Beginner Figure Drawing - Drawing The Head Part 2 - Positioning | JW Learning | Skillshare

Beginner Figure Drawing - Drawing The Head Part 2 - Positioning

JW Learning, Drawing the Body, Head and Hands

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14 Lessons (1h 52m)
    • 1. Trailer

      0:26
    • 2. Front Landmarks

      6:19
    • 3. Front Demonstration 1

      7:23
    • 4. Front Demonstration 2

      5:54
    • 5. Back Structures

      7:43
    • 6. Back Demonstration 1

      3:11
    • 7. Back Landmarks

      4:41
    • 8. Back Demonstration 2

      2:50
    • 9. View From Below

      6:45
    • 10. Below Demonstration

      6:13
    • 11. View From Above

      4:13
    • 12. Above Demonstration

      3:34
    • 13. Timed Drawing Session

      26:30
    • 14. Timed Drawing Demonstration

      26:11
24 students are watching this class

About This Class

This is the second of three lessons about Head Construction we will cover the head from the back view, three-quarter view, above view, below view, and everywhere in between. Watch Part 1 first before beginning this lesson. 

Head Drawing Series:
Lesson 5 - Constructing the Head Part 1
Lesson 6 - Constructing the Head Part 2
Lesson 7 - Constructing the Head Part 3

Stock images used: 

Vish Studio
Sinned Angel Stock
MJ Ranum Stock

Figure Drawing Series:
Lesson 1 - Gesture and Construction
Lesson 2 - Dynamic Forms
Lesson 3 - Construction of the Body Parts
Lesson 4 - Proportions  

