Draw The Head FAST: Two Simple Rules – One Simple Shape! | Chris Petrocchi | Skillshare

Draw The Head FAST: Two Simple Rules – One Simple Shape!

Chris Petrocchi, I help artists grow

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2 Lessons (59m) View My Notes
    • 1. 3 Sided Head 1

      29:00
    • 2. 3 sided head 2

      29:44
14 students are watching this class

About This Class

In this 2 video series you will discover:

• the two powerful criteria for drawing the head fast and efficient in profile and 3/4 quarter views

• how drawing fast gives you four distinct advantages and what they are

• the one SIMPLE SHAPE that helps you design your portraits and gets you the head in profile PLUS 3/4 front and back views just by where you place the ear

• drawing demo: 2minute poses

• draw with me: 5 minute poses

...and more

Run time: approx. 60 minutes

For mentorships and my online portrait course visit www.drawjuice.com

Visit More Classes To Improve Your Drawing

Draw Portraits Better Than Anyone Else

Draw The Head Fast With One Simple Shape

Draw The Front Planes of the Head Made Easy

Easy Way To Draw The Face Using Shapes

10 Minutes To Better Portrait Painting

Also, feel free to join the Facebook Group  and request to join to show your work, get feedback and encourage others

Thanks for your support! If you want to know more please visit/follow me online here:

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www.youtube.com/c/chrispetrocchi

Chris Petrocchi | Draw Jucie Studio

P.S. I want to share with YOU my personal favorite tools that I love drawing with to help you get started. Links for each tool online included! Find the FREE LIST here: https://bit.ly/2Jm12Dy (Affiliate links included)

