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for your model we recommend our lists: no. 14, 17, 18, 19

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1

ADLER to ZÜNDAPP
2 ADLER M/MB-models
3 BMW R 35, EMW R 35/2, R 35/3
4 BMW R 25, 25/2, 25/3
5 BMW R 26/27
6 BMW R 51/2, 51/3, 67/2, 67/3, 68
7 BMW R 50, 50/2, 50 S, 60, 60/2, 69, 69 S
8 spare parts in stainless steel R 25 bis R 69 S
9 BMW R 50/5, 60/5, 75/5
10 DKW RT-models
11 EMW R 35/2, R 35/3, BMW R 35

12

HOREX REGINA

13

NSU LUX (Standard, Super)
14 NSU MAX (Standard, Spezial, Super)
15 STEIB LS 200, S 350, S 500, TR 500
16 pre-war bikes (till 1949) & 98 ccm bikes
17 restoration equipment / accessories
18 reprints of manuals, spare part lists and instructions
19 spare part news and general additional informations

Kevin Chen Head Drawing Method Hot -

The primary reason for the surge in popularity of Kevin Chen’s approach is its departure from surface copying. Many traditional methods teach students to memorize specific measurements (e.g., "the eyes are halfway down the head"). While accurate, these rules often fail when the head turns in space.

Chen’s method is built on a foundation of structural anatomy and volumetric thinking. Instead of drawing outlines, the student is taught to conceive of the head as a construction of interlocking forms. The skull isn't just an oval; it is a complex but logical arrangement of planes that must be understood in three dimensions. kevin chen head drawing method hot

The Kevin Chen Head Drawing Method offers a valuable alternative to classical construction techniques. By reducing the head to a ball-and-wedge assembly and prioritizing gesture from the first stroke, Chen provides a psychologically accessible entry point for artists who find Loomis or Reilly overly mechanical. While not a replacement for deep anatomical study, it serves as an effective bridging technique—particularly in digital art workflows and time-constrained drawing scenarios. The primary reason for the surge in popularity

Future research might explore Chen’s method applied to diverse ethnic facial structures and extreme perspectives. Deliberately shift the mouth line 2-3 degrees off


Deliberately shift the mouth line 2-3 degrees off parallel from the eye line. Shift the nose tip slightly towards the side of the face that is "active" (the one expressing emotion). This creates narrative tension.