plate no. 1596

Profile of an old man

ink, paperHigh Renaissancesketch and studyfigureportraitmanprofileheadsketch

recreation guide

This artwork, 'Profile of an old man' (1505), is a High Renaissance sketch and study executed in ink on paper. It exemplifies Leonardo da Vinci’s rigorous approach to observational drawing, likely influenced by his early training in the workshop of Andrea del Verrocchio, where he was exposed to theoretical training and technical skills including drafting and drawing (Source 7). The work relies on the expressive power of line and tone rather than color, adhering to the principle that materials determine the qualities selected for expression; ink allows for the selection of specific forms and textures while eliminating unnecessary detail (Source 5). The drawing likely employs techniques of line drawing and massing, where the brush is used to create continuous lines and sharp corners, capturing the character of the subject through controlled, deliberate strokes (Source 1).

estimated time

10-15 hours over 3-4 sessions

materials

4 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Japanese mulberry bark paper or high-quality linen rag paper	Provides a surface suitable for ink line drawing and washes, allowing for both sharp lines and graded tones.	Hot-pressed watercolor paper or traditional Japanese Washi paper
Japanese ink stick and inkstone	Allows for grinding ink to varying intensities of blackness, from intense black to diluted grays, essential for tonal variation.	Sumi ink stick and slate inkstone
Japanese brushes (long and short)	Long brushes for continuous lines and short brushes for sharp corners and broken lines, enabling precise control over line quality.	Calligraphy brushes or fine-point watercolor brushes
Glue and alum sizing (if preparing paper)	To prepare the paper surface, preventing excessive absorption and ensuring ink behaves predictably.	Commercial paper sizing or gelatin sizing

preparation

surface prep

The paper should be prepared with a sizing of glue and alum to control absorption, as described for Japanese paper practice (Source 1). If using modern paper, ensure it is dry and free from dampness to prevent sizing fermentation and staining (Source 8). The surface should be smooth enough to allow the brush to move freely in all directions, similar to an etcher’s needle (Source 1).

underdrawing

Leonardo’s sketches often serve as the final work, so the underdrawing is the primary drawing. Begin with straight lines to establish direction, then move to curves and irregular lines (Source 1). The brush should be held perpendicularly to allow free movement, and lines should be drawn slowly with the whole hand and arm, not just the fingers, to ensure control and character (Source 1).

underpainting

Not applicable in the traditional oil painting sense. However, the use of ink washes can serve a similar function to underpainting by establishing tonal masses. Washes may be flat or graded, transitioning from darker to lighter tones to establish form and shadow (Source 4).

color palette

Intense Black

Japanese ink stick ground with minimal water

Primary lines and deep shadows

Gray Tones

Japanese ink diluted with water

Washes for massing and mid-tones

Paper White

Reserved paper surface

Highlights and light areas

composition

The composition likely focuses on the profile of the old man, emphasizing the form and texture of the face. The artist would have selected only certain things for expression, avoiding the attempt to deceive the eye with excessive detail, instead using the vitality of the ink medium to express the feeling and character of the subject (Source 5). The use of few lines and tones, just enough to cause form and texture to be felt, aligns with the principles of ink painting where suggestiveness is prized (Source 6).

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Grind the ink stick on the inkstone with a few drops of water to achieve intense blackness. Charge the brush well with ink.
Tip — Ensure the ink is not too watery for initial lines; dry the ink stick after use.
Ink preparation
step 02
Hold the brush perpendicularly and draw the main contours of the profile with long, continuous lines using the whole arm. Draw slowly to guide the line as it grows.
Tip — Steady the hand by resting the wrist or little finger on the paper. Slight waverings can add character.
Line drawing

first pass

step 04
Apply diluted ink washes to establish tonal masses. Use flat or graded washes to transition from darker to lighter tones, establishing shadows and form.
Tip — Apply washes to dry paper for sharper edges and greater control in detailed areas.
Wash technique

refining

step 03
Use short brushes for sharp corners and broken lines to define details such as the nose, mouth, and wrinkles. Press the brush firmly to spread to the desired width.
Tip — Eliminate useless detail; every brush-touch must be full-charged with meaning.
Detailing
step 05
Layer transparent washes over dried paint to build depth and modify hues. Use the principle of simultaneous contrast to perceive and imitate modifications of light on the model.
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; adjust tones accordingly.
Glazing/Layering

finishing

step 06
Review the drawing for unity and simplicity. Ensure that the fewest possible lines and tones are used to convey the form and texture.
Tip — Check for any unnecessary details that do not contribute to the overall effect.
Final assessment

critical techniques

Line Drawing

Using long brushes for continuous lines and short brushes for sharp corners, drawing slowly with the whole arm to control the line.

Wash and Massing

Applying diluted ink to create tonal variations and establish form, using flat or graded washes.

Suggestiveness

Using the fewest possible lines and tones to allow the beholder to create the form and texture in their mind.

common pitfalls

→Over-detailing: Adding unnecessary details that do not contribute to the overall form and character.
→Inconsistent Ink Tone: Failing to grind the ink properly, leading to uneven blackness or watery lines.
→Rushing the Line: Drawing too quickly, resulting in lack of control and character in the lines.
→Ignoring Contrast: Not considering the simultaneous contrast of tones, leading to inaccurate perception of light and shadow.

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 old man's facial features, clothing, or background are not described in the sources.
·Exact proportions and dimensions of the sketch are not provided.
·Leonardo's specific preparatory methods for this particular sketch are not detailed in the sources.

grounded in

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

Composition — LINE DRAWING↗
- II.—JAPANESE MATERIALS AND BRUSH PRACTICE — applied to Materials, line drawing technique, brush handling
Laws of Contrast of Colour↗
- 315-318 — applied to Perceiving and imitating light modifications, simultaneous contrast
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of material selection, avoiding excessive detail
Composition — INK PAINTING↗
- INK PAINTING — applied to Suggestiveness, simplicity, unity in ink drawing
The Science of Painting↗
- CHAPTER XIII. WATER COLOURS — applied to Paper preparation, sizing, preservation

cross-referenced from

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

Wikipedia: Color theory↗
- Color theory — part 6 — applied to Understanding tone and contrast in monochrome
Wikipedia: Watercolor painting↗
- Watercolor painting — part 10 — applied to Wash techniques, layering, glazing
Wikipedia bio — Leonardo da Vinci↗
- Leonardo da Vinci — part 3 — applied to Context of Leonardo's training and skills