In this tutorial, you will learn how to create a beautiful color pencil drawing from a photograph, using artistic lines, gradients, noise effects to mimic airbrush techniques, as well as using standard tools to create a simple drawing design. Get out your tablet, open Adobe Photoshop, and let's get started.
finalresult
1. Create a new document
Step 1
Create new document in Adobe Photoshop (I'm using CC 2014 version), install approximately following sizes 8" x 10" at 300 ppi. The sizes of this document are arbitrary, so you can use your working document sizes that will fit your original photo or your design.
Open your original image. In this tutorial, I'm using the photo shown in the screenshot below, which can be purchased from the PhotoDune website. Select the entire image (Ctrl+A), Copy (Ctrl+C), and then Paste (Ctrl+V) the copied image onto our working paper. Reduce Opacity(Opacity) layer with the original photo to 60%, and then click the icon Saves everything(Lock All) to lock the layer.
Step 2
The brush we use to create the artistic lines is a modified standard brush. Go to bookmark brushes(Brush), in the settings select a hard round brush, set the angle and shape of the brush, giving a pointed ellipse and an angle of 39 ° or something like that. With this brush, we will give our lines a polished calligraphic look. In settings Form dynamics(Shape Dynamics), select Control(Control): Pen pressure size fluctuation(Size jitter).
2. Outline the facial features
Step 1
Create a new layer and use the brush you just created to start tracing the model's eyes. Use dark shade but not black. I chose a dark purple shade (#362641). I decided to start by stroking the eyelid, including stroking the outer corners of the lashes. I carefully traced the line, making it thinner towards the center of the face.
Once again, go over the drawn lines a couple of times to align them, make them thicker and more uniform. Don't worry about a lot of details. We will carefully outline the features of the face, so the details of the face will not overload the whole design of the drawing.
Step 2
Continue tracing the model's facial features. Draw a thin line representing the bridge of the nose, the nostrils (wings and nostrils), and the tip of the nose. To stroke the lips, I used a thin line on upper lip and a thicker line at the tips of the lips, as well as in the center of the lips. To simulate a shadow, use a thicker line under the lower lip.
Use the tool Eraser(Eraser Tool (E) to refine the lines so that the lines are clear and uniform. That's why I work with a document with a resolution of 300 pixels / inch: I can zoom in and work on the artistic line to the smallest detail.
Step 3
To outline the eyebrows, I increased the diameter of the brush in the brush settings Another dynamic(Shape Dynamics) tab brushes(Brush) and also installed Control(Control): Pen pressure(Pen Pressure) from the drop down menu below the option size fluctuation(Size jitter). Start drawing the eyebrows from the center of the face to the side in two strokes with the brush. Use the eraser to reduce the diameter of the same brush that we used.
Don't forget how the eyebrows look in the original photo. Perhaps you could carefully outline them, but in my opinion it is better to draw the eyebrows with a brush, which will make your lines dynamic and interesting.
3. Draw the earrings
Step 1
Earrings, which are presented in this lesson, are drawn using simple shapes and without the handy source photo of the earrings. Let's take a brush and paint them now:
1. Draw a simple circle. You can also use the tool Ellipse(Ellipse Tool (U) because I know how imperfect a circle can be.
2. Copy the drawn circle, and then paste it on a new layer. Next, flip the duplicate layer horizontally, let's go Editing - Transformation - Flip Horizontally(Edit > Transform > Flip Horizontal). With a tool moving(Move Tool (V), move the duplicate circle layer to the right. Merge both circle layers (Ctrl + E). Next, draw a straight line between the circles, hold down the (Shift) key so that the line is straight.
3. Draw short, straight lines from each side of the circle, and then with the brush, draw a curve from the left side point of the circle to the center line.
