plate no. 9601

Profile of a man and study of two riders

chalk, ink, paperHigh Renaissancesketch and studyfigureanatomysketchhorseriderprofile

what to study here

It shows a fully modeled, grid-constructed head beside quick red chalk riders on one sheet, so you can compare finished and exploratory drawing directly.

The page sets two kinds of drawing against each other, and the contrast is the thing to study. The large head in profile, facing right, is built with controlled cross-hatching. Line direction follows the form and density changes to model the shadowed cheekbone, jaw and neck, while the forehead and upper face stay lighter. A light grid overlay marks the head's proportions, so you can see construction sitting under the finished modeling. Edges are sharp where ink meets paper, especially at the cheekbone and nose. Around the head, the rider and horse studies are in red chalk. Their contour lines are loose and fast, the edges are soft, and some figures are only a few strokes. Notes in sepia ink fill the upper left margin. Squint and the page reads in three values: dark head, mid-tone red chalk, light paper. Copy the head to practice hatching that follows form. Copy the riders to practice stopping early. Keeping the studies unequal in finish is what keeps the head dominant.

key decision

The painter modeled only the main head with dense, form-following cross-hatching and left the rider studies as loose red chalk contours. This creates a clear three-level value hierarchy of dark head, mid-tone chalk and light paper.

recreation guide

This artwork, 'Profile of a man and study of two riders' (1497), is a High Renaissance sketch and study executed in chalk and ink on paper. It exemplifies Leonardo da Vinci’s approach to drawing as a means to a definite end: the ability to paint with knowledge and accuracy rather than merely for the stylish use of the crayon (Source 2). The work likely employs contour drawing techniques to emphasize the mass and volume of the subjects rather than minor details, focusing on the outlined shape to convey three-dimensional perspective, length, width, and depth (Source 3). As a study, it reflects the artist’s practice of reducing appearances to a structure of tone masses or planes, ensuring that the line work helps the accuracy with which shapes of masses are observed (Source 4).

estimated time

10-15 hours over 3-4 sessions

materials

4 items

steps

4 in sequence

materials

item	purpose	modern equivalent
Red and black chalk	Primary drawing medium for contour and tone study	High-quality red and black conté crayons or soft chalks
Iron gall ink	For linear definition and detailing	Archival iron gall ink or high-quality black drawing ink
Fine-point pen or quill	Applying ink lines	Technical pen or dip pen with flexible nib
Heavyweight paper	Support for dry media and ink	Hot-pressed or cold-pressed drawing paper, 140lb+ weight

preparation

surface prep

The surface is paper, which requires no priming for dry media. The artist likely selected paper capable of holding both chalk and ink without excessive bleeding or crumbling, adhering to the principle that the good draughtsman finds out the particular qualities of the medium he selects (Source 1).

underdrawing

The underdrawing likely consists of contour lines that establish the silhouette and mass of the figures. Leonardo characteristically kept his eye fixed on the general silhouette to secure the subject's action and characterization (Source 2). The drawing process involves reducing the solid object to terms of a flat surface, possibly closing one eye to aid in accurate perception of the flat picture (Source 4).

underpainting

Not applicable. This is a drawing study, not a painting. However, the study serves as a foundation for painting, where knowledge of tone values helps in the eventual application of light and shade (Source 4).

color palette

Black/Dark Grey

Black chalk and iron gall ink

Outlines, shadows, and defining forms

Red/Terracotta

Red chalk

Modeling form and adding tonal variation

White/Paper Tone

Unmarked paper

Highlights and background space

composition

The composition likely features a profile view of a man and studies of riders, arranged to study form and space. Leonardo’s general practice involved studying figures in relation to their environment, though specific compositional details of this sketch are not described in the sources. The focus is on the outlined shape and the conveyance of three-dimensional perspective through contour (Source 3).

step by step

underdrawing→refining→finishing

underdrawing

step 01
Begin with a light contour drawing using red or black chalk to establish the general silhouette and mass of the figures.
Tip — Focus on the outlined shape rather than minor details; ensure the line conveys form, weight, and mass (Source 3).
Contour drawing

refining

step 02
Refine the contours, adjusting lines to accurately represent the flat surface projection of the solid forms.
Tip — Close one eye to help perceive the subject as a flat picture, reducing the habit of perceiving solidity (Source 4).
Line drawing
step 03
Add tonal masses using chalk to indicate light and shade, ensuring the accuracy of values.
Tip — Study tone masses separately from outline to avoid confusion; use darker portions of the contour to represent areas with little light (Source 3, Source 4).
Tone study

finishing

step 04
Apply ink lines for definition and detail, using the pen to select only certain things necessary for expression.
Tip — Remember that pen and ink require selecting only certain things; do not attempt more than the medium is capable of doing (Source 1).
Pen and ink

critical techniques

Contour Drawing

Used to emphasize mass and volume rather than detail, conveying three-dimensional perspective through line variation (Source 3).

Tone Mass Study

Studying form through tone masses to prepare for painting, ensuring knowledge of reducing appearances to a structure of tone (Source 4).

Silhouette Observation

Keeping the eye fixed on the general silhouette to secure the subject's action and characterization (Source 2).

common pitfalls

→Attempting to deceive the eye into thinking it is looking at real nature rather than expressing feeling through the medium (Source 1).
→Muddling through by not studying line work and tone masses separately, leading to confusion in form expression (Source 4).
→Focusing on minor details instead of the mass and volume of the subject (Source 3).

