Drawing The Human Head - Beginner Course For Developing Proportions & General Accuracy | Robert Joyner | Skillshare

Drawing The Human Head - Beginner Course For Developing Proportions & General Accuracy

Robert Joyner, Making Art Fun

Drawing The Human Head - Beginner Course For Developing Proportions & General Accuracy

Robert Joyner, Making Art Fun

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
30 Lessons (6h 22m)
    • 1. Class Overview

      3:03
    • 2. Materials

      5:50
    • 3. Profile View

      7:58
    • 4. Profile View - Demos

      5:22
    • 5. Front View

      9:42
    • 6. Front View - Demos

      7:23
    • 7. Neck 101

      3:27
    • 8. Neck - Demos

      5:20
    • 9. Back Of Head 101

      5:25
    • 10. Back Of Head - Demos

      5:57
    • 11. Head Angles, Ear, Cube & Tube

      13:17
    • 12. Master's Examples

      9:49
    • 13. Practice Reel - Basics

      11:01
    • 14. Student Critiques - Basics

      19:14
    • 15. Robert's Practice Reel - Basics

      10:21
    • 16. Box Construction - Part One

      8:45
    • 17. Box Construction - Part Two

      12:56
    • 18. Box Construction - Part Three

      15:46
    • 19. Box Construction - Part Four

      13:03
    • 20. Box Construction - Part Five

      8:22
    • 21. Box Construction - Part Six

      16:44
    • 22. Box Construction - Part Seven

      5:30
    • 23. Masters Part One

      13:12
    • 24. Masters Part Two

      12:40
    • 25. Practice Reel - Intermediate

      51:00
    • 26. Student Critiques - Intermediate

      15:22
    • 27. Robert's Practice Reel - Part One

      21:55
    • 28. Robert's Practice Reel - Part Two

      28:09
    • 29. Robert's Practice Reel - Part Three

      16:36
    • 30. Robert's Practice Reel - Part Four

      18:26
24 students are watching this class
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

913

Students

7

Projects

About This Class

d7933f5a

Learn the basics for mapping out key facial features and the main structure planes. This course is beginner friendly and loaded with tips on drawing the human head.

If you ever wanted to learn an easy approach to drawing the human head this course is for you! It's loaded with techniques and ideas that will teach you the basic head structure and proportions from multiple angles. Below is a breakdown of some of the techniques we will discuss;

Section One - Learn how to quickly lay-in the profile & front views. We will breakdown various methods for understanding the overall shape(s), gesture, proportion and locations of main facial features.

Section Two - Learn how the head connects to the neck from the front and back. Then we will learn how the head shape changes when it's in various angles and perspectives.

Section Three - We will see how some of the Master's applied these ideas in their drawings. A great way to reinforce the techniques and see them in action.

Section Four - It's your turn to draw the basic shapes of the head in various positions using the practice reel. These are timed poses where you draw from the images furnished in the video.

Section Five - You will see an in-depth look at Robert's practice reel as he draws the exact same heads you did in the practice reel.

Section Six Through Ten - You will learn the intermediate construction ideas for mapping out the face and features. We will discuss several techniques for understanding front and side planes, how facial features are impacted when in various perspectives and much more...

Section Eleven - We will take another look at how the Master's applied the intermediate ideas and techniques to their drawings. You will also get a chance to do them on your own using the second practice reel. These are five minute poses.

Section Twelve - You will see how Robert completed the practice reel as he talks through the techniques he used in each pose.

Need Materials?
Click here to preferred supplies

More SkillShare Classes By Robert Joyner

////////// Head & Figure Drawing Courses //////////

Drawing The Human Head Part 1 - You are here

Drawing The Human Head Part 2

Figure Drawing For Beginners - complete step-by-step guide

How To Draw Hands

Abstract Figure Drawing & Painting

////////// Drawing Courses //////////

Drawing Essentials Course

Fun Drawing Exercises To Improve Accuracy And Vision

Painters Guide To Design And Composition - All You Need To Know In One Class

Unlock The Power Of Interlocking Shapes - Intermediate Design & Composition Class

Improve Your Basic Drawing Skills With Easy & Fun Exercises

Linear Perspective Techniques - Learn To Create Depth On A Two-Dimensional Surface

////////// Watercolor Courses //////////

Easy Watercolor Paintings

Simple Watercolor Landscapes; Paint Your Own Loose, Colorful, Monochromatic Artwork

Watercolor Beginner Technique Masterclass With Easy To Do Projects

Unlock The Unique Qualities Of Watercolors - Focus On Color, Transparency, Value And Neutrals

Watercolor Flowers; Wet-In-Wet Techniques

Flowers With Watercolor - Fresh And Loose Painting Tips

Tips And Tricks For What To Do With Your Bad Watercolor Art - How To Turn

Advanced Watercolor Techniques - Working With Values, Reflections And Capturing Light

Advancing In Watercolor - Intermediate Tips & Methods For Painting Fast & Loose

Advanced Watercolor Landscape Masterclass

Advanced Watercolor Class; Brushes, Values, Layers & More

////////// Acrylic Courses //////////

Acrylic Painting For Beginners

Landscape Painting Fundamentals Part 1

Landscape Painting Part 2; Sunrise, Sunset, Cloudy, Back And Front Lit Scenes + Composition & Color