Transcripts

1. Trailer: We've gone over the basics structures of the head from the front and the profile. Now it's time to stop turning it around. We're going to start looking at the head from the back from below from above, and everywhere in between. We're going to do some demonstrations and then finish it off with a 25 minute time drawing session. So if you haven't seen Part One, what's that? Listen first and then continue on with this second part. 2. Front Landmarks: Alright, let's stop moving things around and develop the head and 3/4 and more dynamic perspectives . In order for us to really learned how to manipulate the head, we have to think about it in more of a boxier structure, as we mentioned in Part one and in lesson one off figure during fundamentals. The more corners we have without Forbes, the more idea we have as to where it's sitting its space. Now there's going to be a time and a place for using more cylinder or egg shaped structures for the head, and it's not that we can't use them here. We've already stated in previous lessons that are perfectly fine is a simple foundation to start with but went starting out. We go to want to make life easier for ourselves by using the object with the most corners. There's a use for those other forms in something like animation or cartoons, for instance, where three dimensionality isn't as sophisticated as in real life. So even though what we've been burning over the last few lessons has been geared towards those real life figures, body parts proportions, the principles are more or less the same. No matter what art star you're doing. So whether you are doing still life portrait sor superhero comic book characters or Mickey Mouse stall cartoon characters, these are These were lighting. I got two trains light across these disciplines. But because we are focusing on realism, we need to use more sophisticated foundations by using the structure that has the most benefit for us, which is going to be, in this case, the box. The box is going to give us the truest information about positioning when we get into more difficult perspectives to square up. We make the form, the more clear we are off its position in space. We get another standing off where the front is, where the site is, where the top in back is and where they all meet. It's going to give us a great deal of control in being able to move the head around. If we use more rounded forms, we get into the problems off. Not no 100% what the position off the object is in unless it's in relation to something else. So the books he up we make the structures the better will be for those tricky perspectives So let's start to develop Al dynamic head positions without books structure. We're going to keep it real simple here with a pretty standard 3/4 perspective. First stop. So we're gonna have front inside planes, and we're just going to mark off the proportion guide for our facial features that we learned in pot one. So look over that lesson again. Feel proportions if you missed it. These facial features are going to provide a super convenient construction ALS set of landmarks for us, with the eye line and the body's natural centerline acting as our natural, long and short access for the head. Now the first thing we go to know see when we put in our proportional markings is that it's immediately going to give us a set of directional God lines, in other words, are proportional markings and now doubling as perspective, Marcus. So if we go back to our fundamental lessons where we talked about basic forms, we are more or less doing the same thing here. These markings aren't going off into the distance, converging at the horizon point. With these markings in place, it means when we start leaning, tilting and turning the head. We can now ensure our facial features sit exactly where they need to be in relation to the head's position. So if we start to build the facial features in like so we can see everything is aligned roughly where it should be relative to the head's position. Now, because we have a 3/4 view, it means our futures are going to be overlapping each other in some way. Some features are going to now be closer to the viewer than others. In this case, the right cheekbone is closer to us than the right eye. The right eye is closer to us than the nose. The nose is closer to us than the left eye, etcetera. What we're going to see here is that any dynamic pose, any parts that isn't 100% front on is going to result in more of one side of the head being seen than the other. Notice if I go over this longer short access line of the Facey, what we have is this uneven T shaped. The short axis is longer on one side than it is on the other. What's going to happen when we start turning out ahead is that short access is either going to become shorter or equal to its opposite site. As the head turns closer to the front, the two lines start to equalize. As it turns away, it's going to get shorter as the head moves towards the profile. So not only do we gain an understanding of where all features sit in relation to the head, but we also now know where they sit in relation to each other. Things start to get tricky for us. When we're looking at the head from behind, it will come to that shortly now, having a box, your structure in place. He is great in terms of getting out, positioning, correct and had everything lined up nicely. But the trade off is it's also a little bit conversant. It's good practice to drop boxes like this and build the heads within them. And there's absolutely nothing wrong with using this as a method entirely if that suits you . In fact, I encourage you to do this is a drawing exercise, but eventually most of us want to be able to get to this stage where we can put things down a little bit faster So when we start to develop their skills, we can use a bit of a short cut. Instead of relying entirely on the whole box for our positioning, we can strip white some of the edges he and simply use that long and short access to build out basic head structures. Once we've developed the front construction, we can use the same I d for our side plane, find those long and short access lines right where the areas and build the remaining part of their sculpt. 3. Front Demonstration 1: All right, so let's do some demos now. Now feel free to either draw along with this or watch it first and then go back and try it yourself. So let's get started. So we're just going to start off with L basic skull and facial structure first. Now there's a couple of why did you go about putting your foundations down for your face. Some of it is going to depend entirely on what you're used to drawing. So if you're only used to doing 3/4 pose is you're going to develop an idea of how to put those structures down all not easier than you would maybe looking from above or below. So you may find that you developed a method for tackling one particular type of pose and another for a completely different type of pose. So I have a tendency to use boxier structures for the front of the face, but I tend to sort of lean towards more rounded structures for the back of the head, So a lot is just going to depend on what method you developed for yourself. There's no right or wrong answer here, so I just made a little indication for myself about what direction the hit is facing, and I got my very subtle proportional markings that full one to meet there. So that gives me the chance to finally start to build on top of these foundations Now. We haven't talked a lot about the facial features as of yet, but it's a good idea to lean towards boxier structures for these also, to take your time and to just build it up slowly. We're not doing a great deal different from what we originally started with all the way back in Lesson one off our figure drawing fundamentals. We're just adding to it. We're starting with simple shapes and simple structures, and we are building on top of that additional shapes and structures that are also very simple. Five. And you can see in only about tool some minutes just how quickly you can eventually stopped to put to get us something that starts to resemble the head. And the beauty part about this is that it's translatable to just about everybody. There's actually not that many variations in terms of how people's heads out structured. There's really only subtle changes in terms of age, sex and ethnicity. So the beauty of this is that it's translatable. We can go in knowing these proportions and knowing the structures, and then spend the extra time we need to make those structures more characteristic to who it is we are drawing. So now that I've got these foundations and I'm going to come back over the top now and start to just start to define things a little more and eventually soften things up a little bit, we don't want things looking too boxy. Now that's a perfectly fight style to develop. That's what your preference is. That's perfectly fine. But if you're going for the more realistic, we don't want things looking to chiseled. But it also might be something that you just end up liking the look off. So feel free to stick with that if you want. These ideas are translatable not just in terms of subject matter, but also what style what discipline of art we choose as well. So take notice how everything's really aligned at the moment. Everything's sitting exactly where it should be now. This is a relatively straightforward posed to begin with, so we've only got a little bit of overlapping going on here in a little bit of perspective happening as you can see the noses overlapping her right eye, it's important to take note off what's overlapping. What when you start to turn the head around. A huge part of what we do is just sitting and looking and analyzing and using that pencil tests that we learned from the earlier lessons to figure out where things should be placed so as you can. Also added in that transitional muscle Let go is from the chin into the neck. Now that transition is going to be a lot more obvious on some people than others. The leader the person is the less of that you see. But generally speaking, you will usually see some slice of that transition from this type of perspective. So I've got my structures in pretty well at the moment, so I'm just gonna go over now and start to refine things a lot more. Once you feel like everything is sitting reasonably well, that's when you can really start to get into the detail, works that shadowing you could stop putting color. And if you say I wish you don't want any of that until your foundations are really strong. So in this image here, I'm happy with how the head is positioned here. How much the head I've got tilting away from her. All of the facial features are following along that initial arrow that are put in place for myself. So I've done all this groundwork here, and it's afforded me the opportunity to start to really putting all these details. And that really is the fun stuff. We want to get to the details, and