Draw the Head Front Planes Made Easy for Portraits and Character Design | Chris Petrocchi | Skillshare

Draw the Head Front Planes Made Easy for Portraits and Character Design

Chris Petrocchi, I help artists grow on their journey

Draw the Head Front Planes Made Easy for Portraits and Character Design

Chris Petrocchi, I help artists grow on their journey

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9 Lessons (1h 18m)
    • 1. Front planes of the Face 1

      12:15
    • 2. Front Planes of the Face 2

      12:01
    • 3. Front Planes of the Face 3

      7:27
    • 4. Front Planes of the Face 4

      5:59
    • 5. Front Planes of the Face 5

      14:44
    • 6. Front Planes of the Face 6

      10:33
    • 7. Front Planes of the Face 7

      6:31
    • 8. Projects 1 and 2 front planes practice

      3:53
    • 9. Project 3 construct head in three quarter

      4:36
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About This Class

The reason why people struggle with drawing faces is because they haven't mastered the basic structure of the head. The two main tools available to solve this problem are the planes and rhythms of the head.  In this 1 hour long tutorial a unique approach is taken that combines both planes and rhythms into one powerful force multiplier that is easy to understand. Begin putting it into practice right away and watch your drawings improve dramatically. Very effective for portrait drawing, painting and character design.

In this tutorial you'll discover:

  • A clear step by step orderly method for drawing the face from the front
  • How using the idea of the box can simplify the face and help you quickly and accurately describe the form and it's direction in space
  • How to build the head by moving from the general to the specific making it easier
  • A simple way breakdown of each part down so you can understand exactly how to draw them
  • How to unify the head and integrate the features giving your drawings a solid and believable appearance

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

Visit More Classes To Improve Your Drawing

Draw Portraits Better Than Anyone Else: https://skl.sh/2VGBSpG

Draw The Head Fast With One Simple Shape: https://skl.sh/2NvkfWN

Draw The Front Planes of the Head Made Easy: https://skl.sh/2SeCoZ6

Easy Way To Draw The Face Using Shapes: https://skl.sh/2HoI7HC

10 MINUTES TO BETTER PORTRAIT PAINTING: https://skl.sh/2QiMg5o

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:

https://www.instagram.com/drawjuice/

https://www.drawjuice.com/

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)