Transcripts

1. 3 Sided Head 1: Okay, the three sided head. So remember in the introduction, we talked about the face and how it's a broadcast screen, and it's a broadcast screen for people stories. And if the figure is a song and I want to draw my figures like I'm writing, composing or orchestrating that song, then the head is the first bursts or from writing a book. The head is the first chapter, and that's gonna be exactly how it is for your paintings. We tend to look at things that are like us. So no matter what kind of painting you make, if there's a figure in it, your audience is gonna look for that figure. If they could see the face, they will focus on that face. And, um so that's That's the kind of mechanics of painting, and that's the importance of of the face in at the draw of it, really in a picture. So with head, everything has a gesture, and the head is the first gesture of the body. So the head flows with or against the other gestures of the figure. Um, if you don't deal with head as a gesture, it will tend to get stuck on, so you can do a nice gesture of the figure. Uh, but if you put the head on last, it'll just get thrown out like a circle like that. Maybe it'll be too small. Or maybe it'll be just too big. And so, um, you need to be kind of conscious of that of starting with the head and that it is a gesture that relates to the rest of the body. So the head has three gestures. Okay, it's the gesture of the scope skull, the top of the head, the front of the face. And there's a gesture in the back of the cranium, all the way to the chin. So there's three gestures. They're the hardest part for people. Starting drawing is basically the beginning. It's that reticence of making a mark on the page that can be pretty intimidating. And so let's start there. You know, sometimes that can just stop people right away, so we need a really simple shape that can help with this problem. And, you know, we could start with head with a simple shape. Maybe like this, right? That's that's basic. But it's maybe it's too simple and doesn't really look like the head we want. It's not very satisfying. Okay, so maybe we can start with to two oval. That's okay. Let's not. Not bad. We could start with on oval and a triangle. Okay, that's good about this. This is a great shape. Um, it's a great shape because it's it's designed. It's designed to catch wind and pull that ship across the surface of the water. That's an amazing thing. And a well designed sale can do that. And it has power. So we want to use a shape that has power because their drawings need need power. They need gravitas really on the page to draw our audience in. So, um, let's use let's use that shape. Um, we're gonna start with that shape, and it'll be like a a sailboat shaped kind of, you know, like this. That's kind of a bulging triangle. You know, we flipped the sale a little bit. 90 degrees. Okay, so this shape has three gestures 12 and three, and it's got curbs, right? And it's got corners so the curves and the corners give it life right. The curves give it life that the corners give it structure And that's what's so great about the shape. It has a balance of boat. And if we take, uh, the head basically starting in any kind of profile, okay, we'll make this easy for ourself. And the head in profile fits basically in a box. Okay, so that's without the nose and without the hairstyle, right, cause the nose breaks out of the box and the hair style can break out of the box as well. And so the back of the head is a little bit higher in the front of the head, so the back is a little bit higher than the front, and that jaw comes out a little bit more than the forehead. Can't kind of Jets out just a little bit. Okay, so this will give us, you know, any kind of a profile. We'll be seeing a lot of sculler. Quite a bit of the skull, and quite a bit of the back of the head can work, So it's 3/4 front to three. Quarterback. Um so it's I kind of divide that up into that square. Divide that horizontally. The eyes air basically in the center. Okay, eyebrows or just a little bit above that and halfway is the no. So just from here to here is dividing this into thirds. And we're gonna place the ear, because when we place the ear, that's gonna really do a lot for us. That year is basically sits in that middle third right here. I'm gonna line that up. It sits in the middle third and is at an angle, maybe a 35 degree angle, something like that. And it sits right there. So what does that do for us? Well, basically, placing the ear helps us check for errors. Um, okay, so it's a good checking mechanism checking for proportion. And so, uh, at the beginning stage, and it's also separates the two shapes. So we've got the mask of the face and the back part of the face. And it's also, um, gonna be helpful to place the head in the second and third dimensions. Okay, so that's that's what it's really helpful for when I'm choosing my simple shapes for anything I'm trying to draw, I'm trying to design a simple basic shape. It has toe meet two criteria. It has to be basic, and it has to be distinctive of what it is I'm trying to drop. So if it's basic, basically I can get it down quick. I can dry quickly. Not drawing quickly is making good, simple, thoughtful decisions. It's not scribbling, drawing really fast or like speed paintings of intellect, sort of stuff. And you know, if I can get it down quick and I can get it down clear, then I can capture my audiences attention. I can get the attention of the audience, and that's what I want. I want their attention. So that's key. If I can make a good, clear statement like I hate school. Okay, that's a good clear statement, and it might capture the audience attention, and then I could go on and write a song about it. I can write 52 chapters in the book and make a movie a sequel. And so OK, so based on that, Um, based on that good clear beginning, I put myself in a good spot to keep the audience's attention. And, you know, our mind is is kind of like made to find meaning around us, and it's gonna call all of that data. But a lot of the data at season. It's going to edit out, and it's gonna look for commonalities, connections to make that meaning for us. So we can navigate our way through the world or that moment. And so it's gonna do its best to bring things together and make relationships and meaning between those