more often than not, we are too eager to get there. If you become a master draftsman, you might be able to get to the stage where you can just stop putting details in. And there are great artists who can do that. But as we're starting out, we have to build their way up to that point. We need to look over things very critically and analyze an image and try to find the mistakes as well. Where are we going? Wrong. I can look at this image right now and say that. Okay, I haven't quite got the lean of the head exactly as it isn't. Photograph illustration itself looks pretty okay for the most part. But if I was paying attention more and not talking as much, I probably would have seen this earlier. But that's just all part of the learning experience. Eventually, things will start to become second nature to you. Using your pencil tests, you get your positioning right, eyeballing your proportions, checking what parts are overlapping each other, all that stuff. Now I'm just gonna bring some of this hair and to play now and really just let it fly and going to be really loose Now, we could spend forever on this, of course, but this is a pretty good place to stop here. What I will do, however, is just to draw in over the top the basic foundations from Part One that we learned just to show how it overlays from this perspective. And if we just develop this up a little more, we can start to see how there's really basic shapes that we went over in part one are really just lying under the surface there. It's the absolute, most simplified version off the skull. In the face structure. Doing this is a very useful exercise, so highly recommend trying it out. Another thing you can do just toe have as a little bit of a guide for yourself is to just drop a simple box in a similar position to to the head that you drawing just is a little bit of a guide. So what are the tools you need to get that positioning right to get those overlapping elements right to ensure that everything is leading off into the direction it should be. So we've got all of these tools available to us, so use them however you need to to get the results. 4. Front Demonstration 2: All right, let's do another 3/4 front perspective here. This one I'm going to start with. Our gesture lines are long access line here. And, of course, that short access. Now this particular image is not nearly has turned away from us as the last one, so it's almost front on. But this is actually a little bit more of a tricky opposed because what we will have a tendency to do is to move the head closer towards us. For this type of pose, we tend to view things from a rather non dynamic perspective. We look in front of the mirror brushing our teeth. We will address the person head on usually. And so our natural tendency is to move body parts around to be in a position that we are more familiar with. So we have to be really aware that when were doing opposed that we're not inadvertently moving that head or moving that figure to be more front on, then it actually is. Now I'm starting to put in some of the facial features and markings for the other areas because I've already got the our circuit shape in. Now, when you've got your rough foundations down, and you won't start to put your proportions in your proportional markings. You don't have to put them all down at the beginning. You can slowly build them up so you can put your eye measurements in first and then put the foundations for the iron. Start adding the Alliance for the Nose, etcetera, and you'll probably find that eventually you end up doing that anyway, when you start getting used to the structure of the face a lot more. But from the beginning, it's probably a good idea to put these measurements down like we did in the los demonstration. Over time, when you start developing your skills, you'll start being ableto eyeball things more and you'll get things down a lot faster. But when you're beginning, put all your structures input. All your markings feel proportions in over time, you'll be able to do it quicker. So as you can see right now, I haven't indicated any of the skull. No, probably do that in a second ones. I just get these eyes looking right. Broad is I could get them, but you can build up to this stuff, so going back to this post The reason it's tricky is because the overlapping that's happening here and which parts are closer to us closer to the camera here. Ah, lot more subtle than what it was in the last demonstration. In that demo, it was quite clear how far the head was turning away from us. And the problem you'll find with these more subtle, up 3/4 pose is is that the shorter side of the face, the side of the face that is moving away from the viewer is a lot more equal to its opposite side than what we saw in Demonstration one. And like I said, we tend to straighten things up a bit and make them a bit more front on to what we're used to. So we've really got to resist that urge and to really check out measurements. So if you're ever having trouble with this type of very subtle 3/4 pose, a little trick that we talked about in lesson to when we talked about the dynamic forms is to measure the shortest side off the face. Find your long access line, your center line of the face, measure that distance between the center line and the narrowest point off the side facing away from us. In this case, it would be the eye socket and use that as your ruler for the rest of the head Some. In other words, if that short side is equal to one unit of measurement, you can now measure the rest of the head from that. So it might be a case of the side of the head closest to us is four times as wide as the side facing away from us. So we talked about that in our listen about dynamic form. So if you want a refresher or a more in depth look into that, go back to that. Listen and watch that part of the video or throw up a little graphic here just to show what I'm talking about right here. But back to this image is going to start to refine the details of it more now. So everything is very chiseled in boxy looking. So I'm going to start to bring back some of our curvature to this. Remember, we want to go back and forth between the ideas or gesture and construction. Now I do more of a construction all method when it comes to head Rory, but you can use gestures to develop your head as well. There's two ways you can approach the head. You can eat a start with your construction and then add your gesture lines in later on to soften everything up. Or you can start from a more gestural perspective and then build up your construction on top of that. So remember construction. All parts will make things really stiff and rigid and gestural lines will help smooth and things out there bring some curvature and movement back into the design. Which method you start with first is ultimately going to be up to you. But we're looking for that balance rule. As you can see now. What we started with was quite angular and quite harsh and very exact. And now we've started to soften things up with those gestural lives, those Kercher's, which nests moving out all these parts. And that's going to be a process that's going to be a little bit of construction. A little bit of gesture going back and forth between the two were fighting them, getting evermore sophisticated shapes and designs and, most importantly, starting big in working small, getting out big shapes in first and then working out way down to the smaller stuff. We talked about that process in the lesson of proportions, so check that out if you missed it. So I think this one is more or less done for now. But before we finish up, let's destroy over the top of it. A basic box trucks is just to make sure that everything is looking in line and is heading off into the same direction that it should be. Then I can order start to see just putting these markets in that I have made the head to straight the models head is tilting ever so slightly down to the left, so let's just draw out books in. I can already start to see that the head needed to be tilted down forward a little bit as well. So a few errors here and they nothing that's overall going to hurt the image at the end of the day. If it works, it works again. We're not really trying to copy things exactly were trying to interpret. So let's consider this one done for the moment and move on to the next part 5. Back Structures : Okay, so let's start to look at the other positions now. We've looked at the basics of the front in the profile. Now we need to look at things from the back now from the front, the mosque of the face is the dominant feature of the head. You don't see a great deal skull from that position. It's just mostly a capital way pill shaped for however, from the back. The skull is the dominant feature and the faces in. So things have flipped around for us. Which means not only do we have to deal with a different set of structures, it also means we have a different set of problems and challenges we have to overcome. So if we take a look at the head from the back to you, we can see it merges into the neck. Of course, we're not worrying too much about hair stars at the moment, because it's important to understand the mechanics underneath first and foremost. So we've got the head and the neck flowing into each other, and the face Harding behind all of this. Now the back of the head is in some ways easier for us to build We don't have all those pesky facial features and facial planes to worry about all those proportional harms and thirds we have to measure. So in some sense it's less work for us. However, it also means we have less information about the position in space. The head is it. This is because the primary shape for the back of the skull is this sphere and the sphere lacks corners. And as we already know from previous lessons, the more corners we have, the more information we have about ah forms position in space. So even though it's an easier form to put down, we need to put it in relation to something else to get it right. Otherwise, we can start to get lost pretty easily and in this case that something is obviously going to be the back of the neck. We're going to pay special attention to what the nick is doing because that's going to help us indicate where our skull shape is sitting. In fact, this is something that we need to do throughout our figure drugs. We want to be looking at not just the individual part we're drawing, but how it also connects to the part or parts around it. We want to know how the head and how the next work together, how the neck and torso work together all the way. Now we don't want these parts to be floating in the void. We need them to connect to each other. So in order to do this properly from this perspective, let's transition back to the front for the moment and build the neck from that perspective . First, we touched upon this already in pot one, but let's just go over it again. I'm going to do a quick, rudimentary skull shape from the