4. Draw the same curve on the right side.
Step 2
Continue drawing the heart earrings, using #ce3681 as the final stroke color for the lines:
1. Copy/paste the shape you drew in the previous step, scale down the duplicate layer by 50% or so. Place the duplicate shape in the center of the large heart shape. Merge both layers. With a tool Feather(Pen Tool), trace the outline of the heart from the top center point to the bottom center point.
2. Create a new layer. Select the brush, make sure it is the same pointed brush we set up earlier in this tutorial. Set the brush size to 4 px. Further, Stroke the path(Stroke Path) with the brush selected as the stroke tool ( Translator's note: further, the author will create a whole heart from a half of the contour).
3. Copy, Paste, Flip Horizontally a duplicate half of the heart outline. Turn off the visibility of the layer with the base sketch of the earring. Next, merge both layers with the halves of the heart outline to get the whole heart on a separate layer. Correct the contour of the heart with the tool Eraser(Eraser Tool) or Brush(BrushTool).
4. Copy, Paste the outline of the heart onto a new layer. Scale down the duplicate layer to get the inner center of the heart. Use the original layer with the base heart shape drawn to align the center part of the heart. Create a new layer and use the brush to draw a straight line from the bottom point of the inner heart shape. Draw another line perpendicular to the first line, pointing to right side as shown in the screenshot below.
5. Complete the figure by drawing the third line.
Step 3
Create a new layer in the layers palette. Next, using the tool Feather(Pen Tool), draw a simple figure plus sign using the rectangle you drew in the previous step. Delete the earring sketch/baseline layers, fine-tune the final earring design. Merge all the layers with the drawn fragments of the earring into one merged layer.
4. Finish tracing the portrait of the model
Step 1
Continue tracing the model's original portrait. IN this case, I decided from the very beginning to use the same hairstyle as in the original photo of the model. At this point in the tutorial, you can decide which details from the original photo you will use in your final design. Don't forget to draw parts of the model's image, such as hair, hands, etc. on separate layers so that these fragments can be easily edited in case you decide to change the design.
Step 2
Move the image of the earring to our working paper, positioning the earring as shown in the screenshot below. With a tool Ellipse(Ellipse Tool), draw small circles above the earring. Next, do Strokecontour(StrokePath).
Step 3
If you decide to change the model's hairstyle that would be different from the original image, then the following steps will be useful for you. Create a new layer and with a small diameter brush (the same pointed brush we used in the previous steps) start painting the curls of the hair. I started at the top of the head, drawing in curls of hair up to the model's eyebrows. If you wish, you can use another photo to sketch the hair style.
Step 4
To make it easier for you to draw the hair, turn off the visibility of the original model layer. Next, create a new layer and then draw lines to define the shape of the model's head, taking into account the features of the model's face. This allowed me to get the right angle of the styled hairstyle. Next, I deleted the help layer with sketches of the contour lines, because. I don't need him anymore.
Step 5
I have completely finished tracing the model image. Notice how the lines thicken closer to the outer contour of the image and become more arbitrary than those lines drawn within the contour of the image (in particular, this concerns the hairline). Once you have finished tracing the contour lines, merge all the layers, delete any helper layers with outline contour lines, and get ready for the next step, to create an airbrush effect.
5. Paint the model's portrait
Step 1
My base color for this design is pale pink #ecd4f6. Create a new layer. With a tool Feather(Pen Tool), circle the outline of the model image. Once you have closed the path, fill the selected shape with the specified color.
Step 2
Create a new layer on top of all other layers and then use the Gradient(Gradient Tool (G), gradient type Linear(Linear), drag the gradient diagonally. The gradient colors I chose are yellow, pink, purple.
Change the blending mode of the gradient layer to Soft light(Soft light). I turned off the visibility of the pink fill layer so you can see the effect of the gradient layer in the screenshot below. This effect will be more obvious in the next step.
Step 3
I highly recommend using gradient colors that complement the base fill color you chose for your model's skin color. In this case, we are talking about pastel colors. With a tool moving(Move Tool), move the pink fill layer down and then slightly to the right to create an offset from the contour line.