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Chris Petrocchi

I help artists grow on their journey

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Transcripts

1. Front planes of the Face 1: Hey, everybody. And welcome to my video. I'm crisp it Rocky. And today I'm gonna be taking you through step by step, how to draw the front planes of the head. And once you master this skill, your faces, your head, your portrait are gonna look solid. Three D because you're describing the form and communicating its direction in space with the simple box like structure the planes that comprise the box and it's gonna be awesome. So let's get started, Okay? When it comes to describing the form of the head and showing its direction in space, which one of these primitive shapes do you think is the best one to do that? Well, if we look at the sphere, we can see there's dimension to it. But it's hard to tell the direction in space because, well, we turn it. There's no obvious inside corners to tell us the direction so we can see it's a form, but it's and it's kind of characteristic of the head, but it's not very good at showing the direction in space. The cylinder is a little bit better because as soon as we start to rotate it, we can see that It's got a bottom and a top. Pretty clearly. It's because of that inside edge that's so crisp it shows clearly the top and the front so we can get the top run and bottom. But we can't really get a sense off if we're looking at the front, back or side, because I turn it. It just doesn't have any information there to tell us that. So guess what? The Cube is the best one to do the job, because when we rotate it, we can see it has a front aside, a top and a bottom. Okay, it's got two sides. It's very clear because of these inside corners here that conspired to give us the dimension. So we've got these planes, top two sides or a bottom and two sides something like that, and that's your best bet. So it's the planes that actually help us squeeze that architecture out of our drawings and make it look three d okay, this is why something like this is so helpful because it's I don't know if you're familiar with it, but it's very similar to the Sorrow head named after John A Sorrow, who is a famous painter If you don't know his portrait, its or his figure at work, you should. But he made this cast. It's a plainer head for teaching purposes, and everybody uses it. So what it does is it basically shows off planes of the face really well. But you can see the forehead as three planes. It has an obvious top. It has obvious sides. You can see where the front plane changes into the side plane of the head, so it's all really spelled out very clearly. And so this is the idea of the plane or head. And right now we are going to talk about how to draw the front planes in the head. So let's get started now. A lot of people have trouble drawing the head. Sometimes it's just with the features spacing and placing the features, the planes of the head rhythms of the head. There's a lot of things going on, so let's talk about why you'd want to master or begin to draw the head. So it's kind of take a look at that, um, one. I think it's one of the most interesting and beautiful things to draw on the planet. I love drawing the face, the head, the features, getting a likeness to me, it's just, ah, cool thing to do. It's also a good opportunity to solve any drawing problems you could possibly face, so it's excellent practice. You could also get a job down the road as a sculptor. If you know the planes of the face and really well and you're a sculpting jar, you could translate that into sculpture. You could become a portrait artist and paint beautiful portrait's and oil are or acrylic paint or charcoal and so on. Um, you could be a concept artist or character designer. That's cool. Ah, storyboard artist, even a caricature artist or an illustrator. So all those things are possible. Road. You could go down if you can master drawing the face. So let's get into this in and do this. I'm gonna turn my flow down to about 9% in the mixer. Brush really kinda makes things look like natural media. So what I'm gonna do is just really lightly block in common. A. That's that's your quick start right there from the front is an A and just kind of kind of kind of space in place in a very general way. The egg, And then I'm gonna get bisect it vertically down the center and horizontally. I'm gonna find the center from top to bottom. Okay, that's a great start right there. I'm just going to swing out with a little sagging C curve right there. A bit of the neck. This really roughly. Okay, so now that we've got that, um, we can go from the top of the head, I halfway just a little bit above the eye is gonna be the eyebrow. And then halfway between the eyebrow and the chin is gonna be where the nose is. That and then from there we can go urns. So what we just did was we went halfway is where the eyes are. And then halfway from the brow to the bottom of the chin is where the noses that was another half. And then we divided this into thirds. Okay, so the 1st 3rd is where the mouth is gonna be generally, and then next third is gonna be right below the lower lip. It's the top of the chin, and then you get the end with the face right there. The bottom of the chin. Okay, so we're doing good right