front. Using our proportions, we learned from the last lesson. Now, from the front, the neck ends about the distance of 1/3 of the head. So if you were to break the head up into three equal parts the distance from the chin to the pit of the neck, or more or less, be equal to 1/3 of the head. If you really want, you can consider this whole area as one big unit and split it into quarters. The pit of the neck to the chin is 1/4 the chin to the noses 2/4. The nose to the brown line is 3/4 and the brown law into the hairline is our fourth quarter . Women will tend to have longer next, so take that into consideration as well. And remember, these are just guidelines. They're not hard and fast rules. Now we need to establish the shoulder line, which is right at the Kola Bone area, although we have a little bit of wiggle room here. The Cola barn is slightly above the pit of the neck if you look at a skeleton structure, but you can also use the pit of the neck as your landmark to. It's not super important, which you choose. We just need to establish an area for ourselves that represents the start of the transition from the shoulder into the operable. So we've got that in place we need to do is adding out transitional shape for a trapezius muscles the transitional muscles from the neck to the shola, this curved triangular shape, which flares out and connects with that shoulder line. So in terms off which part is sitting way the face, it's out in front and overlaps the neck. The neck tilts forward and goes behind the face, and the trapezius muscle sits behind all of them, which goes into the back of your skull. We've got that sorted. So let's take a look at the back again. We're going to essentially do the same thing we did in the front, but in reverse. We've got a skull structure in place on nice round sphere, and we're going to build our next structure first. And we're going to use that triangular structure again, those trapezius muscles, and put that in front. It doesn't come to a point, this triangular shape. In fact, you could almost consider it to be a squashed cylinder or mawr oven hourglass construction that terminates roughly here where the skull starts. It's quite thick at the top and then arcs down like this into the shoulder line. And obviously the more athletic the person is, the less curved it's going to be. So the neck from this perspective is really might up off to structures thesis Ilin device, which sits in front and tilts away, and the Allah Gauss muscle structures in front of that. And as for al fais, it's going to be positioned. We'll find a lethem. We're only going to get a small piece of the face from this perspective. And in some cases we may not even see that all if the neck is really thick on a superhero or monster top of character. But at most were only ever going to get a little bit off the facial structure from this perspective. So to recap, we've got our structure for the trapezius muscles facing towards us into the skull, the neck sitting in behind that and a thin slice of the pie structure peeking out from here . The last thing we need to concern ourselves with our the ease, which are more or less the same C shape that's in the front, sitting in the middle third of the head, the ease from the front are really going to be that important of feature in terms of positioning. They're just one of many features we can use to help with that, but from the back, they're really the only feature we have. So the ears are going to become a super useful tool for us when we draw the head from behind. No, every pose we do is going to be this beautiful portrait painting or bust from the front or profile, the sum poses. The subject is going to be turning away from us, and so the ear is going to end up being a very valuable tool when we get to those more difficult poses. 6. Back Demonstration 1: all right, so let's develop the back of the scope. In many ways, this is actually one of the easiest structures to develop. We don't have a great deal of pieces that we have to put together when we start to form the back of the skull structure. But it's also very easy to get lost very quickly because we don't have a lot here to indicate where things are positioned correctly. As you can see, we have really is a sphere and a cylinder to start with so we don't have a great deal of information. We might have the benefit of it being easier to put down, but it's not really that useful. So that's why we have to develop this area. That's trapezius muscle, these muscles that flare out to give us those better foundations to work with. It's very easy from this perspective to make the head look like it's just stuck on like it's just a almost stick and the trapezius muscles those muscles. That transition from the back of the skull into the shoulder line is going to be a vital part to help us avoid doing that. So I've got those structures in place, and I can start to develop the years now and start putting them where they should be, roughly in that middle third area of the skull. Now, during the lecture, we talked about the potential for the face to be hidden by the neck, depending on how athletic the person is. The model here is quite athletic, and some his neck is really thick, and as you can see, it's obscuring the face. So this is an instance where we don't have to worry about the structural components off the face because it's being concealed. So using until it hasn't taken a great deal of time putting this structure down, it's taken us all of about a minute or so to get these initial foundations down. So this back structure doesn't require as much work as what the front of the face is going to be. We've got all these corners at the front that we have to deal with all these different changes in planes. We got the nose, the eye socket, etcetera were really only dealing with a ball in a cylinder from this perspective and so it just a short period of time, I can start developing the muscle areas and the secondary structures. Now this model is quite well built, so he's gonna have very easy to see an easy to define muscle structures here. Most people aren't going to have their muscles be as bulgy is this. The advantage is that it really gives you the chance to push those muscles and to push those shapes further than what you see. I've made those secondary muscle structures far more vulgar than what's in the photograph, and that comes back to pushing out gesture lines further than what they should, making our poses as dynamic. It's possible the one thing that we have to remember when we are doing the head from this perspective is to construct the ears. Probably it's easy to get lost in the shapes and structures of the skull, neck and the trapezius area, but we don't want to forget about the is as well. They're not just stuck on see shapes here. They've got their own Kurds. They've got their own corners. They've got their own structure that we have to develop us well, so don't forget to develop the eases world alongside the other structures. Unless, of course, there's hair in front of it, which is a nen tire lesson in and of itself. Hair is its own set of problems and challenges that will come to you at a later date. But now, even if the model that your drawing has long here try to envision the shapes underneath it , we want think of hair similar to Draper Re and clothing is something that we put on last. For now, just focus on the underlying structures of the head and the neck. All right, let's move on. 7. Back Landmarks: all right, let's work this thing out from the profile and back more. The front of the head gives us a huge advantage when it comes to positioning. We've got all these facial features and proportional markings that we can use as guides to get out positioning right things not to get more difficult for us, the more we move around to the back, into the side of the head. If we look at our profile image here, we really only have one feature that we can use is a guide. The E. It's almost perfectly if we draw in out long and short access line, see perfectly in the middle of the head in that middle third area. Every other Fitch we see here at the front is going to become less useful to us. The mortar face turns away from the viewer. These features are going to become increasingly overlapped by the profile structures. The corner of the eye socket, the cheekbone, the jaw so the ear suddenly going to become a super important landmark for us to get our positioning right from these more difficult perspectives from behind. So if we just drop our simplest version of a head from behind 3/4 view from behind. And if we used the same principles without long and short access that we used from the front land box, what we'll see is that the EEA ends up sitting closer to the front of the face than it does to the back of Scott. So by shifting the E closer to the front part of the structure, we are automatically starting to indicate we are looking at the head from behind more. The further to the front. We pushed the ear, the less of the face structure will see, and the more of the back of his skull will get until eventually. The e overlaps the face entirely when we get to the back view. Everything up to a perfect profile has useful features for us. But once we start to get past the profile, once the head starts to turn away from us, those futures start to get overlapped by the profile on the back structures. So that information that was so useful to us in the front perspective is no longer off. Any usedto us from this perspective, but notice what happens when we go in the opposite direction. If we push the here towards the back, we start to develop that front 3/4 view. The E is now closer to the back and is overlapping the back of his skull. So a simple formula we can use for ourselves is to say, the closer to the front facial structure, the series the most all we get and the more of a back 3/4 view will get the closer. The ears to the back means we'll get more facial features and more of a front 3/4 view. But the beauty of this formula is that it can also be applied to not just turn the head left and right, but also tilting. So if I draw in my basic features my basic structures again and move the E down lower, we start to get a sense that we are looking down on the head. We are getting significantly more skull structure here and less of the jaw structure, and if we do the opposite, it starts to look like we are viewing the head from below. So the lower we position the the more on top of the head we get and the hard we place it, the more underneath out perspective looks. There's still a lot of refinement that we have to do here, of course, but for our foundations, to get a sense of exactly where ahead is positioned, this is one of the best short cuts that we can use. So as you can see, the ear starts to become a really powerful and useful tool for us to position the head. So when we put down out basic foundations, we don't have to slave away looking back and forth at the reference image, getting lost, trying to measure things perfectly, frustrating ourselves, throwing pencils at the wall, etcetera. We now know that if the model is facing in a dynamic direction, we have enough tools to be able to construct its position correctly. 