Drawing Tutorials

Master’s Nose Study – Planes, Light, and Layering

Study how master artists used tone and layering to show nose structure, light, and form. Learn to see planes through subtle shading.

Robert Joyner | Garage Studio Artist & Art Educator

29 Oct 2025 — 2 min read

In this Master’s Study, we’ll examine how classic artists handled the planes and lighting of the nose. Using examples from Renaissance drawings, I’ll show how subtle tonal shifts and layering create convincing form without heavy outlines.

This lesson is part of the Head Drawing Course.

Understanding the Planes of the Nose

Even though master drawings often appear soft and minimal, construction is always there beneath the surface. The nose begins as a wedge—broad at the base and narrowing toward the bridge. Look for small tonal changes that separate:

The top plane catching light
The side planes fading to halftone
The under plane rolling into shadow

These subtle transitions define form better than harsh contour lines.

Master drawing showing subtle tonal planes of the nose with construction overlay.

Ball of the Nose and Under Plane

In both studies, you can see how the ball of the nose connects smoothly to the wings and underneath plane. The masters didn’t outline this area—they modeled it through tone. Even a faint shadow under the nostril suggests depth.

Notice how the nostril openings are set inside the form, not pasted onto the surface. There’s always a small strip of skin separating the edge of the nostril from the outer contour, giving thickness and realism.

Light and Layering

The key takeaway is layering—how planes overlap to create spatial hierarchy.

The nose sits behind the eye sockets, which in turn sit behind the cheeks.
Each feature overlaps the next to create depth and “stage space.”
Highlights indicate which form is forward: the cheek highlight sits in front of the eye plane, which sits in front of the nose plane.

Understanding this order helps you draw faces that feel dimensional rather than flat.

Lost Edges and Light Falloff

The masters often used lost edges to unify light shapes—especially around the tip and side of the nose. Letting these edges fade softly into the mid-tone helps the structure feel rounded and natural.

As light rolls off, think of each plane as part of a larger surface turning away from the light, not a separate piece.