How To Paint From Photo Reference

How To Blend Traditional And Contemporary Color Theories With Acrylics

Add Value To Your Art - Basic Acrylic Painting Fundamentals

5 Stages Of A Painting

Acrylic Seascape Painting - Basic Fundamental Demonstration

Abstract Acrylic Cow Painting

Paint Roosters With Acrylics - From Charcoal To Finished Painting

Tips For Painting Loose With Acrylics

Paint Loose & Expressive With Acrylics - Brushwork

Paint Loose Techniques Using Acrylics And Mixed Media

Expressive Flowers With Acrylics - Learn An Approach That Gets Results

Advanced Acrylic Landscape Techniques - How To Plan Your Painting

Explore Expressive Mark Making And Collaging - Abstract Cow Painting Class

Have Some Fun Creating With Acrylics, Collage And Graphite - Expressive Painting Techniques

Expressive Flower Painting Techniques With Collaging And Acrylics

Contemporary Owl Painting Techniques Using Pattern & Collage

Expressive Still Life Techniques - Secrets To Painting Abstract Style Art With Acrylic

How To Paint Loose With Acrylics And Mixed Media

Learn Tips For Painting More Expressively - Acrylic & Collage Class For Intermediate Artists

Acrylic Painting Essentials For Beginners With Easy Step-By-Step Project (OLD)

Acrylic & Mixed Media Essentials Part Two

Meet Your Teacher

Teacher Profile Image

Robert Joyner

Making Art Fun

Teacher

Hi, I'm Robert Joyner.

I'm a full time paint-slinger from Goochland, Virginia specializing in watercolor, acrylic & mixed media paintings. Best known for my signature loose brushwork and carefree approach to creating abstract style artwork.

YouTube Channel

Click HERE To check out my weekly uploads and Live sessions

Here's a quick look at some of my bragging rights.

Official Artist 2012 Kentucky Derby Arlington Horse Race Track Chicago National Pastime Baseball Museum Art On Carnival Cruise Ships 555 Fahrenheit Restaurants Art on sitcom Modern Family Artwork on sitcom The Odd Couple Artwork in movie Tracers 2013 Mixed Media Instructor Strathmore Papers Shenton Valley Vineyards Wine Label Polo Resort - upscale hotel In Hong Kong