8. Back Demonstration 2: tell him to cover the back 3/4 view now. So as we talked about in the lecture, we want to think about the years out major landmark. For this perspective, as you can see with the image reference, we don't have a lot to go with with the facial features, with a little bit of indication of where the island is with those eyelashes that are poking out there. But we've really only got a little bit of the chicks structure, a little bit of the mouth structure in a tiny amount off the chin structure. So it's not a great deal that work with. So the ear suddenly starts become, as you can see, a bit of a vital tool for us from the back view from the back three court of you to make sure everything looks like it's a live properly, that the positionings are correct. That out perspective is right. And as we said in the lecture, the closer we moved that each of the front, the even less off that facial structure we will see. Eventually, it will turn around to the point where it's covering the entire face and you'll see very little to no facial structure, they as we still in the last demonstration, we really only had the ease, the head and the neck that were visible to us. And what you might notice here is what little facial structures we do have available to us are really compressed. If you compare this to a profile image, the curvature of the socket is far more compressed. The other thing we still need to be wary off, however, is that transitional playing from the chin into the front of the neck. We're going to get, as you can see here, a little bit of that visible to us from this perspective as well. In fact, in some cases we might actually get a better view of that. Then we would from the profile view. So what we'll start to see when we start moving the head up and down and left and right is that all of these features that we've been learning all of these construction parts start acting in ways that we're not really used to. The one thing you don't want to do when you're drawing from the back view is to draw what little there is on the facial mask area as a straight line or a flat shape. They're still going to be some level of curvature, some level of structure to it. You still have to draw with the front facial structures in mind, even from this type of perspective. So you need to know that even though we can't see much of that cheekbone, it's still wraps around to the front of the face and draw like we are wrapping around to the front of the face room. But we have to think three dimensionally here. We have to envision what that front facial plane is and what it's doing, even if we can't actually see it from this perspective. So even though we might have only a little bit of the brown line we know from when we developed our front and profile perspective where the E sits in relation to that, and so suddenly the he becomes a valuable tool from the back view. So if you start to run into problems from the back view or a back 3/4 view, remember your proportions and your measurements that we talked about earlier. So let's wrap this one up here and move onto the next lecture 9. View From Below: a particularly challenging position we're going to come across is the view of the head from underneath. We're going to come across some very tricky problems where it comes to the nose, the ears, the jawline in particular. With this view, what's going to happen is when we start to tilt the head up, we're going to find a lot of their construction parts, start moving in ways that we're not really used to. The most obvious area this effects is going to be that knows when we push our head backwards. What we immediately start to see is the no starts to become very short. Further back, we push it, the less off this top plane of the nose we will get to see. You can see in the reference image how little off that top plane we can see from this perspective. So what we need to do he to help us is to start looking to where the tip of the nose is in relation to the eye line to help us figure out how much of that top plane we should be seen normally. What happens when we started out trying to draw from this perspective is, we still think of drawing the nose long. We're still in the mindset of drawing things from either that front or side plane where the nose is long. The reason it doesn't work from this view is because the nose is becoming foreshortened. It's overlapping itself. So what we want to do is when we're drawing from underneath, is that we want to look to the tip of the nose somewhere in this area and see how close it gets to the I light. So draw in the top off the nose and then the keystone shape for the bottom of it, where inmates into the mouth muscles and then whatever space is left over, we can fill it in with that top plane. And so if we start to build a lower other structures in got out box airplanes for the face thesis, I'd planes in for the temple area, the corners of the head, the cheekbones swinging down the mouth underneath. Most of that remains in a similar position to the front perspective. We went over in part one. One thing you'll notice that we didn't really see much off in that first lesson was that this particular perspective gives us a good view off the bottom plane of the forehead. We know from the last lesson the forehead thrusts out and then pushes back in. This is the bottom plane of that structure with the eyes sitting in front of it. So that's how we deal from the nose looking up from below. How we deal with the chin and the jawline is a no story. However, if we look at how Skull for a moment we could see the drawer has a nicely defined corner, the bottom ages thrusting out into the front of the face, the side edge moves up into the sculpt. Now from the front and side perspectives, this isn't too much of an issue deal with even perspectives. Looking from a Bob, things are generally pretty straightforward. We've got a nice, clean corner that's easy to see from these perspectives, but when we start to tilt things up, we get this. We'd w shaped thing that's going on. It starts to throw us off completely. So what do we do about this exactly? Well, we know the face is symmetrical, and we've used all of those guidelines earlier to help indicate our positioning of the head and it's facial features. We know if we put in out long, a short access lines will have an eye socket on one side and an eye socket on the other side. And this is sport all the facial features. We have a symmetry off structures throughout the whole head, so we've got these two corner markers in place on each side of their jaw. What will see he is that the corners of our jaw normally sit higher than the corners off the chin. But what happens when we start to tilt the head up is the corners of the Joel will actually start to sit lower than the chin. So all we have to do is figure out where at chin sits and then move those jawline corners Uppal down accordingly. The mole, the head tilts backwards. The further below those jaw corners are going to be in relation to the chin, and the less will see off that top plane of the nose and notice. From this perspective, we get the bottom plane of the hate. In Part one. We looked over that transitional muscle area that goes from the head into the neck. We only have a sort, a portion of it from the front. We get a little bit more of it on the side, a sort of triangle wedge shape. But from this perspective, we get to see the whole bottom plain area that merges from the head down into the neck. So if we have a look at the price, fall again. This is the area we talked about in the previous lesson. We only get a little bit of that. He we get the full view of it looking out at Neath, So that's the bottom plane of the head. Now the only thing left is the ears. If we start to develop the ease, what we're going to notice is they actually sit much lower than you would think. In fact, it's going to be very tempting to want to move them up, because yet they do look a little bit strange like this from this perspective. But the truth is, the ease can get quite low from this perspective as low, even lower than the chin and sometimes in extreme cases lower than the corner of the Jewell , especially if the head is tilting y up. We have a tendency as we're starting out to draw. To put these is higher because this is what we used to similar to what we do with the nose . So avoid this temptation. The more the head tilts up, the lower the easy. Going to drop a little trick I like to remember is to follow the jawline. Wherever the corner of the jawline is, the bottom of the E follows through into it. 10. Below Demonstration: All right, let's look at the head from underneath out. This is a very, very, very tricky pose that we've got here. So got a lot of four shortly going on, especially in that knows, we got a lot of things tilting up. So I'm going to use a construction method for this one because it's going to be easy for us to just slow down and break things up. Piece by piece. Gesture is about getting things down very quickly and is more about capturing the essence of oppose all the essence of a portrait. So construction is going to slow you down for it closed. Like this world, we've got a lot of out facial structures. Acting in ways that we're not used to slowing down is going to be our best method here. We're getting along these different angles that we don't normally see, and so it's naturally going to throw us off. We only ever do front on poses or 3/4 poses were only ever going to get used to drawing those particular images. And so we will build up a database for ourselves. In their minds is how to construct those images in overtime they will become second nature to us. But when we come across something a bit more difficult like this, it throws everything out of whack. All that understanding that we built up all those proportions that we've got in our heads suddenly become less useful to us because the images acting in a way that is foreign to our brains. So this is why it's important to challenge yourself with these type of poses. The reality is there's only so many different types of poses that we can mentally remember it any time. Even the best artists in the world haven't database in the mind of maybe 20 or 30 images that they make subtle changes to. So it's super important that we look at all these different angles and really challenge and critique ourselves. So I can already tell just looking at this. I've pushed the face over a little too much to the left, and that's probably because I didn't bother protein. Hey, gesture line down the center of the face. So bad lecturer, they But if anything, that mistake that I've made, there is actually a good indication