Translator's note: move the color fill using the direction keys, i.e. move the fill with the arrows.
Step 4
Create a new layer below the colored layers. Choose a tool Brush(Brush Tool), in the brush settings, select the standard brush Chalk(Chalk), also reduce Opacity(Opacity) brush up to 60% and also reduce Pressure(Flow) brushes up to 75%.
Step 5
Using a lighter shade such as yellow (#fffdda), paint in strokes around the outline of the model image. I use this step to add a new color cast to the sketch by adding texture to the painting.
6. Add soft colors
Step 1
Create a new layer above the pink filled outline of the model image and below the layer with the contour lines. Using the brush, select the chalk brush, paint over the earrings, and also carefully paint over the outline of the eyes of the model. Next, let's go Filter - Noise - Add Noise(Filter > Noise > Add Noise). Apply the settings for this filter to your liking.
In the filter settings, I set the amount of noise to 10%, selected the type of noise distribution Uniform(Uniform), and also ticked the box Monochrome(Monochromatic).
Step 2
Create a new layer on top of the layer you created in the previous step. Choose a tool Gradient(Gradient Tool), set radial gradient(Radial Gradient), gradient colors from color foreground to transparent, where the foreground color is white.
Add a slight radial gradient to the model's lips. Do the same for the model's eyes, lightening the shadows on the eyes. Use the eraser tool to hide the white gradient effect behind the eyes and lips.
Step 3
Let's use soft gradients to simulate paint spraying on the model's body.
1. Create another new layer. With a tool Gradient(Gradient Tool), add small soft radial gradients purple(#9e57d7) on the model's shoulder and arms.
2. Reduce the opacity of the tool or layer if you find the gradient color too saturated.
3. Loosen the gradient on the chest, where the hand touches.
4. Using the tool moving(Move Tool), move the purple gradient down and slightly to the right, just like we did in Point 5, Step 3.
Step 4
In the same way that you added a white gradient to the model's face, we will also add the same effect to the hair. Create a new layer on top of the other gradient layers. With a radial gradient, the color of the gradient is from white color to transparent, paint soft gradients on the model's hair. Hide the areas of the gradients whose color is on the face.
7. Draw butterflies
Step 1
Create a new layer, then with a radial gradient, gradient color from foreground color to transparent. I used various shades purple, blue, teal and pink, adding a spray effect around the model's head.
1. Using a tool Arbitrary figure(Custom Shape Tool), draw a butterfly. Next, bookmark contours(Paths) and in the bottom bar, click the button Load path as selection(Load Path as Selection). Copy/paste the copied butterfly shape along with the color gradient.
2. Being on the color layer filled with a gradient, draw more butterflies. Load active selection of drawn butterflies, copy/paste on a new layer. Vary the size of the butterflies, as well as their location, as you see fit.
3. Use a tool moving(Move Tool) to move the butterflies around the scene. Turn the butterflies, for this we go Editing - Transform - Rotate(Edit > Transform > Rotate). Once you are satisfied with the location of the butterflies, merge all the butterflies layers and then turn off the visibility of the color layer we created in the previous step.
8. Add a paint spray effect
Step 1
Create a new layer again. Add colored radial gradients around the model's shape. Also add a white radial gradient in the center of the image to diffuse the gradients themselves. On this moment, the painting looks like it has been sprayed with airbrush paint several times.
Step 2
Add noise to a new spray paint layer. Set the amount of noise to 10-15% and also select the type of distribution according to Gauss(Gaussian). Don't forget to check the box Monochrome(Monochromatic). Click the OK button to apply the changes.
Step 3
Position this layer below the layer with the pink fill of the outline of the image of the model. Note that after adding the noise, the painting looks like it was spray painted rather than just airbrushed onto the surface of the painting.