here. Um, I'm just gonna Now that we have the eyebrow, I just draw a horizontal line all the way out to the side. That's where the top of the ear is gonna be. So I'm just gonna draw those in real quick, and I'm gonna try and keep those real simple. The bottom of the nose is where the end of the year, the bottom of the year is going to sit. So, somewhere between that middle third is where the year is gonna be. I'm just gonna try and get that in kind of quick here. Kind of like a disk. The top. But it has a thickness is it rolls back. Okay, good. So now I'm gonna basically place a dot where the eyes I think are gonna be so I just kind of feel that and put it down right there. And then what I'm gonna do is from the middle of the forehead. I'm just gonna drop a 45 degree angle, right like that. And what that's going to do is help me find the tear dot on the inside edge of the I and it's also gonna help me find the edge of the nose playing where it meets the cheek. So somewhere in here there's gonna be that edge of the nose. And so where that finishes hits the cheek and becomes the cheap plane, that's important to know. I'm just gonna lightly put that in. And then what I'm gonna dio is kind of just from here on the right side, not quite all the way to the edge of the face, but just inside a little bit. I'm just gonna draw a visor just like an arc right there. And that's gonna be the brow ridge. And then I'm going to go ahead and kind of block in where I think the eyes gonna be. And that tear duct is right here, and I'm gonna make that I just right right there just a little bit not touching, but very close to where the tear duct would be. Okay, just blocking that and working very lightly. And I'm not going for a clean, exact line at the moment. So then I'm gonna drop okay, plum line from the center of the eye, each of the eyes straight down that's gonna give me two things that's very important is it's gonna give me one the end of the mouth where it terminates. It's also gonna give me, uh, where that where the chin is and how the chin separates from the jaw. And that's really important. So I've got that. So I'm just gonna make a little overlap for the chin right there. No overlap with the chin and jaw kind of starts. And then right here, just that little lying at the top of the chin. If I draw a horizontal line out there, that's gonna be tell me where the chin changes direction with the job changes direction, starts going up to the ear and defines the side plane of the face a bit more. Right? Excellent. So now when I want to do is just You sure got kind of a circle here cuts in a little bit to the nose to the edge of the end of the mouth and then the top of the chin that is the two cylinder or the muzzle, and I just need a space in a place for that 2. Front Planes of the Face 2: And then next thing I'm gonna do is define the front plane of the forehead and the side plane. So I'm gonna about right right here. When you decide, I'm gonna swing out of seeker to swing out of Seeker just like that, Okay? And now I've got a nice front plane to side play. Part of playing stepped down side playing. The more I can show off the box, the better. So now I'm gonna take that upper part of the cranium, just make it a little more of a circle. Then I come right down all the way through. It's gonna leave me to about the bottom of the nose, okay? And that's important, cause that's gonna be where the bottom of the cheek is. And so I just want toe connect everything and relate everything one thing to another, from the top of the head to the bottom of the head, and that's gonna make it look even more realistic. If I can do that, I can connect everything. Okay, so you might see that there's a kind of a shape now like this, right? That's what I just made. So I find that if I can simplify shapes and find silhouettes flat to be puzzle pieces that make sense to me. Um, I can put those in there. So I tried to draw those sort of comparisons to make things easier to memorize. Kind of shape recognition for me. And so, having swung out those see curves now, I kind of got that. Um, I'm separated out again. The side plane of the forehead from the front plan. Okay. And that's looking good. Um, next thing I want to do is write from there right from this. Ended this brow ridge right here. That's gonna be the top part of the cheek where the cheek starts and that divides her, delineates the front plane in the face from the side plain in the face. So I'm just gonna go straight down to the to the jaw with that jaw. Starts where the Actually, it's the chance. I'm just gonna go straight down to the chin, okay? And then take my flow down a little bit. So they're now I've got that side playing differentiated from the front plain of face. So you kind of see front playing. Stepped down side plate, right front, playing side play that's good stuff. Okay, so that jaw or that cheek Bo where it starts and where it goes down, it can go straight down to the chin. You can go right to the edge for the terminus of the mouth right there where I can go right underneath, to the top of the chin C of three options There. Where The cheek kind of Congar. Oh, it depends on the person, the sex and the ethnicity as well. Okay, so the next thing I'm gonna do is right here at the top of the forehead. I'm gonna draw a kind of a Chevron shape or