of why you shouldn't skip steps, because you really run the risk off, throwing everything off. So if I was paying attention more to what I was doing instead of talking so much here, I would have caught that mistake earlier. It's not that we can't fix any of these type of mistakes, but we really want to do them as early on it's possible and try to eliminate changes later on when we start overlaying color or we start doing that beautifully rendered black and white image. But the beauty off the process that we've talked about here and in previous lessons is that even if we find later on, we have screwed up along the way, we can go back to a time when we were in more control and figure out what the problem is. Yeah, it means that we've just created more work for ourselves and we might have to spend an extra couple of hours fixing the problem. It's frustrating as hell when that happens, but if we have our process in place, it's nothing we can't overcome if we know how to measure out proportions. If we know how to do a construction, if we know how to do our gesture, we can fix any era. So I got my main structures down, and I'm just going to stop to refine things a little bit more, not really going to soften things up exactly just yet. I just want to build up these corners a lot more to just get a better understanding of where my edges are and where my structures are in relation to each other. Take note of how low the corner off the jaw line is compared to what we saw in the earlier demonstrations. It's almost level with the chin and also noticed just how low the ear is sitting now, whereas before the year was situated exactly in the middle of the head in that middle third area, people to split this up into thirds again, the ear would be somewhere in between the bottom third and the middle third, and you could see how much shorter the noses as well. We're also getting the underlying structure of where the eye sockets are the bottom plane of the forehead if you want to look at it that way. So we're getting all these different angles and all these different movements that we didn't see before, so you can start to see why using a boxer structure for this type of pose becomes ever more useful to us. We're starting to see the bottom place to those areas that we don't normally see. Yet we can start using more rounded forms and more rounded shapes and curves as a foundation. But we more than likely end up just making more work for ourselves because you can start to get lost very easily in a way that curvature, and we want to make the process for ourselves as easy as possible. And once you get everything in place to your liking, then you can start to come over to talk with your shadowing on your color, which is what I'm going to start to do now. A little bit of shading and a little more form to these parts. But even without any of that shading, you could already tell we were looking from below all that the head was being tilted up. So that's the state we want to get to want to make sure that all out parts that are on opposite sides of each other that cheekbones the corners of the chin. We want to make sure that they're all working together as a team there on the same plane that they're all heading in the same direction. So take your time with all this stuff. Do your measurements checking proportions every 35 45 seconds really get into that habit especially. In fact, I haven't done a very good job of that, he because in trying to draw and talk at the same time, and I'm looking at that, I that are closest to us and thinking, Oh, that's not very good At the moment. I'm gonna actually have to fix that cause it's bugging me. It's far too close to the iPhones away from us, but this is what happens. You start to build things up and you start to notice the errors. We're proportions or your perspective off starts to become more more evidence. And if you ever feel like you start to get lost or you start to feel like it's becoming a bit overwhelming, just go back to your basics. Go back to not just this lesson in part one of the head structure, but the fundamentals of the figure that we went over in early lessons. So always have you know, it's on standby. All your basics in your fundamentals. All right side. Let's consider this one done for now and move on to the next part. 11. View From Above: one more area we have to cover before we start doing our time. Drawing session is the top of the head. Now, as we've already learned, the front of the head is going to give us the greatest set off construction tools for us to work with. We've got these really useful facial features. Which actors are Marcus for both proportions and positioning, especially those really difficult positions. We've already talked about a great set of Marcus forgetting things nice and accurate. The skull, in contrast, lacks this. We lose all of those convenient markers and corners due to the roundness of its shape. So when we look down on top of the skull from above, or if it's tilting down to us, we can easily stop to lose the sense of positioning and prospective due to the roundness off that form. So the easiest solution is to draw the skull with a slight box like quality, essentially chiseling the skull out to get the position correct in relation to the face and then coming back later on and smoothing it out with nice, curved lines similar to how a carpenter would smooth out a corner piece of wood, they would chisel out the edges first and then smooth it over with sandpaper. So we want to look for rounded boxes again. Because the box here we can make something the easier. We can figure out where that top plane is, where it meets to the back plane to the side plane where they all meet. It's going to give us a great deal of control. So if we go back to earlier in the lesson with the boxes and the access lines, he we've got out front facial structure without guards in place. Here is the side plane of our face. Now we already know from part one that the corner of the head is where the arch of the eyebrow is. The temple line of the head is this defect Oh, transition from front to the side. And from there we can start to build the rest of out facing hairline cheekbone. I line nose and chin. All of this is the front plane, and all of this is outside plane. So what about that top plane? Where's the transition? He Well, if we look at the skull, this image of the skull, and look at the temple line that corner of the head. We can see the temple transitions into the skull. This is what we're going to use is their corner for the top. Now this transition doesn't follow through a way to the back of the skull. It's not a perfect transitional point. It's not a perfect corner, but there's enough information he to imply that there is one. So even though this isn't a perfect place to transition from the side plane to the top plane because of how around it is, it's enough for us to work with. I can now use the positioning with used for the front facial features and apply it to that top plane at the front and at the back, following the same directions. So everything is now working together. The front plane is going in this direction and the top planus following, so everything is going to start working together as a team. And when that information is down, weaken stopped were five things. When we've got that positioning right, we can start to soften these corners up, come back and round them off, start adding in more sophisticated shapes and planes for al tertiary structures, something will cover in a more advanced lesson. But first we've got to get these basic shapes in. This is why it's super important to practice simple forms. Your boxes, your cylinders, your spheres on a regular basis because it's going to help us in the long run, developed these more complicated and challenging structures like the head. 12. Above Demonstration: all right, One more view, one more demo and then we'll move on to out time drawing session. So this view is going to present its own set of challenges, but it's not going to be nearly as challenging as the view from underneath. We still get a lot of the same structures and the same placement of our parts as we do from the profile and in the front. So we have that advantage here looking down on top of the head or having the head lean towards that small. It's far more easier saying the shape of things here. There's a more natural rhythm and eight more natural shape that we can decipher compared to when we were looking from underneath. So as you'll notice, I've done a little bit of a better job putting in my foundational lion see my my gestures and proportional markings. Everything's all lined up pretty well. So now I just need to start building in some of these corner structures and he could see his. I'm putting these corners in just how the head starts to come together now and how much quicker I've put all these initial foundations down, and that's because we've got fewer areas that we have to concern ourselves with. The skull is taking up the majority off this structure here, so this means less corners, less facial plane changes, less work for So for all, the main thing we have to concern ourselves with this perspective is overlapping. We've got the nose, for instance, which is not only overlapping the far side of the cheek the cheek. We can barely even see it, actually. But it's also overlapping part off the mouth Muscle areas well, and the mouth itself is now overlapping the corner of the chin. So even though this isn't as complex oppose as the last one, we've still got to be mindful off what's overlapping or what. So when your head starts toe shift up, all down, pay special attention to things like the notice things like the mouth and see which parts are they overlapping? So now I'm going to start to develop the top plane because I'm happy enough with the corner structures off the front and side plane, and this is now going to give me the opportunity to start putting in some of the head. So I'm just gonna start to construct a little bit of that now with head, we really wanted to feel like it's wrapping around or rapping over the skull, especially in an image like this, where her hair is in a ponytail. You could really sense just looking at the reference how much the hair is clinging to that skull. How its form fitting to it. In fact, this hair in this image here in particular actually acts almost like cross contour lines for us. You can really get the sense that that hair is wrapping around the head. We go all the way back to listen. One. We talked about the movement over the forms, and this is a very good example off what that refers to. But we'll cover here in more detail at a later date, so we'll just start to refine this a little bit Mawr before we move on to our time drawing sessions. Now, for this session, we're going to do a series of five minute poses. Each fighting opposes going to have two options for you to draw. I highly recommend going over this twice in order to do both images over a five minute period. We're going to cover up all the different angles that we've discussed in this tutorial. So we're going to have options of 3/4 front 3/4 behind, above, below. We're going to go through all of them again. So I'll leave you with that toe work on, and afterwards I'll come back and show you how I do it. 13. Timed Drawing Session: - All right. - No way. Oh, uh uh Uh, - No . No way. All right, - way . 