9. Add more patterns
Step 1
Create a new layer on top of the layer you created in Step 8. Using the tool Arbitrary figure(Custom Shape Tool), draw another shape selected from the standard set of shapes. I chose a figure Flower Pattern 2(Floral Ornament 2) in patterns.
Draw the flower pattern in the upper right corner of your painting, overlapping the edges of your working paper.
Step 2
Select the tool again Gradient(Gradient Tool), gradient color from white to transparent, gradient type Radial(radial). Gently drag the gradient across the entire selection. The pattern is barely visible, so it's not as bright, and it's also not completely white.
Step 3
Repeat steps 1-2 of this Item. Add more floral patterns to the corner of your painting. If you wish, you can add floral patterns to the opposite corner of the picture, for this, copy, paste, rotate the floral patterns.
Congratulations! We have completed the lesson!
A line winding through paper or canvas can radiate powerful emotions. And it is not surprising that shading or line drawing is one of the most basic elements of visual art.
Indeed, it is one of the seven visual elements - along with shape, volume, color, dimensions, texture and space.
But what is line art or line art?
Lineart welcomes the technique of distinguishing between contour lines and smaller ones, indicating details and creating a complete picture, using different line thicknesses.
Line art is often in black and white, but not always. Elements such as shading and color gradients are absent, allowing the focus to rest firmly on the lines themselves. These can be sketches, but not only - lines can also create a complete work of art.
It is important to remember that line art is not only about painting and drawing. Lines can be visually shaped in many ways. For example, sculptures or photographs in which the author creates implied lines by mentally drawing them through an angle and a camera.
Now that we know a little about the theory, let's look at just a few examples, starting with famous line art in art history.
Throughout the history of art, artists have created works using the line as a means of visual expression.
Laocoon and his sons. marbles. Between 27 BC and 68 AD.
The ancient sculptural group of Laocoön and his sons was rediscovered in the 1500s.
She became a point of reference for Renaissance artists who looked at how the sculptor used flowing lines to unite the group.
Curving, the snake winds through three symbols, linking the group into a single composition. And in the future, artists will continue to use the implied lines to create harmonious compositions in sculpture, painting and drawing.
Leonardo da Vinci. Study for the head of Leda. With. 1505-1507.
Leonardo da Vinci was a talented draftsman. His sketches have become valuable works in their own right. This study for a painting of Leda and the Swan shows the detailed linework used to create form and size.
Albrecht Durer. Melancolia I. Engraving, 1514.
One of the most famous printers in history, Albrecht Dürer is the true master of the line. He was an experienced artist, worked both in oil and watercolor, and his prints are beautiful.
Henri Matisse. Dance. Oil on canvas. 1909.
Increasingly throughout his career, Henri Matisse incorporated a rapid, expressionist infiltration of his drawings into his paintings. One of his most famous works, Dance, is largely built on contours. Looking at bold, flat colors and vibrant outlines, viewers perceive the power and movement of the dancers across the Matisse line.
Pablo Picasso. Portrait of Igor Stravinsky. 1920.
Moving away from the articulated, classical drawings he produced early in his career, Pablo Picasso created a wealth of clean, simple contour drawings using a single continuous line. In fact, these contour drawings have become some of the most iconic images.
Jackson Pollock. No. 5, 1948, fiberboard oil. 1948.
Jackson Pollock is the king of abstract expressionism, his work is entirely based on the dripping lines of fluid paint, these lines he dynamically moved through the paintings. Most notable works were created during the "drip period" from 1947 to 1950, when he stunned the modern art world with this innovative technique.
Keith Haring. Red Hot + Dance. Cover album. 1992
Kate Hering's bold style is defined by thick black outlines, often filled with bright, flat color.
The signature style defined his career and made his work instantly recognizable. Outline drawings Hering's works continue to live on today and continue to influence artists, illustrators and graphic designers.
Today, lines are just as important in contemporary art. From sculpture to painting, the tradition of line art continues with the work of cutting-edge artists.
