How does Asaro's Planes Of The Head work?
 
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    How does Asaro's Planes Of The Head work?

    I was told in a critique that I should learn about Asaro's Planes Of The Head, and I don't understand why they are not symetrical on one side of the cheek it is very smooth and on the otherside there a lot more planes why is that?
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  3. #2
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    Think of one side as 'high poly count' - it just shows more detailed planes than the other. For close-up images you'll probably want to use the more detailed side, and for longer shots the simpler planes will probably be all you need - in fact you don't want to include too much detail in a long shot. You could also think of it as a body fat thing - one side is a person who's more ripped, and the other side shows a person with a little padding over the framework. So it' like getting 2 different heads in one - why bother making both sides exactly the same when he could show you twice as much information?

    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  5. #3
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    Looks like the left side of the head is the more detailed version.

    Grinnikend door het leven...
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    Thanks!

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    The Asaro manual says the one side is for younger and or rounded face, the other is characteristic of an older and or thinner face.

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  10. #6
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  12. #7
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    Is this really helpful? Isn't this just something that you will learn while practicing? I mean if it is a matter of distance it is a matter of atmospheric perspective right?

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    Yes, I Have found it immensely helpful, especially the real head so you can draw it from life. Not sure what you mean with the atmospheric perspective in this context...

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  14. #9
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    I think he was referring to what I said, that one side is simpler planes that you'd draw for a more distant view. Lol, it's what I assumed - glad you guys explained what it really is.

    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  15. #10
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    Darkstrider yeah that is what I was referring to. Benedikt good to hear.I hadn't seen this before..

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