14. Timed Drawing Demonstration: All right, let's get cracking. Hit Now I'm going to split my time up and give each pose 2.5 minutes or roughly 2.5 minutes . H, I believe, taken the time to go over the session twice to do each head for five minutes. But if you split the time out like what I'm doing now, that's perfectly Arcadia's world. But I recommend doing five minute poses for each head at least once because some of these poses can get a little bit challenging. And 2 2.5 minutes isn't a great deal of time to get the information down. So the only reason I'm not doing five minutes for each poses well, Number one. There's already been some long demonstrations in the tutorial so far, and number two video will just enough being way too long. So I'm splitting my time up for practical reasons, but I recommend spending a little bit more time on your drawing session than what I'm doing here. For each pose, I've included the image references in with the course notes, so I feel free to set your own time limit. Now we're starting off with just the front and side pro Falls because that's where we started in part one. So it's a nice, easy place to start for us. We had talked during sessions that said, It's not necessarily an easy posed to do either, especially the front. It's very easy to get things off balance and not have things looking symmetrical. Over time you'll develop an understanding of where things should be placed in so you can get stuck down a lot quicker. But this is still the best place for us to start developing our understanding of the skull structure and vice structure. Well, most saidi Vice structure. The price fall is going to be better for the skull structure and, of course, our anatomy as well. There's still a lot to cover in terms of the underlying muscles and Boeing structure. That's for a more advanced listen. But we're just trying to learn things that are reasonably simple at the moment. Simple shapes, simple forms, simple corners, simple curves. That's the big thing. We want toe. Remember, all the time is curves and corners are constructions and gesture. We'll move on to the pro fall so the hair is going to dictate a little bit. What shape your head is from this perspective, because normally the skull structure is a little bit small lot than the face structure. They're very close to being equidistant. We saw in Part one, when we draw a box over the profile, it was very close to being equal all the way around. But inevitably, what happens when you start adding the hair in and the facial features is that this skull area tends to end up getting a little bit longer, or at least the perception of being a little bit longer than the mosque of the face. You can usually see it better on someone who has a shaved head there. Front facial structure is generally a little bit longer than the overall skull. As you can see, I've got my corners in for the side plane of the face. I tend to put those in before I start to add in any of the facial features, and not just from this perspective. I'd like to get the corners in as earliest possible to really get an idea of the position of the head where it's leaning. Tilting from a more front on perspective. However, I tend to start getting the facial features in the proportions first and then worrying about the corners so it varies from post oppose, and you'll find a method that works best for you. But I would recommend trying to find the corners as early as possible to save you a lot of headaches. Now, even though I've recommended using more boxes structures, especially for the head, you can still use a cylinder as well. That is somewhere in between a sphere in a box, so it's still going to give you an opportunity to find the edges. It's gonna be a lot easier than a sphere, however, or an egg shaped. But I'd still recommend sticking with boxy structures, at least at first, and then you can experiment later on. You may end up finding that some posers lend themselves to more spherical structures. First up. Okay, let's move on to the next pay. Okay, A couple of 3/4 pose. Is he one looking up on one, looking down slightly now. I've probably said this before, but it bears repeating. It's a good idea just to observed for a few seconds and sort of mentally paint our corners in or are boxier structures or across contour lines in on the image reference or the model that way, drawing almost like your overlaying in your mind where the edges are, where those directional markers they're going have any planes that we can see of the face and it takes a little bit of practice. But that's why we've got our useful pen tests that we look in less than one weaken move that around to get an idea of, Well, where's the? As you can see, he was the brown line going. What position that scene? Getting some talk of starting point. So it's a good idea to find a default starting point for yourself. I tend to use the Braille line as my first indicator for what direction that skull is going in. You might end up using the chin, or you might end up using the top plane of the head. Sometimes it's just gonna depend on what opposes. But going back to where proportions, once we have that first line in that first positioning markup we have to do is make sure everything is working in relation to that, that everything is going off into that same direction. I like to think of the facial features as a team. They've all got their individual roles to play, but they've all got one common goal, and an Al Qaeda sits to be positioned where they need to be relative to where are Haiti's. But it's also not easy. I tend to find these type of poses where the head is tilting up to be the most difficult, because we're getting a lot of these underneath planes that we don't normally see. So that's why I have a lot of sharp angles at the moment, because I'm trying to feel my way through this, more or less to chisel something else. It's only now when I start to feel confident that the positioning is right there. I've been coming over the top with some curved lines to start smoothing things out, but you'll notice if you watch this again. I started with a gesture line first, made a hell of a lot of corners to get the positioning right and now smoothing things over with more gesture lines again. So that's our process. Going back and forth between the two of them must take into account a proportions as well. We'll start this other one. So as you can see, I'm starting with a gesture line first, their front facial gesture and building the stall structure from they and developing enough information for us in order for us to move on to the next part. So we want to prioritise as well. No matter how much time we've got on the clock. We want to categorize for ourselves the big parts to the small parts and focused primarily on the big parts first and then work our way to the smaller stuff. So that first gesture line I put down in my mind I would consider that suggestion Number one and the skull structure that is built from that that would be construction part of one . And then I might categorize that first gesture for the neckers suggestion over two and build around that construction part number two and so on and so forth and then gradually working our way down to the smaller parts using a similar process. Gesture, construction and proportions or curves, corners and measurements is a another way to look at it. So choose whatever definition works best for you. You have probably made this pose a little to upright. There's a little more of a lean to the head in the reference image. One of the challenges you'll face when you have a limited amount of time is that you will have to make a decision and sometimes that his decisions won't be 100% correct like what's happening he. But the question you have to ask yourself is, Can I still work with that? Is this a total loss? So I have to start from scratch. And even though this doesn't match the tilt of the head in the reference image 100% it still works. And that's because all the facial features everything is in position where it should be. So that's really the goal is to be able to work with a choice that you make. That might not be 100% true to what you're looking at. If you want 100% accuracy, you're better off using something like the grid system. And that's a perfectly fine way to to practice and study as well, something we might look over at a later date. Let's move on to the next pay, all right, we've got a couple of challenging ones. He got this 1st 1 on the left that's tilting towards us and turning away from us slightly. It is a very dynamic pose, this one. So these are the type of posers, for whatever reason, in my mind says that using a more shape based beginning is the better option, then using out gesture lines. So we're always gonna have these options. We're always going to be coming across poses that, uh, challenging for us and the more dynamic the pose. Normally, you'll find that the structural based method, the method of using shapes and forms first is going to be a better option. You'll see a lot in a lot of twisty poses with the torso as well. It just ends up giving you a little more time to think. But feel free to really try a gestural approaches. Well, see what is the better option. You might find that doing a gesture based design first and then adding your three D construction parts over the top of it. He's gonna work for you, so check out what other artists, styles and methods are. It's super important to really explore the different ways you can develop the head or the figure in general, so look over is many different online tutorials and as many books as you can get your hands on and find what works for you. Even though I have suggested more boxier structures, you might find a method that uses spheres in a way that is more tailored to your style of drawing. You might very well end up disagreeing with some of the instructions I give. You might find a method that is totally unique and maybe even challenges. Some of the ideas that are being put forth and that's 100% are kite. In fact, you should really challenge the people who teach you sometimes because we don't know everything. People that teach you are still students themselves were always looking to improve out drawings and proven knowledge and understanding off art and anatomy and color and light and shadow. So if you've discovered a new method of doing something, feel free to speak up because that's how we will get better. So I'm pretty happy with held. These structures are looking at the moment, so it's talk