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 'Profile of a man and study of two riders' such as exact poses, clothing, or background elements are not described in the sources.
·Leonardo's specific mixing ratios for chalk and ink are not provided.
·The exact type of paper used by Leonardo in 1497 is not specified, though modern equivalents are suggested.

grounded in

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

The Practice and Science of Drawing↗
- XX MATERIALS — applied to Understanding the limitations and capabilities of pen and ink and chalk
- STUDY BY RUBENS... — applied to Study of tone masses and line drawing for form expression
The Practice of Oil Painting↗
- NEED OF A STUDY OF ANATOMY — applied to Emphasis on silhouette and drawing as a means to paint

cross-referenced from

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

Wikipedia: Contour drawing↗
- Contour drawing — applied to Technique of contour drawing to emphasize mass and volume

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 large male head occupies the upper-center of the composition, rendered in profile facing right with systematic cross-hatching that creates deep shadow and three-dimensional form. Its anatomy is constructed with careful proportions marked by a light grid overlay. Below and around this focal point are several lighter, more gestural studies in red chalk: two riders on horses at left and lower center, another figure profile at right, and additional equestrian sketches. Handwritten notes in sepia ink fill the upper left margin. Light appears to come from the left, emphasizing the sculptural roundness of the main head while the surrounding sketches remain flat and exploratory.

value structure

The darkest values concentrate in the main head's facial modeling—particularly the shadowed cheekbone, jaw, and neck area where cross-hatching creates rich brown tones. A distinct step down to mid-tone red chalk defines the rider studies throughout the lower two-thirds. The background cream paper provides the lightest value, and this three-level hierarchy (dark head, mid red chalk, light paper) organizes the visual hierarchy immediately. Squinting reads the page as a focal head anchoring looser anatomical explorations.

observed palette and mixes

#8B6F47
Burnt sienna + sepia ink + fine-tipped pen for depth
Main head—face, cross-hatching shadows, anatomical definition
#A67B5B
Red chalk, warmed with subtle sienna undertone
Rider figures, horse studies, exploratory sketches
#D4A574
Red chalk, lighter application
Contours and outlines of secondary figures
#F1D9B9
Paper base—aged cream
Background and negative space throughout

edges and brushwork

The main head exhibits precise, controlled cross-hatching—lines follow the form contours and vary in density to model light and shadow; edges are sharp where ink transitions to paper, especially defining cheekbone and nose profiles. The surrounding red chalk studies use loose, gestural contour lines that feel sketched and immediate, with softer edges; some figures are left barely suggested with just a few strokes. This deliberate contrast between the 'finished' head and exploratory sketches is fundamental to the work's character.

a working sequence

01
Establish the composition and proportions
Lightly sketch the overall page layout. The large head occupies roughly the upper-center third, slightly left of center. Map where the riders and secondary figures sit below and to the sides. Use proportion relationships—the head's height relative to the riders' figures, the spacing between studies. Don't commit to detail yet; this is your roadmap.
02
Construct the main head with grid and basic anatomy
Using light sepia or pencil, draw the basic oval head shape and lightly overlay the construction grid visible in the original—horizontal and vertical guides that divide the face into proportional sections. Block in the major facial features: eye placement, nose position, jaw line, ear position. Reference the grid to ensure accuracy of the profile's distinctive character.
03
Develop facial anatomy and contour detail
Refine the profile's contours with careful observation of the subtle nose shape, the distinctive protruding chin, the eye socket depth, and ear structure. Work darker brown sepia ink now, defining the outline of the profile cleanly. Pay attention to how the nose projects and how the jaw recedes—these specific proportions give the portrait its individuality.
04
Apply cross-hatching for form and shadow
Begin cross-hatching in the shadowed areas of the face—particularly the jaw, neck, cheekbone, and right side of the head. Use lines that follow the form (not random). Vary the angle of hatching by region: vertical strokes on the cheek, diagonal on the jaw, to suggest musculature. Build density gradually; darker areas like the eye socket and neck shadow get denser lines. The forehead and upper face remain lighter.
05
Refine modeling with layered hatching
Deepen the richest darks by adding additional cross-hatching layers, particularly in the eye socket, the shadow beneath the nose, and the jaw line. Leave some areas with single-layer hatching for mid-tone transitions. The nose bridge and brow should show less shadow than the cheekbone and jaw—create a graduated sense of light rolling across the form.
06
Sketch the rider and horse studies in red chalk
Switch to red chalk. With loose, confident gesture lines, sketch the mounted riders at lower left and center. Indicate the horses' bodies, legs, and riders' postures with quick contours—no shading needed. Keep these deliberately lighter and more exploratory than the main head. Add the secondary figure studies (the profile at right, additional horse studies). These should feel like quick anatomical notes, not finished drawings.
07
Add supporting details and refine relationships
Ensure the rider studies show clear anatomical proportions—horse neck and body relationships, rider positioning. Add minimal internal modeling to the red chalk figures if needed, but keep them subordinate to the main head. Check that the value contrast between the dark head and lighter sketches reads clearly across the whole composition. Add any linear accents with a fine pen if desired.
08
Optional: add notes and final touches
If including Leonardo's mirror-script annotations, sketch them lightly in the upper left in fine sepia ink. They need not be legible—gesture and visual weight are what matter. Step back and check the overall balance: the head should command attention while the surrounding studies support it without competing.

where studies of this painting go wrong

Over-rendering the red chalk rider studies—they are intentionally sketchy and light; resist the urge to finish them as much as the main head.
Cross-hatching uniformly without regard to form—the hatching must follow the head's anatomy and vary in direction and density to suggest three-dimensional surface.
Misplacing the grid on the face or miscalculating facial proportions—the distinctive character depends on accurate anatomy; use the grid as your anchor.
Making the background too uniform—real aged paper shows foxing, stains, and color variation; preserve the handmade, aged quality rather than treating it as flat.
Losing the contrast between the 'finished' head and the exploratory sketches—the focal power comes from this deliberate hierarchy, not from equal finish throughout.

measured difficulty