I enjoy spending my ... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

phone

Transcripts

1. Class Overview: welcome to getting started drawing the human head. This is a beginner course that will help you develop a key understanding for proportions in general. Actors e Hi, My name is Robert Joyner. I'm excited to share this class with you here on skill share. So let's talk about what this course entails and how was going to help you draw the human head. You can break this course down into 12 sections in Section one. You will learn tips on how to quickly lay in the profile in front of you. Way will break down various methods for understanding the overall shapes, gesture, proportion and locations of some of the main. In section two way will learn how the head connects to the next from the front and the back views. And then we will learn how the head shape changes when it's in various angles and perspectives. Section three You will see how the masters five these ideas in their drawings. Looking at the old masters is a great way to reinforce the techniques and you see them and Section four is your turn to draw these basic shapes of the head in various positions, using the practice riel. Thes air time poses where you draw from the images furnished in the video. In Section five, you will see an in depth look at how I completed the same drawings, using the same practice real. And then you can easily compare some of the ideas that I used to your own. In Section six through 10 you will learn intermediate construction. Ideas for mapping out the face and other features would discuss several techniques for understanding the front side planes, how the facial features are impacted in various perspectives and much more. Section 11. We will take another look at how some of the old masters apply these intermediate ideas and techniques to their own drawings. You will get a chance to do them on your own, using the second practice Riel. These poses will be slightly longer, since he will be asked to add more information in section 12. You will see how I completed the practice Real and I will talk you through some of the techniques and ideas I used indeed toes. So if you ever wanted to learn how to draw the human head, this is a fantastic course. I'm sure a ble impact your art for many years to come. And for the project you can simply follow the course and completely assignments. As you complete the assignments which are basically the practice reels, you can start to post them in your own project. This will keep you accountable. And then I can in turn see how you're progressing through the course. So if you're ready to get started, we will kick it off with materials and this start to die. Then to the profile view of the human head. Thanks for watching, and I will see you on the inside. 2. Materials: in this video. I'm going to go over my drawing materials and set up first thing I'm going to show you is my drawing surfaced. This is newsprint. It's 24 by 18. This is a wonderful surface to drawn. Deacon have plenty of area to try. Your ideas is cheap, so you don't have to sweat about using quality paper or spending too much money at the top of this. I have large bulldog clips that air clipping this to a piece of drawing board. This is actually Gator Board, so that gives me a nice firm surface to drawn. Also note that I have a package of print paper and that elevates it. And then I have a pencil sharpener. Actually, that helps me just tilt the board. So the board is angled towards me is perpendicular to my eyesight. You want to avoid drawing flat? I cover that in the basic drawing class. I'm not going to go over that right now, but that just gives you an idea of the main surface I will be using on a lot of my exercises. But I will also use This is by Fabbiano. This is a fat pad for drawing paper. £70 cold press. Ah, lot lighter in color. Ah, little bit better quality, actually a lot better quality. We use this later on in the course, but in the beginning, you're going to do a lot of sketching and just studies. And this print paper works fine for that. I also had this 22 by 15 drawing paper. £70 cold presses the Blick brand, so I will leave. Leave a link for that And this is good, obviously, because it gives you a little more drawing surface than the nine by 12. So if you wanna drawn something that's affordable a little bit larger and gives you a little bit better quality than the print paper, this is a really good option. Next time we'll cover the drawing utensils you'll see me use. These are a lot of these air pretty thick. You can see the thickness of my pinky. They come in hard and soft leads. This is a to B. This is a nine. Be very good for chopping things in and getting your ideas down. Studies, and you want to be doing a lot of this stuff. You can see that you can sharpen that end or put a better point on it. But for the most part, yeah, this is all you need. If you hold it correctly, it will keep it somewhat shaped this way if I want to shape it better. I had this fine sandpaper here that I can kind of go over and get a little bit better point if it starts to get a little bit too blunt around on the end. So again, this is just fine. Sandpaper. Ah, lira. Graphite drawing sticks. I will leave links to all this stuff. Obviously, these are by Tom Bo. Um h b one b six b c got light, medium and then dark on the lads. You'll notice that their sharpened nice and long. I used a razor blade for that. So I just shave it off, and that gives me a nice, long lead to use. And then I can go back to my sandpaper and do all that stuff to get a little bit better point. So these air really good for a little more detail? A little more refined drawing. So you know we can chunk things, get our ideas in here, and then we know we can come back and get a little bit better. Quality of line using these just for teaching purposes. You'll see me use this red crayon once in a while just to draw over my graphite. But you don't really need these. But just in case you're curious what it is, this is an oil stick. The last thing are just these China markers. These air a nice and thick, nice and dark and really good to again draw over things. So if you start out, you're drawn light and maybe you want to get in here. Ah, and work out some of those details and a little bit better quality. And Chuck and things in these China markers air Really nice. They have a little string here. You can pull to get home or drawing out of it, but these are made by Sharpie. You'll see me use that once in a while and last. But a lot not least is my really thick Sharpie. You'll see me use this once in a while. I mean, some artists even like to draw with this when they're just chucking things in and learning . But that's a really super wide Sharpie, and that pretty much covers all of my material. So again, if you just want to use a you know, you know number two pencil and, um, just print paper you can use that to, but at least now you know the materials I'll be using. Like I said before, I'll leave links to this stuff. If you have any questions, let me know. Obviously, this is a portrait drawing class. We're going to cover a lot of stuff. You're going to need a lot of paper. These prints pads coming 100 150 sheets to under sheets. So I can't stress the importance of this because it's going to give you all the room and surface area you need to do allow these studies and drawing so anyway, that covers everything. I'll see you guys in the first lesson when we really start to dissect and break down the skull. 