Keystone shape, and it's gonna look like that. So here's the shape again when we draw a little bit higher. So it's here like this. It looks kind of like a razor blade. It's kind of a trap is only in shape that fits right there. And that's, uh, super Salieri arch. They call it, or where the globe Bella is. And once I've got that, I'm gonna pull some three dimensionality into it. Some. I'm going from two D now to three D just by pulling extruding some shapes off the sides and so Now I have a front and two signs on the bottom. Okay, front two sides in the bottom. And so what? That's gonna sort of turn out to I'm gonna translate that into my drawing here. When is your men a little bit? All right, here we go. And I'm just gonna docking at a little bit seeking you. See it there, There and there. Right. Perfect. So that's gonna give me the inside of the eye socket of the upper part of the eye socket. Okay? And that's usually in shadow, so I'm just going to darken it in a little bit. All right? And then that's gonna move us right into the globe. Ella, it's right here. We don't need to talk about that too much, but I'll just put it into liquid. Um, but it's the star right here of the eyebrows of the eyebrow, wraps around, starts underneath the brow and then comes over the top and wraps around the top of the eyebrow up the ground. So it starts on the bottom and wraps around on top. Just something like fax. Still not getting a little bit. Call another layer. So it starts on the bottom wraps around the top. Okay, so there's where your eyebrows just ride along that brow line right there. It's kind of like, uh, you know, a piece of paper, and if you twist it, okay, and you get the kind of, ah side that twists away eyes in shadow and the stuff facing the light is lighter. So this is on top is light and here is in shadow. And that's kind of like how this Brown is starts from the bottom and twist over the top starts on the bottom and then twist over the top. So practicing this right here is really important. Second twit, A piece of paper with a twist in it. Okay, let's move on to, um now that we have the the eyebrow in place, wouldn't kind of talk about, um, the inside bottom part of the eye socket. Let's let's do that. Um, we can kind of get that by this part of the keystone right here. Just go ahead. Right there is the bottom part of the keystone, and that just arcs right into and sort of delineates the top or the You have the top part of the orbit of the I just swing around like that. Built from here. It just swings around like that. Okay. Looking good. The next thing I want to do starting up desire ground a little bit so you can see him better. Okay, so you go back to my my pencil tool. Let's see if we can go ahead and kind of, like, delineate the temporal plane from the frontal, playing a little bit more and come show off the bottom of the cheek a little bit. So that's gonna be important to know where that cheek ends right there. And some people, you can really see that. Well, some people, you don't see it at all. Put it in there for demonstration purposes. And let's take a look here. Combining these layers and just was looking a little wise. I'm gonna make a little narrow and keep going 3. Front Planes of the Face 3: So next thing I want to do is put in the No. So the nose is basically a prison, and so I'm gonna keep it real simple for myself. Okay, so basically prison. So prison looks like Look, something like this. It's a little bit wider at the bottom that it is on top, and it's got a front two sides and top of the bottom. Someone trying to show that up. I'm just building it a lot of really simple primitive shapes because it's quite a complex thing. But if I can kind of space it and place it in there with a very simple idea, like a modified, uh, rectangle, which is a pyramid. And now I've got a friend step down to the side, and I've got a bottom plane right here. Okay, so that's awesome. That's what I want. Just gonna take this a little bit smaller. You have a little bit more room, but, um, I basically want that to hook up. Okay, So I'm gonna hook these up this to this This to this right and then this to this, and that's gonna build my nose from the keystone or the global A in other words. Pride in tow. Side plane of the nose. So let's do that. What do you mean, a little bit? We're out of color and see if we can go ahead and put that for about flow up a little bit. Okay. So narrow at the top. Wire on the bottom and go ahead, Put the bottom right there. Go ahead. Give us land a little bit. Flare there, but a curve. We'll see if that I think I'm gonna end it in a different spot. You see how come right out of the socket of the I? And then there's the bottom of the prison side playing of the wings of the nostrils. Also called All, uh All right, so now I've got a top clean side plane, front plane of the face. Okay, That's what I'm looking for. And from there, we're gonna put in the mouth. Let's do that. So, from that split of the lips, basically, I'm just gonna swing an arc just like that. Put a little V shape in there. Yeah, going to connect that to the still trim from the nose to those top peaks of the lip, and then I'm gonna put the two Burkle in, which looks like a little heart shape. And then I'm gonna swing too little arcs out to the edge. We just be fat up a little bit so