plate no. 2527

Heads of an old man and a youth

chalk, paperHigh Renaissanceportraitfiguresportraitsold manyouthdraperyprofile

what to study here

It shows how two ages can be separated in one drawing through contour, hatching density and value placement on a toned ground.

Two male profiles face left on warm-toned paper: an old man with a pronounced aquiline nose, deeply furrowed face and receding jaw, and a younger man with smooth planes and tight ringlets of hair. The useful lesson is how age is built with value alone. Light rakes from the upper left, so both faces get strong sculptural modeling with the far sides in shadow. The old man reads darker because of deep wrinkles and accumulated shadow, especially the eye socket. The youth sits in lighter, flatter, more reflective planes. Study the paper too. The warm ground is the mid-value, and the lightest lights are the paper reserved for foreheads and the upper bridge of the youth's nose. The darkest accents are small and placed in recesses: eye socket, nostrils, cheek shadow plane, deepest folds. Profile edges are single confident chalk lines. Curved planes use fine parallel hatching that grades in density without being blended soft. Drapery below uses denser hatching that follows fold direction and stays secondary to the heads.

key decision

The painter used the warm paper as the mid-value and reserved the lights from it. Darks were limited to small recessed accents, with the old man's shadow accumulation doing the work of aging.

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.

cross-referenced from

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

Wikipedia bio — Leonardo da Vinci↗
- Part 3 — applied to Context on Leonardo’s training and exposure to technical skills.

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

Two male profiles face left on a warm toned paper: an elderly man on the left with a pronounced aquiline nose, deeply furrowed face, and receding jaw; a younger man on the right with refined features, smooth planes, and tight ringlets of curled hair. Light rakes from the upper left, creating strong sculptural modeling on both faces while casting the far sides into shadow. Your eye lands first on the profile silhouettes and the dramatic contrast between the two noses, which anchor the entire composition. Below, drapery folds wrap around the figures with directional hatching, grounding them and suggesting a classical or draped garment.

value structure

The warm paper serves as the key mid-value anchor—neither background nor subject dominates it. Darkest darks sit in recessed zones: the old man's eye socket, both nostrils, the shadow plane of the youth's cheek, and the deepest fold shadows in the drapery. Lightest lights are the paper itself, reserved for highlights on foreheads and the upper bridge of the youth's nose. The old man reads slightly darker overall due to deeper wrinkles and shadow accumulation; the youth glows with flatter, more reflective planes. Squint and you'll see three distinct value zones: light upper faces, mid-value paper ground, and dark accents that define edges.

observed palette and mixes

#a16741
Burnt sienna + red ochre, minimal water
Deepest shadows: eye sockets, nostril cavities, fold shadows in drapery, dark side of old man's cheek
#c2925f
Raw sienna + burnt sienna, 1:1
Mid-shadow modeling on both cheeks, shadow planes of noses, folds in the drapery fabric
#cca36f
Raw sienna + yellow ochre
Transitional half-tones between light and shadow on cylindrical forms like cheeks and foreheads
#d6b581
Yellow ochre + raw sienna
Highlights on brow bones, lighter folds in drapery, paper tone itself (base substrate)
#dec390
Yellow ochre + white chalk or paper tone
Brightest highlights on foreheads and upper bridge of youth's nose
#e3cd9e
Very dilute raw sienna or paper tone
Softest transitions and the neutral ground between figures

edges and brushwork

This drawing prizes clarity over texture. Profile edges of faces are drawn with single, confident chalk lines—no tentative searching marks visible. Drapery is rendered through dense, organized hatching and cross-hatching that follows fold direction, creating the illusion of weight and fabric without fussy detail. Curved facial planes use very fine parallel hatching that graduates in density to suggest rounded form; transitions are smooth but never blended into softness. The entire work reads as controlled and economical—every mark contributes to either edge definition, value modeling, or fabric structure.

a working sequence

01
Establish proportions and placement
Lightly map the two heads on your paper using horizontal and vertical guide lines. Measure the relationship between features: how far is the eye from the nose tip? Where does the bottom of the nose sit relative to the chin? The old man's head projects slightly forward; the youth's sits more upright. Get the spacing between the two profiles right—they are distinct but compositionally balanced.
02
Draw the profile silhouettes with confidence
Using a fine line, establish the outer contours: the old man's hooked nose, receding forehead, sagging jaw; the youth's straighter nose, fuller cheeks, defined ear. Pay exacting attention to the chin line—the old man's projects sharply, the youth's is rounder. Draw the hair masses: the youth's tight curls require a different texture language than the old man's thinner locks. These silhouettes carry the personality of each head.
03
Block shadow areas with light hatching
Identify which face plane faces away from light: the far cheek, far side of the nose, under the chin, shadows in eye sockets. Lay down your first layer of hatching—kept light and loose, following the direction of the form. The old man will accumulate shadow faster due to facial folds; the youth's shadows should sit on cleaner planes. Let the paper show through; this is foundation work.
04
Model the faces with mid-tone transitions
Strengthen hatching on the cheekbones, forehead planes, and nasal structure. Build tone gradually—the youth's cheek should transition from light to mid to shadow smoothly, following the spherical form. The old man's face will show more linear striations following the wrinkle pattern. Keep your hatching parallel and clean; diagonal cross-hatching at this stage would muddy the effect. Work both heads equally to maintain compositional balance.
05
Define eye sockets and facial recesses
These are your darkest accents and they anchor emotion. The old man's eye socket is deep and shadowed; the youth's is more subtle. Build the shadow under the cheekbone, the shadow beside the nose wings, the shadow that defines the jaw angle. Use concentrated, directional hatching here. A single dark nostril shadow on the old man is more powerful than heavy shading—economy reads as skill.
06
Render drapery with directional fold logic
The fabric below the heads shows deep folds and hanging rhythms. Identify the fold direction and hatch perpendicular or diagonal to it, creating the sense of recessed shadow. The darkest values sit in the deepest folds; lighter values sit where fabric catches light. Don't just hatch randomly—each stroke should reinforce the fold structure. The drapery should read as supporting the heads, not competing with them.
07
Refine edges and add final accents
Sharpen critical edges: the profile lines, the nostril edges, the eyelid lines. Add a few strategically placed dark accents in the hair and folds to create visual punctuation. Check that the old man reads convincingly older—his shadows should be warmer and more accumulated; the youth should have crisper planes and smoother transitions. A light touch with an eraser can lift highlights and correct overworked areas.

where studies of this painting go wrong

Misjudging the profile proportions—the hooked nose of the old man and the refined nose of the youth are the compositional anchors; if these angles are wrong, the likeness collapses. Measure repeatedly.
Blending and softening excessively—this work is built on visible, confident hatching lines, not smudged charcoal. Maintaining linearity is essential to the style and economy of the piece.
Letting the drapery overwhelm the heads—the folds are important but secondary; if your drapery hatching becomes as dark or detailed as the faces, the composition loses focus. Know when to stop.
Treating both faces with equal value range—the old man must read distinctly older through accumulated shadow, wrinkle emphasis, and tonal depth; the youth must glow with smoother, lighter planes. The age difference is your primary storytelling tool.
Forgetting the paper as an active player—the warm toned ground is not passive background; it is a mid-value that makes both deep shadows and light highlights sing. Don't cover it entirely; let it breathe.

measured difficulty