to put a little bit of gesture lines back in just to loosen everything up again. You can see how quickly, because from looking very mechanical into something that looks far more organic. But I better get cracking on this 2nd 1 now because I don't have much time left going a little over my 2.5 minutes for that 1st 1 Now, this back one is a little challenging here because we don't have a great deal of information available to us. We have a lot of hair in the way, so getting these forms right is very challenging. And as you can see, he take notice of where the series and how close it is to the front of the face and how much skull that's going to leave us. We only had this really thin sliver. This really small indication where the faces we've actually got mawr off that underlying transitional plane from the chin to the neck visible to us. Then we do of the face. So this is an example of what I mentioned during the lecture, how that underlying transitional life from the chin to the neck can actually be more visible to us from the back perspective than it would be from the profile. I'm just gonna stop adding a lot of hair and at the moment, cause it's really actually, the most dominant feature in this is the hair, not necessarily the party that you might be able to see just how tricky this type of parties actually is. We've got a lot more curbs going on here than we do corners. So when we have less edges, it becomes a little bit more trickier to define the forms better, not impossible. We just have to spend a little bit more time and be a little bit more careful without choices. But it's nothing we can't overcome. And as you can see with really got that rounded feeling of the skull, the hair is starting to really defined that round. This acting as those cross contour lines. Almost so. That's what I'm going to focus on the most for what time is remaining on this particular image have probably made the head a little too upright again. It's actually leaning a lot mawr away from us than what I've drawn. It still works not nearly as successful as the last couple, but that's just part of it. You do some good drawing some days using badgering some days, Some days, things just don't go right. It'll sometimes you just wake up and your mind is, does not want to draw properly. Happens to everyone. I guarantee it will happen to you, right? Another couple of challenging poses. Try to slow down a little bit with this. 1st 1 on the left probably means of white. Get over it in in 2.5 minutes. But this is the type of pose where it requires you to think a little bit and just to spend , you know, 10 maybe even 15 seconds. Just analyzing what things they're doing with things that positioned analyzing is a huge part of what we do. It's a lot of stopping and staring and trying to figure out. Is that e where it should be? Is that chin where it should be? Where's that plane going? Is that direction look correct? Is that gesture on working away these things? So, for instance, right now I'm just thinking about that bottom plain. And if I got that going in the right direction, is that Nick looking alright, etcetera. So here's something that we want to just take a quick look at make. A quick note off is that from this perspective, the cheek is overlapping the eye socket structure. We're looking at this head from below, or it's tilting away from us. And so the cheek is naturally going to be in front, off the ice of its structure from this perspective. So it's those little things you have to look out for. What's overlapping. What what direction is this head tilting in? And what does that mean for the positions of our facial features and going back to that transitional plane we talked about earlier? From the change into the neck, you could see it quiet noticeably. He this part of the face that is in shadow, this triangular wedge shape, which goes away from the goal line into the neck. It's a very important landmark, which can be easily overlooked because we have a tendency to believe that bottom of the head from the Joe line to the chin into the neck is a flat area. So pay special attention to that area and take note of that changing plane so I don't have much time left on this one, So just put a little bit of Haring we're gonna get is much done with this one. It's a little bit more complex than a couple of the other poses, so I'm hoping you can start to see wide boxes. Structures are going to be a real benefit for these type of poses, so let's move on to the next one again, starting without big gesture. Line first for the front of the face. Now I mentioned in the first part of this series that there's really two gesture lines for the head. There's the top of the skull in the front of the face. It's ultimately going to be personal preference, which one you end up doing because we still want to think about the skull and the facial area as two separate structures. And if we've got to separate structures, two different pots then they got had. There are ingest Ilan, So pick your poison. I just find sometimes the top gesture line with skull sometimes gets lost in the hair style . So for me it's usually the front face, which is the preferred gesture to put down, especially from this perspective as well. In the lecture off the top down view we talked about trying to find that top plane, and sometimes putting that skull gesture in first really doesn't necessarily help with that . Sometimes it's better to work on that part last like I'm doing now. Get everything else in place, get oil proportions looking all right and then start to add that top plane in Lost. Just developed a little bit of the Nikki about a minute or so to go. Another thing you should be doing when you're studying the head in particular is to have some element off the neck in the image we really want to get used. The idea off the head being connected to the nick and drawing it all is one unit, really So remember, back in the proportions, we talked about how we could split their top of the head to the pier the neck up into four equal parts, and really consider that as one unit of measurement, so always includes some portion of the neck. Don't just have the head floating there in the void. The more we get used to drawing the head along with the neck, the less likely out head is going to look stuck on and what beginning our has tend to end up doing when they first start drawing the head and figure in general is they tend to make the head look like it's just sort of stuck on there. So our goal is to have our parts flowing nicely into each other from one to the other. Okay, the last set. Now, this 1st 1 on the left is very challenging one. So I'm going to spend a little bit more time on this one. Then I have on the other images so far, one of the problems we have when the head is tilted up like this or when we're looking at it from below is that well, they'll feature start compressing in a way where almost makes it look like there are no corners whatsoever. Everything seems a lot smooth that he and so we have to pay special attention and take a little bit more time with close like this to work out where out corn is starting. So my primary foundation for this one is actually just the mosque of the fate. So I've try to envision where out to parts separate the facemask area and skull area and just focusing on that mosque area for now and then to just start slowly, putting in our facial features or markings. What you'll find from this view is that is very easy. Teoh stock inning loss to their proportions, everything in the top part of the scholars and compressing and everything in the bottom half. It looks like it's stretching out a lot more and notice how low the corners of the jaw are compared to the chin. Look at the image reference that actually lower, then the chin. This is one of those cases we talked about where things can get that extreme, where the corner markings are no longer sitting where they should be. Just about everything else from this perspective is more or less in the same place relative to the other positions. Yet we've got some compression happening closer to the top than we do at the bottom, but the mouth is roughly where it should be. The nose is roughly should be, but the chin is now higher than the corners of the jaw, or the very least equal to it, and we can also see just how low the ears are. They are not far away from where the bottom of the jaw is. So this is a really extreme tilt or a really extreme angle from below. That's distorting everything that we know. So these are very challenging positions if you really get stuck. If you feel like you're not getting a quite right or just something about it looks off. You can always just try tracing over some images like this. Either get some tracing paper and draw over some photographs from this perspective. Or, if you're using something digital, likes photo shop at a new layering, drop the transparency down on an image and trace over that look for your corners. Look for your edges and see how extreme it gets Is nothing wrong with tracing over images for practice. You're not cheating. You're not gonna get marked town for it. In fact, it's a good technique to go over not just photographs but other people's artwork as well, to get an idea of what they've done and how they've done things. So we don't have to do everything from their heads, and really, you're not expected to. No one's expecting perfection. If anyone is expecting that for me, then they are asking way too much of you. And frankly, I wouldn't work for that person. I wouldn't want that type of pressure. And I'm pretty sure you wouldn't want that pressure either. So I think I should start wrapping this one up here and move on to the lost in region. Get whatever I can get down in the last 90 seconds. All sorry for that one. So a little bit more fortunate for this last image. It's a bit simpler. We've got a great they're easier shape to deal with. He so notice compared to the previous image that we looked at from behind. How much will the facial features in that prison and how they're not nearly as compressed? We're seeing a little bit off the nose, a little bit off the island, an eyelash and even a tiny bit of the mouth as well, and you can see how the E is not nearly as close to the front of that face structure now, how it's almost in the center, but there's still a significant amount more of the skull than there is of the first structure. So I'm just gonna quickly rushed through, be lost 40 seconds or so of this. So as we wrap this tutorial up, go over. This lesson in part one is many times is you need to. If you have any questions, please feel free to put them down into the community section. Part three of our head Construction. Siri's will focus on the facial features. The eyes, nose, ears and mouth will break all of those down into the individual parts and work on that. So until then, look I via notes, look of your references and keep practicing, and I'll see you in the next lesson.