3. Profile View: in this video, we are going to look at the profile of the skull, understanding how the basic shapes work, how their proportioned will help you eliminate a lot of common errors. There are two anatomical elements that we need to discuss. The first is the skull that is the main part that covers your creamy Um And then there is the element of your face. We will first start with skull now, the first thing we need to understand other proportions. So the size of the skull and the size of the mask of the face the best shape to describe the skull will be an egg shape. Now, this shape can obviously change, depending on the model. Some skulls are a little more elongated, while others may be a little more spherical. For the sake of just simplifying this lesson, we're just going to use a basic X shape. And as I showed you earlier, this is the basic shape of the mask of the face. As you probably know, this mask holds most of the features of your face, eyes, nose, mouth and so on. When you compare the mask of the face to the skull, you will see that it's a little more square in a little more boxing. So the mascot shape is different in character than that of the skull, and there's a sense of where one ends and one begins. And, of course, there are other ideas on how we can best describe the shape of the head. You can even combine them into one shaped like an upside down sale of a sailboat. The advantage of this sort of shape is that it's much quicker and simpler, but the disadvantages you have some work to dio, so eventually you would have to add some additional lines and curves to get it back to that original skull shape. But you may prefer to start with the shape like this. It just depends on however you want to approach it. Whichever approach you take, the main goal is you want to be able to get your ideas down quick, simple and effectively. And of course, it needs to capture the character of the face, your drawing. But just know that this is a shape that needs refined. You will either have to add to it or subtract from it to complete a more refined sketch or drawing. So this is the main structure of the skull. And just so you know, in this video, we will talk about structure. But we also need to discuss gesture, and the first gesture we will talk about is the gesture of the skull. And as you can see, it is moving back. While the gesture of the face is moving down, let's revisit this idea of using an upside down sale. This method is not only simple, but it captures the gesture as well. And when we look at this, you can see the gesture of the top of the head or skull going back while the mask of the face is going down. So one of the common mistakes many beginners make is they get the gesture of the face going down, but they make the skull to spherical. So basically what they do is a crop off part of the back of the skull and notice what it does to the gesture of the top of the head. It's no longer moving back instead of moving around losing the characteristic of the skull . So again you want that gesture of the front or the mask of the face to have a change in direction once you reach the top of the skull. And that is how, when you make the top of the head more spherical, how it starts to look a little more alien. So be sure to watch out for this common mistake. And if you find your head simply doesn't have that change in direction to gestures, then perhaps you need to make some changes. When you do it correctly, the skull should sit up nice and high, while the mask of the faces clearly below it also want to point out the back of the neck. Notice how far back is connecting on the skull. When this is placed correctly, it is roughly I level. I like to think of it as the bottom of the top eyelid. So now what we will do is we will see what happens when you get the size or the shape of the skull wrong. So when we connect the back of the neck to this goal, noticed the eye level is much lower than where it should be. So the proportions are completely off and the neck is very skinny and the same thing would happen. If you make the skull too big, we add the back of the neck and then draw line. From there forward, it would be way below the eye level. Now what we will do is put a rectangle around the face, and the first thing I want to point out to you is the rectangle is longer on the face side . There it is along the top of the skull. I do want to point out that this is a rectangle that doesn't include any facial features. So we're not including how far the news comes out, the lips, the chin or were not considering the hair. So if there is a ponytail or some sort of bun on the hair again, this is a bare bones rectangle that only includes the skull and the mask of the face. Also want to point out that if you're going to make an error, you're better off to make it here versus the top of the skull. I mentioned making the school too small or spherical, then also too big, and how that will cause errors with proportions in the face, then also where the neck joins the skull and then the rest of the body. Obviously, this can reverse if you consider the nose pushing out and in the hairstyle pushing back. So again, when we're making these proportions and we're considering the relationships of the skull and the front of the face and so on. We are not considering facial features and hair, so let's go ahead and wipe out the nose in the hair and have a look. A Onley the rectangle around the head. If we divide that rectangle in half, you're going to notice your ad the eye line again. That's the eye line where the top lid meets the bottom lid. And when we look at the back of the skull, if you remember correctly, this is also where the neck meets the skull. If we take the distance from where the eyelids meat and come down to the chin and divide that in half, that will be the bottom of the nose, and that will be where the nose meets the mouth and not the tip of the nose. And if we take that final space there from the bottom of the nose, where it meets the mouth down to the chin and we divide that in half. That will be the edge of the lower lip. And again, if you're going to make an error, you're better off to have a little bit fuller chin versus a small or too short of a chin area. And for now, that's all we're going to discuss about the profile of the skull. In the next lesson, we will see how this relates to the front of the skull. 