David Moreno. Mimic lines of a quick pencil sketch. There is something kinetic, even mesmerizing, about these unique works, which consist of hundreds of narrow steel lines. Here we see the loose, impressionistic quality of the sketches moving into sculpture.
Using a similar hatching technique, he is able to create tonal effects with carefully placed lines that are viewed from a particular point of view. The liveliness and dynamism of these sculptures really sets them apart.
Luke Skywalker and Princess Leia. Portraits of one solid line
One stroke of the pen is enough for someone only to sign documents, and the artist Pierre Emmanuel Godet able to draw a whole portrait one solid line without lifting the pen from the paper. In this way he depicts on paper famous actors, musicians, writers, scientists, characters of cult films and other recognizable faces of famous people.
A self-taught French artist, Pierre Emmanuel Godet lives and works in the Spanish capital, Barcelona. At home, he worked as an engineer, a researcher, but still he was always more interested in art than scientific activity. First he painted in oils and acrylic paints, and in his portfolio there is an extensive selection of amazing colorful canvases, but it was the series that brought fame to the artist. unusual portraits drawn with a single solid line. Of course, the author makes an exception and takes the pen off the paper to draw his characters eyes, nose, mouth and other parts of the body necessary for the portrait.
If the fact that the portraits are drawn in one continuous line is not impressive enough, the artist still has something to surprise the demanding viewer. So, if you look closely at his paintings, you can see that they do not just consist of scribbles and dashes. Each "doodle" is a figure of a man, or a house, or a car, or a plant, in general, some kind of meaningful symbol, but in general they make up a separate story. Thus, portraits by Pierre Emmanuel Godet are interesting not only for their form, but also for their content, and is a picture within a picture, a story within a story.
It is curious that the work of this author requires more attention than any other drawings. His work should be evaluated not from one, but from two points of view, in two stages. So, it is impossible to read the story inside the portrait at a distance, and for this you need to take a closer look, come closer. But at a distance, facial features are perfectly visible, and it is easy to guess who exactly is depicted in the portrait.
9 chose
Remember how we tried with diligence and diligence to write the first words without lifting the pen from the paper? How difficult it was to write a whole word without once lifting the pen above the notebook. And sometimes we cheated, interrupting an even row of squiggles until the teacher could see. But it was just the words "mother", "airplane" or "announcement". But we were happy to draw scribbles on the back of the notebook, and it turned out just fine! True, we did not know that someone would go much further and find a completely different use for "non-stop writing" and children's scribbles.
Spiral portraits of Chen Hwi Chong
If you draw a spiral for a long time and thoughtfully, without lifting the marker or pen from the paper, then in the end you can ... draw a very large spiral. This is in the event that the marker is in the hands of a schoolboy, but if it fell into the hands of Chen Hwi Chong from Singapore, then on a sheet of drawing paper from several dozen turns real portrait. And it's all about advertising! A unique artist was simply hired to advertise the Faber Castell artists' pen. At first glance, it seems that it is simply impossible to create an accurate portrait from lines of different thickness and slope located at different distances with one pen, without taking it off the paper. But if you look closely, it begins to seem that it is not so difficult and ... I want to try to draw something similar myself. Will it just work?
"Doodle" door Vince Lowe (Vince Low)
How often the new is just the well-forgotten old. Small children often draw doodles with amazing persistence, but adults do not find any sense in them, any definite form, and even more so they do not elevate them to the rank of art. And only the artist from Malaysia, Vince Lowe, turned children's fun into something special.
The idea for his now famous portrait series "Faces" was born from ordinary sketches in notebook. His celebrity portraits are not just amazingly similar to the originals, they literally convey vivid emotions, and yet these are “just scribbles” ....
Even more surprising are the portraits of celebrities created in one line by the artist Pierre Emmanuel Godet ( PierreEmmanuelGodet). These are no longer just lines or shapeless strokes of the pen - a thin continuous line weaves images, scenes from life and creates small world, revealing the characters of the images, and perhaps betraying their secrets ....
