plate no. 9601

Profile of a man and study of two riders

chalk, ink, paperHigh Renaissancesketch and studyfigureanatomysketchhorseriderprofile

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