4. Profile View - Demos: in this demonstration, I would do the skull profile using the techniques and ideas that we talked about in the previous lesson. Starting out with an X shape for the skull and cranium. I can then bring down the front the mask of the face. Remember these proportions how the front is slightly longer than that of the width or length of the skull? So I'm always keeping those things in mind as I draw. Once I had that in place, I can add the neck both front and back, locate the eye line, the bottom of the nose and then the mouth or the bottom of the lower lip. We'll start out the next demo, doing the same exact thing, but I'm gonna scale it down a little bit smaller again, starting with the oval for the cranium, bringing down the front of the face or the mask of the face. I can then connect him, locate the neck and putting the neck in there just helps me to get a visual on. If I've got everything scale correctly from there, that can go ahead and look in the eyes and then from the eye lying down to the Chin Aiken. Divide that in half, locate the base of the nose and then divide that in half. Again. I've got the bottom of the lower lip. Now I'm doing 1/3 version, and this is a lot smaller. When you are starting out, it's important to not create any bad habits. That's why I suggest in the beginning you want to be sure that all of your drawings aren't the same size. You don't want to get into a routine where all of your has looked the same because they're all the same size. Be sure to use various sizes as you're learning, and that's going to train you to not get into habits and routines that you're gonna have to break later on. So again, getting used to drawing large, medium and small ovals and trying to fit in the facial features on a smaller scale versus a large scale. All of these air really good habits toe half and good routines to make part of your drawing in your studies. So if you're curious, I'm using a lira that is a nine B. I'm coming back in and adding the darker lines just to give you a better visual on how this all came together. I prefer to use, of course, lighter lines in this very, ah generic layout, part of the process. But since I know you need to see what's happening, I'm going to go over a little bit darker. But again, if I'm drawing a finished portrait and as we move forward in the series, you're going to want to always keep your lines a little bit later so that they can be refined later on. So again, starting with my oval for the cranium, I am now going to do the same thing. But instead of the front of the face to the right, I'm now going to make it to the left. I'm doing it for the same exact reasons as I discussed with the large, medium and small. You don't want to get into a habit of Onley understanding how to draw something one way so you can see I found the distance between the eyes and the chin, found the base of my nose or the root of the nose. Divide that in half and found the lip and the medium study. Here I am going to use the same process starting out the oval, the mask of the face locating the line. Dividing that half, I got the root of the nose and then the mouth as well, the smaller version obviously doing the same exact way. So the oval the mask Lucchi the eyes at pencil in the neck and then fishing off with locating the root of the nose and then the mouth area. I will go ahead and do the same thing. I will bring in my nine b lira to give you a little bit harder or softer line. Actually, it's itself their lead, but a darker line so that you can start to see how this is working a little bit better visual for you again on easy, simplified method to construct the skull. And that's what we want whenever we are drawing, we want to approach our subjects on a very, ah, basic idea, and using simple shapes is always the way to go. But it's quick, it's a process that's effective, and it gives us a really quick visual on how the face is constructed, and then as we move into this course, we will add obviously more details and refinements. But This is a really good technique you want to try. So now this is a glimpse of the finished art, and now it is your turn to give it a try. 5. Front View: Now we will look at the front view of the skull and there are two methods we can use that will help you understand the basic proportions and location of the main facial features. We will start out by drawing a circle that starts at the top of the skull, and then I will divide that circle and half. Once that is complete, I can draw another circle and then divide that in half a swell, and this half circle will start just below the nose and end at the bottom of the chin. So if we count the halves of a circle, we have three halves. And now I will add a center line going down the middle of the skull. So basically going left to right. There are two parts to the head when we are looking at the front view, and if we count the parts going from the top of the skull to the bottom of the chin, there are three parts. So when we understand that the ratio is 2 to 3, then we understand that we are no longer dealing with a square or what is close to a square that we understood to be the case in the profile view and notice as I draw a rectangle around the edges of the skull, how this is a much different shape and ratio than that of the profile view. So it's important to know that from the front view the face is longer and has a rectangular appearance, while from a profile view it is more boxy or square. Now let's look at the overall shape of the skull. What we're dealing with is an egg shape, and we're going to take this shape and divide it using two methods. The first method we will look at is thirds. And just so you understand how I came up with the thirds, I'm going to bring back the circle and the half circle, notice the top circle that starts at the top of the head and comes down below the nose. I took a line and divide it in half, and then I came down to where the top circle ends and the 2nd 1 begins, and I drew another line left to right, and that's going to divide this shape and 2/3 so we will use thes thirds quite a bit as we move forward. But the first feature I want to point out to you that could be easily located using the thirds are the ears so located somewhere in the middle third, you confined the ears which are basically a C shape or something close to it again alive. This would change from model to model and from pose to pose. But generally speaking, you want to know that that years can easily be located by using the third's to avoid things getting too messy here. As we move forward, I'm going to remove the image of the skull. And now what I will do is just simply look at the basic shape of the skull. So the egg shape with the ears and we're going to basically divide this and half. So when we do this, this will help us locate where the top and bottom eyelid meat and I will indicate where these eyelids meat by using an almond shaped here and now what we can do is take the space where the eyelids meat down to the chin and divide that in half, and this will tell us where the nose meets the mouth area. So I'm not talking about the tip of the nose, but more of the base of the nose or the root of the nose, but where it meets the area just above the upper lip. And if we divide the space from the chin to the root of the nose and make a line, this is the lower lip line. And just to be clear, it is the bottom of the lower lip. So if we go ahead and add the middle of the lips and then the top lip line, it would look something like this. And just below the lower lip would be the chin area. So these air really useful techniques to locate some of the main facial features. Now we haven't discussed all of them, but I will touch on some of the others and just a few moments. But now we're going to turn our attention to the overall shape of the front of the skull. As I mentioned earlier, the overall shape is an egg shape. So if you were to think of a chicken egg, that's what we're dealing with so a little bit wider at the top, and it narrows as it approaches the chin Obviously, this doesn't suit every single face. Some faces, they're a little bit shorter. Some faces air wider and so want so if we look at example to you will notice, it's even more narrow at the chin. So when we compare that to the first example, you will see they are both an egg shape. But there are subtle differences, and in the next example, it is more rounded towards the chin. So you would want to pay close attention to your subject and the model you're drawing in order to gather this sort of information and detail. Of course, we will touch on some of these ideas as this course moves forward, but I want to show you my mistake. That is very common and that is drawing a perfect oval. So when we look at this, you will see that the top and bottom of the oval are equally matched, so we no longer have a good egg shape. So if you find that your ovals or your basic head shapes are looking like this, be sure to understand that is incorrect. You want that good egg shape were the top of the skull is wider than that of the bottom of the skull or Chen area, and now we look at another subtle characteristic of the head from the front view. The shape will tend to lose this roundness just above the ears and coming down to about where the job begins again. A lot of these subtleties will change from model to model. The next little tool that you will want to use is a center line. This line will help us find the symmetry between some of the features, like the nose, the eyes, the lips and so on, with the center line in place. Now we're going to go ahead and bring back the thirds. So we're going to take the basic egg shape of the front of the skull and divide that in thirds and quickly. We can go ahead and locate about where the ears are. And just below the third line, which is just above the top of the ears, would be the arch of the eyebrows, so the eyebrows will start a little bit lower towards the knows, and then they will tend to art upwards as it moves towards the sides of the head. So the top third line is a good indicator for roughly about where the top of the eyebrow is . The lower third line is about where the root of the news is. And again, this is not the tip of the nose, but mawr, where the base of the nose meets the upper lip area. If we divide the middle third in roughly half, this is where the eyelids meat, so the center of the eyes. And if we divide the lower third in half, this is where the bottom of the lower lip is located. And now I will add a line for the middle of the lips in the upper lip, and this will give you a good indication on how to employ the thirds to locate many of the facial features. In the next example, I will use halves. So again, starting with the basic egg shape, I would divide that shape and half. This will help me locate where the upper and lower eyelids meat. Now I can take the lower half and divide that in half, and that's going to give me where the root of the nose meets the upper lip area. Now I can take the lower half and divide that in half, and that's going to give me the location of the lower edge of the bottom lip. Now that I have these features located, it's easy to go ahead and add the eyebrows and ears. So I hope that you have a better understanding for the overall shape of the skull from the front and some general ideas and techniques you can use to understand the proportions and locations of the main facial features. You don't necessarily have to decide on which technique to use, but over time you certainly want to have a technique that you can rely on again something quick, simplified and easy that will help you lay out the basic construction and proportions of what you're seeing. But for now, what we will do is explore both ideas. So in the next lesson, I would demonstrate on how to use thirds and how to use have to draw the basic front of the skull and place some of the facial features 6. Front View - Demos: In this demonstration, I will do a Siri's off front skull sketches, basically trying to focus on proportion and location of the main facial features, starting with a circle. I would then add an ellipse right below it once I had that end, and I'm happy with the proportion. So the 2 to 3 ratio we're looking for, I will add the center line, and then I will divide that into thirds, using the top circle as my guidelines. So I would divide that in half and then marker line at the bottom of that circle. If you remember right, the ears are located in between or somewhere in the middle third, and the top of the arts of the eyebrow is located near the top of that third line. I could drop below it and indicate the eyes. And where that lower third line is, I can go ahead and add the base of the nose, and then I can divide the space below that half, and that will locate the bottom lip, and then I could indicate the middle and upper left. Now, for the second demo, I will use the exact same method, but I want to scale it a little bit smaller again, just like in the previous demo. With the profile view, we want to do a large, medium and small. It's important to try various sizes because whenever you paint, you're going to certainly draw faces. Only different scale pretty much every time. So again, starting with my basic circle, then I can add any lips below it. I can divide the center down the middle. So basically getting two halves, one left, one right mark, my thirds and then go ahead and add the indication there or lines for the facial features. Once I have everything roughed in the way I like it, I can come back over it and refine it just a little bit. And if you're curious, I'm using a liar, a pencil here and this is a nine B that I'm going over it with. I started the drawing with a harder lead, and that was a to be so again, coming back over it, making any little subtle adjustments that may want to do but basically going over what I have here just so you can get a little bit better idea of how this looks when we had the darker lines there. I know the lighter lines can be a little bit difficult to see, but as you add the no darker line, always look at what you have. There is always a subtle adjustment you can do just to bring things to a more accurate finish again. These are the very beginning stages of portrait drawing, and we're only covering the basics. So now I will move into the third and smaller head here, obviously, and noticed, too, how I am getting mawr of a straight line on the left and right hand side of the face. I touched on that in the previous lesson of how you'll kind of lose the circular shape there alone, the sides again. Every model is different, and you always want to go about what you see Now. I will start the haves demonstration, starting the same exact way. I'll go ahead and add by main Circle and drawing it lips below it indicate the center line . And now, once I had that shape in place, I'm going to divide it in half. This is where it's different than the thirds because we're taking the overall length from the top of the head to the bottom of the chin, and we're dividing that length in half. And that half line is going to indicate were the top and bottom eyelids meet the eyebrows are looking at just above that. Now, the space in between the eyes and the chin. I will divide that in half, and that will give me the base of the nose where it meets the skin. And then I would divide the space between the nose and the chin and half, and that's going to give me the bottom of the lower lip. Now I can use straight lines to indicate where the roundness of the size of the face disappear. And since I had the eyes and the base of the nose located is pretty easy to pencil in the ears, and I'll go ahead and make a few adjustments and then start with the medium