things. Sometimes the things around our a desperate and isolated. And if you're an artist, your job is to bring things together, isolated things, unrelated things and bring them together in the new way for people. So you know, the song isn't just a bunch of notes, right? It's notes put together in a song. It's not just the dance steps, right, it's It's the cha cha the samba Garamba, right? You put them together and make some meaning out of it. Okay, So if my shape my well designed shape it that's basic, What can I dio? I can also, um, I can animate it. Okay, so, Pacman, it's just that simple shape. I can do this all day long. I can do thousands of drawings back, man a lot of footage and get him to do everything I want to do. And I don't have to think about any of the anatomy of the face. No muscles, no bones, nothing. And that's that's really what I want. I want to simplify my work flow. Totally so. But maybe, you know you're not an animator, your painter. Well, I can animate my poses. I can animate my figures in my paintings or in my storyboards by pushing the pose like Michelangelo I would do or re Ben's. Rosetta would do that. He's a great one, and he's just got these great, you know, positions. A contorted figures that maybe they just look so heroic and like they're about to do something or doing something the action awesome. And you do that with, um, you know, gesture it, do that with exaggerating the pose. And and that's kind of comes from animation. So if I can make my shape basic and not, then I can design and redesign. So if you want to work four mil uh, films, movie and TV and visual development concept art, then um, you're gonna have to in your designing characters. Then you're going to have to design and redesigned. That's your job, so it's going to help you be able to do it faster. Make changes quicker and it's gonna help you be versatile because all everything that you can draw is made up of probably three or four basic forms, and we'll get to that later. But if you can learn those forms, then you could innovate, right? You can add forms and stretch them out. You could divide the forms, you know, and just start playing with the basic forms and come up with an infinite amount of ideas and characters. Not only does the shape have to be basic, but it has to be distinctive okay of what we see and if if I have to stop, okay? And our director pulls me up the job and says, Hey, Chris, I want you to do this. Um, and I have to hand that work off to someone then, um, at least my idea is is clear, right? It's a good, clear idea that communicates something, and I can give it to someone, and they're gonna be able to execute that idea and build on it and keep going. So that's really valuable because, you know, if you have ah, you have to leave the job, you have a break. Something comes up when you come back to what you were drawing, you'll you'll have that simple idea. There will be clear and you'll remember what your thought process waas and then be able Teoh. Continue building on that. If it's distinctive right, it's going. Teoh have excellent connections, right? So the head is connected to the rib cage by the neck. Right? So those connections, um, the structures air connected by the gestures. Okay. And it was a really important because they're the connection from one thing to another. If your joints it don't look good, your audience will know it. If you're something's wrong with your drawing, your audience sees that right away. So the joints are important for animation, and if they don't look like they could move, the audience will figure that out. See that same thing for three D modeling? Those joints are where the action takes place and they won't move correctly. They won't work right for animation, so they have to be rigged correctly for the animator to be able to animate it. And if they're not, that's going to be it's gonna have to be redone. So if your connections air off your drawings going to be off. So if my head is connected by my neck too, the rib cage. But that connection right there is off right then and I don't kick. Take care to fix it. Then the next connection is off. The next thing is off, and the whole thing's just the total disaster. Okay, so connections are super important. So get that down. The connections. That is super important. If you have to stop, you could pass that idea on to someone else, and that person can take it. Continue to you working on it, or you can stop and then pick it back up because your ideas there and then continue on and finish. Okay, let's do a set of two minute drawings to practice what we've learned so far. Feel free to draw along with me, Uh, - five for five for three to one 543 21 five for 321 five , four, three, 21 five for 32 work 2. 3 sided head 2: Okay, So getting back to our sailboat bulging, try and go ahead for a good, basic but characteristic shape. It's got the curves in the corners and the structure. If you're going to draw structure, you can. It doesn't have to be stiff, right? You can bring some life into it by gesture, right? You can bend those lines. You can take those corners. You can round them off and make that block of ice become a character, a moving character, right? Just by the gesture. A lot of people make a mistake when they placed that here in the middle third, right? And it's sitting there at the halfway point a little bit behind the halfway point. A big mistake that people make is they don't fitted inside a box. So the head is like this and it's too too thin, right? Because they don't, uh, take account of the cranium there, Okay? And so the ear is basically the only feature on the side of the head, so that's good. So on the front of the head are all the features eyes, nose, mouth on the side of the head is the year only. So that's good, because it creates like, ah, corner for us. We line up the eyes with the ear. The two planes come together to form a corner, an inside edge, right? And so that's gonna be able to tell me when I'm looking up at something or down. It's something, right? So if I have a box like this, right, that lining up those that corner can help me really quickly established this thing. I can tell you its direction in space is looking down. This is looking up right by just that inside corner on establishing them. So that's what this does for us. Um, don't take that. So if I take that golden triangle and let's say place the ear here Well, where are we? Okay, let's take a look at what placing the ear can really do for us on this model. So the year has a way of really telling us where the head is in space. We can get a lot out of this just by where we put the ear. So if you look at the model and the model starts to tilt, where does the ear go? It crowds out the top of the skull right And that's how you can tell we're looking up. If we go the other way, the ear starts to crowd out the bottom job line. If we go this way, the year starts to crowd out the front of the face and so on. Yeah, sit way. The ear will start to crowd out the back of the cranium. So where we put that here, IHS. Crucial. Okay, let's come back and finish this idea here. So we had the mistake. Common steak is that the head is just too thin, okay? And doesn't look done. Look Right. Okay, So we've got the ear here, and it's just floating there, and I don't want my features to float. I don't want anything to float there and be unconnected. So one of things to connect in touch, right, cause when they touch, then you can see the relationships and they look more believable. So I'm gonna try to touch that. I'm gonna touch that here, too. The mask of the face. I'm gonna bring a line from the forehead over to the ear, down through the job and back up to the front. That's the mask of the face can get a place, the nose, the two cylinder. And I've got myself pretty good face right there. Okay, Why Brown for the mask of the hairline could be just a simple shape like that. But I might break it up into a more characteristic kind of, uh, no there. And that kind of helps me to break up that space from, let's say, the forehead back to that ear or to the front of the year. It's a pretty big, um distance so I can break it up into smaller distances, and that helps me a lot. So right from the forehead to that part, out of part of the eyebrow, to the sideburn, to the ear, I can get there. Okay, The back of the next starts around the eye line and it go this way and that way. Okay, so it's kind of like a nice hourglass shape, its wider at the top. Then it is on the bottom, and I can bring for, let's say, a woman. It can go this way and have this nice hourglass shape, but a guy would tend to go the other way. So let me draw that real quick, right? So here's is a guy's head and his neck. You could go this way, right? And so that that kind of looks a little bit more how it guys neck looks. And there's kind of like that characteristic sway, right? It doesn't just sit. And here's another mistake people make. They put oval on top of a stick, right or even just that kind of triangle shape and then make the neck straight up and down . That looks stiff and pretty unconvincing. You want to put that gesture in there and give that that piece of structure some life by bending besides bending the lines, and that mark works much, much better. So I've got my neck coming down here, and then I can basically put in part of the neck muscle right there and touch the ear with that. So now I've got some really good connections happening because I've connected the ear to the mask of the face to the jaw and down to the pit of the neck. So I'm well connected and it looks better. So to the back of the head, there's roughly one here that'll get me back there. Okay? So keep that in mind if we do this again? Now watch what happens when I placed the ear. Okay, A little bit. This way. Okay, Now we're a little more three quarterback because the ear tends to crowd out the front of the face as you turn away, conceive my ears crowding out the front of my face. And so that's what happening here. Right? So I'm gonna touch it to the mask of the face. Bring that jawline, Touch it to the eyebrow. No, there it is. Okay, so that's pretty, you know, pretty quick to be able to do that. And then to get to where the back of the head is right, I can find one years distance and that'll get me right to where that inside corner is, and then I can make that can change and establish the box. Turn this thing into a more convincing head in the eye line. Here is where the head connects and the neck starts. Second, bring the neck muscle down into the shoulder muscle, and I've got that good strong connection from that neck muscle from the ear, right down to the pain in the neck. That's the sternal clean. Oh, Mastoi. And that's there and how that fits, right? And so that can be a front of the neck like this. It can be even a back like that. See that there's a C seven right there onto the Jurassic part of the vertebra. And so we've got this now situated where we're actually three quarterback, you know, and we're looking at they back of the neck now, whereas before we were looking at the front Now that's really cool. Cool, That's powerful. So let's do it one more time and, ah, draw that same shape, not changing anything. See how much we can get just out of that simple, well designed, distinctive shape. And I'm gonna put the ear here. I'm gonna draw You're a little bit thicker here. We get that thicker edge. So if you think of the here is kind of a slice of salami, right? And I just cut this part and I end up with this kind of shaped like that, that's like an ear, Okay. And so that's what I'm doing. I'm thickening up this top part on the bottom. If you're looking up, you can thicken up the bottom part of the year, But just gives it that little extra sense to the viewer where they're at. So if I find this inside corner now, I'm in. The ear is down crowding the jaw. I'm up above looking down 3/4 front. Right? So that's amazing. Amazing stuff. So you want to think about your shapes? Designed them, make him simple, make him ah, you know, distinctive of what it is. And then you'll be able to start designing your own stuff. You'll be able to draw faster. If you're doing storyboards, you need to knock out lots of frames per day. And I didn't lots of this on storyboards. And I used this exact idea to, you know, speed up the workflow cause time, you know, it's money. Uh, so, hey, I hope that this really helped because it really helped me. And I got this from Steve Houston. He's a great teacher, and he teaches it so beautifully, and I just wanted to share with you today. All right, let's do another set. This time. It'll be 35 minute head drawings and feel free to draw along with me. Uh uh. 54321 for. But you