Animation Kazuhiko Okushita
With one continuous line, you can not only create a portrait or interesting drawing. If you do not take the pencil off the paper for a long time, conveying your thoughts and ideas to it, then you can get ... a whole cartoon like the Japanese director and animator Kazuhiko Okushita rolled into one! The main thing is not to stop ....
This picture of a person was painted with only one line. Pulsating line-spiral. The one who wrote it seemed to put it in the middle white sheet a pencil or something else with which pictures are painted, and without stopping led his tool in a spiral, now pressing it and thereby thickening the lines, then barely touching the sheet, which made the line very thin, but not interrupted. The spiral line ended at the edge of the sheet, and in the end it turned out amazing picture, a portrait of a person. This painting should be displayed for everyone to see. Someone will be able to decipher the information contained in it. Through the pulsating line depicting a person, people should become aware of something. - How? - Do not know yet. Well, for example, dots and dashes can look like some kind of alphabet or musical notation I'm just guessing maybe both or something else. When you get back, ask them to put it on public display or publish it somewhere. There will be someone who will decipher this line-spiral.
In one of the halls of the archaeological study, an old engraving depicting a man wearing a crown of thorns hangs in a simple frame under glass. The inscription on the engraving attracts with an unusual combination of words: “ SINGLE BY A SINGLE FEATURE“. Looking more closely, you will understand what the essence is: the portrait is made in one spiral line, starting from the center of the engraving and gradually unwinding to its edges. The number of turns is 166. From a distance of two or three meters, at which the audience is usually located, the engraving looks more like a drawing. The quality of performance is amazing. The question involuntarily arises: how the author managed to create soft transitions of light and shadow with one line, depict all shades from pale gray to black, write a unique face with an expressive, sad, soul-piercing look.
Usually, when engraving, a variety of shades is achieved by hatching. The craftsman draws lines of varying thickness with a chisel, changes the distance between them, uses cross-hatching and, as a result, achieves different color saturation. On the engraving from the archaeological study, one can see through a magnifying glass: the artist received halftones by changing the thickness of the spiral line. It is made not mechanically, according to a compass, but by the hand of the creator, who uses the curves of the lines to increase the expressiveness of the image. Of course, by this the artist made his work colossally difficult in comparison with known methods. But the result was not a schematic image, but a living face.
The painting has a prototype. The fact is that the first image of the Savior, drawn in one continuous line, was made back in 1649 by the famous french artist and engraver Claude Mellan. He was born in northern France in 1598 and died in Paris at the age of ninety. Mellan became famous both as a portrait painter and as an engraver. In world encyclopedias, for example, in the English Encyclopaedia Britannica, there is an article about Mellan listing the paintings that glorified his name. But if you take encyclopedic dictionaries, in which the most famous people only a few lines are given, in the note about the artist Mellan only one work will be mentioned: “The Plate of St. Veronica”, on which the image of Jesus Christ is made in a spiral line of variable thickness. At the bottom, Mellan placed an inscription in Latin: “FORMATUR UNICUS UNA” (performed like no other) and below: “NON ALTER” (unique).
But, as you can see, the picture is not “NON ALTER” at all.
On the left is a painting by a Russian master, on the right is the “Plant of St. Veronica” performed by Claude Mellan. Click to enlarge
For Mellan's contemporaries and in subsequent centuries, it remained a mystery how he managed to do this. Among connoisseurs of engravings and specialists, Paul Kristeller's book “The History of European Engraving of the 15th-18th Centuries” (Russian translation published in Leningrad in 1939) still enjoys indisputable authority. Talking about Mellan and his famous engraving, the author writes: "Mellan neglects cross-hatching and models only in ordinary rows of more or less parallel lines that follow the forms and thicken in the shadows." And further: "Mellan did not have followers of his completely peculiar and personal technique." So, Christeller writes that the spiral on Mellan's engraving has a different thickness, and reports that no one undertook to repeat his engraving method.