size head and again, using the haves method. I like to start out with a circle and then add the more narrow E lips below it. From here, I can go ahead and find my overall length top to bottom and mark my halfway line. Then, from here, I can add the center line, and now I can go ahead and place the eyes. Eyebrows. Find the middle of the distance between the eyes to the chin. That's one. Give me the base of the nose from the base of the nose to the chin. I've got the bottom edge of the lower lip. I'll go ahead and lose some of the curve on the sides. Place that years and then go ahead. Make a few refinements in the medium size demo here is wrapping up, and I can move on to the smaller one again, following the same exact procedure drawing my circle. A more narrow e lips. Find my center line. Understand where my total length is divided in half. As you may have guessed, I've got the eyes eyebrows just above it. Find the middle of the distance between the chin and the eyes. That's the base of the nose of the root of the news, from the chin to the nose, the mouth and then go ahead and flatten out. Size just a little bit to lose some of that curve. And since the eyes are located, so is the root of the nose. I can place the ears and make a few adjustments. I will finish this up in the same way, using my nine b lira to basically give you an indication of a more finished study here and , you know, always trying to make a few adjustments. As I go, I mentioned adding a little sea shape there for the ears, But again, ear shapes are going to vary just like anything else. But for this demo, I'll just use a very standard shape, but moving through the medium and small, doing the same thing. But hopefully you can see how these techniques are easy. They're approachable. And whether you like the third or the half method, it doesn't really matter. You know, the key is to experiment with both. You can use both of them. Some artists will merge both the haves and the thirds. Of course, other artists have their own ideas. But I feel these two options and techniques work really well when you want to understand the basics of how to draw the front of the skull and locate some of the main features. This go ahead and have a look at the finish demo, and now it's your turn to give it a try. 7. Neck 101: in this video, we're going to look at some of the ideas and techniques for drawing the next. We want to attach that to the skull, obviously, and we're going to start with a profile view, and the first thing I will point out to you is the Di gastric plane. So underneath the chin there's a certain amount of depth and volume, and in most cases, even from a profile view, it's visible. There's more volume towards the chin, and it will taper as it reaches the bottom of the here and again. This will change depending on the model and the pose and whether or not the chan is tucked or stretched upwards. Now I will add the shape of the skull and we're going to look at the back of the neck and the main thing you need to know and something I pointed out earlier in the Skull 101 lessons was that it meets the bottom of the skull much higher than the front, obviously, and this means the back of the neck has more volume in lengthen the front of the neck and he will know you're in the ballpark when you look at the width of the neck. There's a certain amount of wit and volume that a next should have is common for beginners to make the neck too narrow. And typically that's because the back of the neck is joining the head and skull too low. So I will put a point or a dot where the front of the neck really begins and where the back of the neck begins. When it meets the bottom of the skull and also have a line there that shows you the height difference. It's important to understand this exists that we will look at some common characteristics of humans and we'll start with the female and some young Children. Those next will be a more narrow so when you're looking at the face or the skull from the front, so we had the mask of the face. There you can see the egg shape. You're going to notice that this neck area or volume of the neck becomes a little bit thinner, as opposed to males and slightly larger individuals that have a wider neck. So these Aaron more left some common sense and obvious ideas that we need to understand about the neck. Now let's look at the profile. I want to point out one more thing. Notice how the front and back of the neck create an hourglass type shape, so is wider at the top. It will narrow as it moves down and then start to flare out again as it meets the body. So we want to be sure to capture that characteristic of the neck from the profile view. Now we will look at the skull in the head from the front and notice that we're dealing with more of a cylinder shape. It tends to widen as it meets the shoulders, but for the most part, a simple tube shaped is all we need to describe the neck. When we're dealing with a front view now, obviously the Net can bend forward. ITC until back. You can go sideways as well, so this shape and tube will change depending on the pose. And for now, that's all we need to know about the neck 8. Neck - Demos: in this video, I will demonstrate some of the ideas and techniques we talked about for the neck. Now we'll start with the dye gastric plane. So whenever I do this, I'm just going to lay out the skull in the same way that we have talked about. So starting with my egg shaped their oval shape rather for the skull putting the mask on. And now I want to locate the back of the neck and again that we have talked about this in the previous lessons. But we want to make sure we're focusing on each area as we move forward. As I drew in the front of the neck, I wanted to be sure. I acknowledge the dye gastric plane, and whenever I did that, I drew the line where I knew what started and where I thought it ended. And I want to shade in that particular shape of the dye gastric plane again. This shape will change from model to model, and as I do each demonstration, I'm going to change the overall size of the skull. So I'm going to do this one a little bit smaller because again we want to get in the habit of not drawing everything in the same shape or size. I'm going to make this die gastric plane a little bit wider. So perhaps the individual has, ah, little bit longer die gastric playing, perhaps, or a thinner and so on so proportionately. It's just a little more volume there under the neck than the first example. In the last example, I'm going to do a smaller version, so starting large, a medium and then a small. I'm going to make this one a little bit thicker down there. So instead of it going parallel across the paper, I'm going to move it downward. So perhaps there is a little bit of extra weight hanging from that particular part of the chance, and it's going to cause it to have a slightly different look. So again, just not really using any sort of model. No image just using my imagination there to examine an explorer, these ideas of drawing the neck and mainly the dye gastric clean and making sure I get the right amount of volume for that neck from the profile view. Now I'll switch to the front view that would do a series of six sketches here. The 1st 3 will be a child or perhaps a female, and I want to make the neck a little bit thinner. Okay, so a little bit more narrow than that of a male or perhaps a larger figure. And again, I'm using