you can see swing out, swing out. Okay, Come in. Then. There's something called the masculine er node right there at the end of the terminus of the mouth. So just cut that in, okay? And then I'm gonna swing in our right there, huh? And then creating almost a w shape right there. Yes, we got em shape on top. And then we've got an echo of that them shape. We have m shape on top right here. Can't see them. What? Them shape the echo of that M shape. Now on the bottom, we have a w kind of a reverse at the top. Hi. And we put in the two Burkle there, right there. Such an important thing. And this is the filter, um, and in going into the septum of the nose. But let's wait for that. So we've got our mouth and we'll turn the corners up just a little bit, and the mouth is gonna be top of the mouth. Is usually in shadow. Someone that was some tone. Definitely. When it goes back into the end of the mouth into those little looks and create is gonna get darker, and then the bottom lip is going to be. There's a top plane and a front plane, and so I leave that top plane in light. And then there's the that shadow between the bottom of the lip and the top of the chin. We're just gonna put that in that kind of swings around. Kind of like like a horseshoe shape right there. No. Okay, you can bring that up into almost, like the laugh lines or the muzzle and kind of see, connect that stuff a little bit. All right. And then we've got chin, the space for the chin right there. 4. Front Planes of the Face 4: you know? So I was put in Thier knows, so the nose can really look like and m shave. At the beginning, I was just kind of a m right there becoming a bringing this up just a little bit. It's looking a little low to me. Storms bring up. Sometimes you have toe always be modifying the thing. Okay, so we've got the basic kind of m shape for the nose, and, um, now we can put the nostrils in. So from that septum of the nose, uh, so I don't go and explain a little bit. So I'm gonna put in the ball of the nose right there and then the wings of the nose, and then they kind of come in. So you have the bottom of ball knows. So what you have is front plan of the nose. Stepped down to the side plan top plane of the wing of the nose, stepped down to the side plane of the way of the nose. Right. Step down top. Sorry. Like that. So we're thinking like a sculpting jar trying Teoh, find the planes and show off the corners. The more than we can do that. Surprisingly, our head is gonna look more real, Do you? Okay, so let's break down. That knows again. So the ball of the nose just looks like circle just like that. And then we come down into the septum of nose here, which looks like, like this into the nostrils so that all the nose goes right into something like this. Okay, so that is like a hot air balloon. Right? So that's the shape. Kinda like the hot air balloon. Okay, then. Then we've got darknet up. Look it. So the wings of the nose look kind of like, uh, tiles on a Spanish house. Right? So kind of goes right into the waiting's knows right there. That spot on playing by plane. All right. Okay. So we have that. Stop that out a little bit more, so we can get to see it. Okay. Connect. Set them to fill from into the two Burkle. All right, Steve. Very sound good. Okay, great. We're making great progress here. Now we're gonna put in. I think we're gonna define the top part of the cheeks a little bit, so let's do that. So, from this inside top part of the eye, socket. We're just going to swing, take a special look bigger. We're swing an arc out just like that Boom. And that's gonna be the bottom part of the eye socket. Okay, so from that line, boom, swing arc out. And that's gonna give me the top part. It's kind of the top of the cheek. Bottom of the eye socket. Okay, so this is all gonna be front playing right here. Front plane of the face. And this stuff is gonna be top plane. See that? That's good to know, because sometimes you want really sculpted cheeks. A supposed to really soft cheeks. You might have more masculine cheeks as opposed to feminine cheeks, you know, depending on the character and what you gotta do. 5. Front Planes of the Face 5: and let's put in the eyes now. So the eyes let's go down here a little bit. You could kind of think of this is, like draw a circle here and then redo a dolphin shape like a poor piss. And then we do another dolphin shape around it. Okay? That's gonna give you basic. I we'll put there Iris in there in the middle of the people, And that top lid is gonna overlap the bottom lid. So dismayed that happen. And then what you've got is the step goes into shadow and the ends of the legs go into shadow. It's gonna be dark. And then that top live is gonna cast a shadow. Want to the iris on this? Clara Like that in the bottom was just gonna hit it like that. So right in here is right there. That's that side plane. It's the beginning of the nose. And wherever that keystone is sitting there, right, and then I brown twists over the top there so you can put really dark right in center there for people back here. You were gonna dark in inside part of that spear. Okay, so what you have is really a top part of the lead who's down over the ball, and I you got the top part of the lower lid and then going down to the front of Lower that okay, top part inside. So try to sculpt that out