The fact that the author of the monograph did not know about the existence of a Russian copy of Mellan's engraving can be understood. As often happens in Western sources, Kristeller does not have a word about the Russian tradition at all, although the title of the book - “The History of European Engraving of the 15th-18th Centuries” - obliged him to do so.
An enlarged fragment of the etching “One with a single line”.
Even before Christeller, and even more so after his work, the opinion was established all over the world that the originality of Claude Mellan was the ability to change the thickness of the groove that the cutter left on the copper board. Any master understood how difficult this work is. However, Western European artists nevertheless made attempts to copy the technique of Claude Mellan, which is mentioned in the reference literature, but nothing is said about Russian copies.
The engraving, stored in the Church Archaeological Office of the Moscow Theological Academy, is a rare specimen and differs from the French one in three ways:
– the inscription is made in Russian: “One with a single line”;
- a halo with an oblique cross around the head, not traditional for Orthodox iconography, replaced by a clean one;
- the image is mirrored in relation to the French original.
The image of Jesus Christ on Russian and French engravings, which was discussed above, in Orthodox iconography and Western art is called the “Plant of St. Veronica”. The history of the image is connected with a well-known church tradition: when Jesus was being led from prison to the place of execution - to Golgotha, a certain woman named Veronica gave him a handkerchief with which he wiped sweat and blood from his face. At the same time, the face of the Savior and the crown of thorns miraculously imprinted on the fabric.
“Plant of St. Veronica” is not the only image on which the head of Jesus Christ in the crown of thorns is presented in close-up. This tradition is well known in Athonite and Greek iconography. IN XVIII-XIX centuries in the Orthodox world, another icon has also become widespread - “Jesus Christ in the crown of thorns”. On it, the head of the Savior is thrown back, his eyes are fixed on the sky.
“Behold the Man” (Gospel of John 19:5). Guido Reni. Oil, canvas. Italy. Early 1600s. Dresden Art Gallery. Germany.
For the first time such an image appeared in the works of the famous Italian artist-painter and engraver Guido Reni (1575-1642), one of the best representatives of the so-called Bologna school. He worked in Rome, Naples and Bologna, where he headed Art Academy. Guido Reni repeatedly repeated the face of the Savior in his works, including with a characteristic turn of the head. The image he created was widely known and ubiquitous. As the title of his work, Guido Reni took a famous phrase from the Gospel, the words of Pontius Pilate - “Behold, Man” (“This is a Man”), which he uttered, pointing to Christ and addressing the assembled high priests of Jerusalem.
IN late XIX century, the painting by Guido Reni served as the prototype for the third original image, made in a continuous spiral line. This time the artist used pen and ink. (In the 1880s, when the drawing was created, photography had already been invented and new typographic methods of reproduction of images appeared, less laborious and cheaper than printing engravings and etchings. Therefore, simpler techniques were used for mass production.)
“Science and Life”, 2007, number 2
My soul is filled with hope
And sharing the pain of their children,
I am Light and Life, Life-Giving Dream!
Alone in the silence of the night, I'm waiting and waiting.
Oblivion of evil, oblivion of darkness.
I am Hope, Faith and Love!
Invisible presence in you
Aspirations of light and Acts new.
Say, answer! Where are you going?
Do not rule by betraying the Soul.
You live, but as if you do not live,
Everyone is relying on someone.
My child! Hope of Light!
long-suffering planet,
Everything is waiting and waiting
When you wake up.
From the sleep of worthless aspirations,
From pain, grief and longing,
From anger, envy,
And other creatures of darkness
From wisdom without love,
From the knowledge that it will not become Paradise,
Why are you going to change?
Beautiful path of Earthly destiny!
Wake up! Arise! Even for a second!
The vanity of the empty ones slowed down.
I will help you, you are my son!
You are Human! You are Human!
Igor Kamensky
And here is a modern version of such paintings: