construction

Building the figure from a clear knowledge of bony structure and muscle location, ensuring the external appearance is supported by internal logic.

Monochrome Modeling

Preparing the work in a brown and black monochrome to establish form before adding highlights, similar to techniques used in oil painting but adapted for dry media.

common pitfalls

→Over-using variety in quality and texture, which can disrupt the oneness of tone. Masters of tone preserve this oneness carefully, relying on the grain of the paper for variety (Source 1).
→Failing to appreciate the modifications of light on the model due to eye fatigue or simultaneous contrast, leading to inaccurate tone values (Source 3).
→Ignoring the underlying construction of the form, resulting in a superficial rendering that lacks solidity and three-dimensionality (Source 6).

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 details of the facial expressions or gestures of the old man and youth are not described in the sources, so the artist must rely on general anatomical knowledge and observation.
·The exact type of paper Leonardo used is not specified, though brown paper is mentioned in the context of studies (Source 1).
·The specific brand or hardness of the chalks used by Leonardo is not available, so modern equivalents must be chosen based on general practice.

grounded in

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

The Practice and Science of Drawing↗
- Tone relationships and variety in quality — applied to Guidance on tonal simplification, use of middle values, and preserving oneness of quality.
The Human Figure↗
- Drawing the Human Figure — applied to Emphasis on structural construction and anatomical knowledge.
The Practice of Oil Painting↗
- Italian Schools — applied to Reference to monochrome preparation and modeling techniques.