a little bit. Okay, so let's go ahead and let's do one more thing about that from the side. You've got the ball of the I got the cornea and you've got people in there, and then you have the top lid that top live is gonna come out farther and overlapped the bottom. That's the bottom with it's here like that as the I last there. And so you have cash shadow right there from the upper lip into the eye. You have shadow that lower lip, and so a lot of times, students, we'll get that messed up. And so you don't have that upper lid overlapping the lower lid. There's the people, and you have that cash shadow theme. The other thing you have is the catch light right there, Um, right there next to right next to the people, overlapping it that catch light. That's like the life like that shows that you have a living being in there. The window of the soul. Okay, so let's do that. Let's put the eyes in so and coming up, Start this color. So you get tear duct going to need this digital pressure here. Back off on the flow. Okay, so we have teared up to teared up. There is one I in between tear ducks. One I leg. Yes, I think I can swing this over the ball, and I Okay, that I'm a swing. The lower is live right in there. So that that kind of pour piss. Look, the dolphin look that we talked about, You can see the apex of the upper lead is not right above where symmetrical with the lower lip, they're offset. And that's important. Student on the sides about teared up. Swing out to your duct here, upper lid, overlapping the lower lead. You can see a little bit of that inside of the upper lid. The tear duct is usually dark. Yeah, lower lips. Let's put in where the I it's gonna be a Okay. You put that pupil in their real dark. Okay, We're sticking up that upper lid. Got that shadow. It's also got eyelashes that I'm not gonna draw lashes. That never looks good. Okay, then there. Stop the top of the lower lead and then the site. Side plan lower. Coming up your top. The lower lead. Okay, check it out. Take by. I need that side point his nose. I'm gonna out of value here just to show that and you know, you can you can drop it straight down. You can. You can kind of create a a rhythm right here. You'll see it more bowed out on some people. Either way, it's OK, um depends on the person. So I'm just gonna go ahead and put that in. And so there's the that were the side play to the end, then side plane of the nose ends and moves into the cheek is tricky. So, um, that's why the prison helps, because it gives you kind of a definite place for that to happen. I'm just gonna dark out the bottom cheek care, come here. And where the terminus of the upper layer is, who put that into some shadow and talking to stuff a little bit inside. Playing up the keystone that keystone isn't actually a downplaying. So I'm gonna go ahead. Put that into shadow. That would be facing away from the life. Let's go ahead and put in cash. Shadow upper lid onto the square up. Yeah, hi itself the iris darker. The pupil is going to the only place where super dark and in the white to the eyes you're not gonna have It's never gonna be super white. It's always wait, So I'm not gonna I'm gonna leave the white accent for the highlight. So let me just put that in. No, but people in it's not up a little bit called the new layer. Get real black with that, okay? And then put in that highlight. Go. Oh, I had something like that. Just hit it. Let it be starting up the eyes a little bit here, something this side. Sometimes these things are easy to do with a chalk or pencil as opposed to full of shop on glass, you know? So that's I started looking better beef up this crease right here, and I just give that lower. I live just a touch because that's we're going to see some hair. But the inner one, right? I don't beef that one up too much so that I could define the iris a little bit more. Get into that a little bit more later. Beef up there, I bro. It starts underneath, twists over, starts underneath, brown twists over. It ends up on top of the forehead. Okay, the inside part of the eye socket times will swing around like that. This kind of swings around, okay? 6. Front Planes of the Face 6: I want to define this these planes a little bit more from Talis, the temporal. It's the site of the head. You know, We've got the top of the cheekbone here, starting and then coming right down to here. And then we've got the chin box that's gonna come in defined chin right there. So the chin has the front plane and a top and a side to someone hit this. It's a little bit. And so it's just kind of defined a lot of important when you show up the box. Like I said before. Then it curves and corners of too many curves. It looks cartoony. You get too many corners. It looks lifeless, the curves and corners of the best of both worlds trying. If this looking, let's digital one more what I like. So, like I said, you can have the cheek go right to the corner of the mouth. It can swing in and go right to that space between the lower lip on the top fortune, or go right to the side of the chin right there. So you have three options depending on you know who it is, male or female, and the ethnicity. Uh, you can have, you know, cheekbones coming in right there, um or not. But it's helpful to know, and then you have the front plane of the front of the face. And then, uh, the mouth, the barrel mouth basically so that's gonna protrude out. And then at the edges, it's gonna recede away from us. Something dark in that little bit. And I would make the edges really right there between the top of the lip in the bottom of lift that goes into really dark shadows is gonna go ahead correcting that up. That takes a little while, but starting toe starting to get there. You're trying to hit this thing a little dark right there. In fact, in decrease my flow a little sense, a shadow that top Let that I always get want to go back to my pastel like brush and hit that lower leg casting shadow. It's a little dark in here. What dark in there? We're definitely getting there. I want to sculpt that out. That knows a little bit. Let's do that kind of beef up this front part of the cheek a little bit. It's right there. So now have a look. Quite a sense of its turning away. And then we have a friend, and then we have a top. So again, we've got no comment, talk, friend, and then it goes lender top front Under is, let's get to that knows, scoped out the front part of it again. So we've got the wing of the nose. Took part. What part of all of the nose oak plane change there? No stroll. Okay, So that ball the nose is going a lot of times has a split in it right there. So we can dry that out. And then what? We have the top part of the nose where it begins and separate town from the club L A. So I got this shape that looks like a diamond and that fits right into that. All of the nose she looks like, you know, kind of like a diamond. Or even like a coffin. Okay, that's that bone part of the nose. That bone part ends right there. So we've got front plane side playing end of the side plan of the nose beginning of cheek. That's that. That's what we want those areas really tricky. It's hard to see some of those plan changes, so we can kind of put him in and overstate them a little bit. Then we can back off a little bit. We need it so that front plan of the nose is gonna fit. Kind of lock and key right into the ball knows, and, you know, right, Miss can kind of sometimes you see increase here. Depending on the age sex of the person can play that play that down could define a little bit of open space right there in the lips. Looks like persons. You can say something and keep that upper edge of the lip kind of soft. You don't want to any hard lines there. Okay, just get the cheese a little bit. Sort of that. The two cylinder or that that mouth is sitting on a ball that lips were sitting on a ball. No one could make that sides of the ball go away in turn, under just kind of state that a little bit more, somebody might have like a dimple. You can take some stuff out here that nose playing into shadows a bit more. Besides, in the shadow, just a little bit just has to pop out. Look, it's too much with this shadow for sure. You know another possible playing right there dio for their delineating the Fontana lists front part before head. See that sometimes when people 7. Front Planes of the Face 7: it's getting to find top of this. When will be the hairline? Somewhere in here. So callous. Taking a bit of a hairstyle back off. Kind of lost that years. In this whole process, you can put those in quick and then the sideburns come somewhere there, depending on the hair style. Those years in their own quick, tricky years Alitalia. All right. It's a big years. Stick that just move it in a little bit. No. Okay. And then I'll just hit them with some tone to pushing back. I don't want you looking at this too much. One of their, but not to call trust attention. This just to find that neck right into should have been there. Corrector, if you care about that too much. Okay. So back to this hair style, putting on the style just kind of throw it in to complete this thing, race out some of the staff so you don't see how did it and then push there. And that kind of just to find that a little bit too much, it's there. It was kind of push it back in the space. A little good. - Who will show we count and you're always modifying continually. It never never ends. Art never ends. Sometimes you have a deadline, so you have to just stand ship. He's put a little bit of told him his hair. That's that's all right. So there you have it. Suara trying to get those eyes set back a little bit. It was too much because I could pull it out again with them. Super white highlight beef up the pupil. Try to get them to emerge out of that shadow glass glass polls. Oh, right, That's basically it. You master this. Your drawings are gonna get a lot better. Trust me. So practice it and watch your drawings become more three d More convincing and solid and realistic. All right, we'll see you next time. 8. Projects 1 and 2 front planes practice: All right, here's what you're gonna do in the first project. You're simply going to practice drawing the planes of the head using this front planes of the head drawing guide. So if you look on the left, you'll block in the head with the basic proportions heights with placement of the ears or the angle of the ears where they go and then you add continually. Add the proportions of the features just really basic stuff in the second step, and in the third step, you go ahead and indicate the planes, the front planes of the head, and you'll just do that in every box, right down the page. So that's the front planes, the head right? Then he'll do the same thing with the side planes of the head. You used the side planes they had drawing guide and your block in on the left with a quick triangle, and you put the proportions in and then you'll construct. So there's the workflow going here with, um, a big block in with simple shapes here and then figuring out where the proportions are the eye line brow, nose, lips and so on. And then you're gonna go ahead and construct so three steps. Just do that all the way down the page. Now, just doing this is gonna familiarize yourself with the planes of the face. That's the fastest way I know how to do it. And you got to know this cold. Once you know it cold, you're free and you can You can design. You can redesign. You can draw realistic faces and you can communicate it your ideas to others. You can teach it to others, so it's really powerful. So just spend the time on these drawing guides. Do that work now. It's going to take you half a dozen times to a dozen times to really get this under your belt so you could do this worksheet more than once. And then what I recommend is doing some studies from reference. So let me show you what I mean. Take a photo and have it next to you. The planes diagram and then just cover your photo with some tracing paper. Or you can do it on a photo shop on another layer or even procreate. And then just with a big fat marker or something, you can see just draw in find the planes and draw them in and study where they go. Um, and this is really a great way to now. Take your what you've learned and make it practical. And just tracing from photos is is great. You can do it from life, too, but this is just a good. And once you start doing that, you'll be able to kind of look at the model or look at photos and understand why something's happening. Why some things light and where it where the plane change turns dark, gives your drawings dimension. And that's what you want. You want that three D kind of architectural sculpting. Draw her look and you can do it from the front side and 3/4 views. And, you know, do that your sketchbook do about No. 5 to 10 of those, and you'll be in really good shape 9. Project 3 construct head in three quarter: Okay. In the second project, you're going to construct a plane or head in 3/4 view. So we have the front side, and right over here, you're going to space for you to create your 3/4 view head with the planes. So what you're gonna do? There's some instructions right down here and you're just going to draw the guidelines from the side view of the head towards the right that corresponded plane changes in the tops and bottoms of features. So just like you see here extended out the top of the head to find the top of the head of the side view from the front view. The bottom of the chin just extended out and I confined. What a place. The side view chin. All right, Bottom of the nose. This is exactly how I worked when I was working as character designer on The Godfather game at Electronic Arts. Basically, after I had drawn the 1st 1 here, then I would just carry some horizontal guidelines off to the right. I'd find the top of the head widow's peak, top of the eyebrows, top of the ear. Hi line right top of the nose wings of the nose brought up in the nose peak of the lips, split of the lips. Right. You get the picture, and this is this is what we did. And then we over on this side here, we could start to construct a profile view that was have the exact proportions as this one on the left. And so we're trying to redraw it from the right inside view and just make it a lot easier. Seems a little technical, and at first, but it actually works really good when you're under a deadline toe work this way. So that's what you're gonna do here from the side view. Just extend out guidelines this way and you'll find just picked the peaks, pick the things that stick out to you. Um, and this is great for lining up the features finding, uh, exactly where the parts are. The eyes, nose, mouth, ears. So it's really good for that in terms of vertical spacing like this space here, the space here, right between the eyebrow and the nose like this. This space here, right for the with for this year, you can just you can measure it. The with is a little bit harder to find with this method. But basically, if you just, you know, draw a circle and add a little triangle, you'll be OK. I mean, the head fits into a box. So if you're really wondering how wide to make the head, you know, remember, just fits roughly inside a box. You can You could do it that way too. So I wouldn't worry too much about that. But the main thing is just to line up the features and then start to put start to construct a 3/4 view of the head. All right, when you're finished, it's gonna end up looking something like this. Okay, so that's kind of what you're shooting for. I know you can do it. Have fun with this assignment. It's very constructive and productive. You're going to get a lot out of it and you'll be moving down the road with your art. And don't try to be perfect. Just make progress. All right. So I really hope you enjoyed these lessons that these projects air helpful to you. And I can guarantee you if you do this work you're drawing is gonna get better, faster, and that'll be awesome. So All right, We'll see you next time