Ah, large, medium, small. So trying to again get in the habit of using and drawing different shapes. And now come back over this, the little bit softer lead here, and then I will refine it. So I had the next a little bit too long. Some just want to take a little bit of that length off it as I move forward. So I will go ahead and refine these, and then I will get to a slightly different shape. But notice how I'm putting the straight edge along the outside as the subtle reminder of some of the ideas we talked about earlier. Now I will do the male figure, and the main difference here is I want the jaws to be a little bit wider, and then I want the next to be a little bit wider as well. So starting out with a basic oval or circle for the main part of the head. And then we'll add the Ellipse towards the bottom and notice how these next are. Ah, lot wider. I mean, some of these could be athletes. Football players with a super thick neck could be an action hero or some sort of cartoon. Who knows? But the point is, I want to remind myself that the male has a much wider neck, and that's the whole purpose of this demonstration. So it's simply to take the ideas we talked about in the previous neck lesson and employ them to put them to use. And that way you start to get into the habit of physically making these changes as you go. And you know, the more you can do this, the less you have to think about it. So now just you can see I have a little bit more of a square jaw, but again, you always going to get this information from the model thes air, just very generic sketches that capture the main points that we want to understand. So now, finishing up the small version going back over it with my nine B and just a little note to remind myself what this particular study was all about. Now that I'm done, it's your turn to create this series of sketches 9. Back Of Head 101: in this video, we will look at the back of the head, and it's important to understand how this works because of the front of the head. We have a lot of the facial features, the eyes, the nose and mouth, the chin and so on. When we're looking from a back view or looking at the back of the head, we lack all of those features so often times it can become dull or even looked like a lollipop or something on a stick. So we're going to look at some of the dynamics of the back of the head, and hopefully, by the end of this lesson, you're going to have, ah, a lot more information on how to make this view interesting. And what we will do first is take a look at how the neck fits into the skull and the head. Basically, how do we transition from one body feature or part to the other? And it supported to know this because rarely will you ever draw or paint of floating head is going to join the shoulders, the trapezius or some sort of feature that keeps the head itself grounded and attached to something else. The diagram illustrates the head. So basically the egg shaped from the front or could even be the back and I have divided that into thirds. So if we add another third to the bottom so below the chin down, we're going to get to the pit of the neck. Or, if you took my figure drawing course, these super sternal notch, which is located in between the medial ends of the clavicles. If you remember back to the profile view, the back of the neck joins the head higher. So if I wanted to add a line roughly where that would be, this would give you a good indication of where that would join. So where the bottom of the neck is and this diagram that's also roughly where these shoulder line is located again allowed. This would depend on the pose and the model, their posture and so on. But for the sake of this diagram will go ahead and a blue lime, and then also add the trap. Easiest muscles. So although the trapezius muscles are really part of the back there, clearly visible from the front as well, a female would have slightly lower and more are king trapezius muscles, where a bow neck male or a muscular male would be much higher, intent to go a little more flat or angular out towards the lateral ends of the clavicles. So from the front view just noticed how the face is in front. Then you have the neck, and then you had the trapezius muscles. So now let's have a look at how this would all fit. Looking at the back of the head here, I have a simple circle to indicate the shape of the back of the head, and now I will add the neckline, shoulder line and trapezius muscles. So if you were looking at the overlapping order, the trapezius muscles would be closer to you, so they will be in front of the neck and the head. And as far as the mask of the face, there's not really much visible. If I add in some diagonal lines here that would indicate or illustrate how much of the face is actually visible from a back view like this, the next feature we need to talk about are the ears and from the back, the ears are visible again. This may depend on the model or the hairstyle more specifically. But for this particular diagram, we want to add the ears, and then we need to understand where they join the head. And to do this, we're going to bring back the thirds and notice how the ear fits nicely in this area. So the top of the ear should but nicely to the bottom third line and then extend downwards towards the top of the bottom third. And I want to point out that the ear has thickness. So in this diagram you're going to see how I use two lines to indicate the thickness of the here. So again, it's important to point these things out now, and we're going to discuss this a lot more in detail later on. And now I can go ahead and at a simple hairline to indicate where that would be on the figure. So when we look at the overlapping here, obviously the hair will be closer to us. Then you had the trapezius muscles, the head, the neck, the ears and then the mask of the face, which is barely visible from the back view. So while I'm on the subject of the ear. One thing I do want to point out to you is how the ear fits in on the profile view. I probably should have mentioned this earlier, but I just want to make sure we get this in before we move on here. I have a diagram of the profile view. Notice that the green mark represents the width of the skull from the side. If we divide that distance in half, it will typically give you a good starting point for where the front of the ear joins the head so vertically speaking, this should help you place the ear. And now if we divide this area into thirds, it will give you a good idea of the proportion of the ear. Again, each model is different, but this should give you a really good guideline into understanding the back of the head and a little bit more information on here. Policemen 10. Back Of Head - Demos: in this demo, I will demonstrate the techniques and ideas about drawing the back of the head that we discussed in the previous lesson, starting with a basic circle. And then I want to add the neck again. I'm going to do this and various sizes so I don't get into the habit of drawing one particular size. Once I had that shape in there, I'm going to divide the circle in half, draw another line the bottom of the circle, then add another third to it. This will give me a good idea of the size and proportions, and now I can go ahead and lay in the neck. The trap. Easiest muscles. I will indicate the ears, and I'm going to try to do that with two lines. Again. This is a very crude study drawing, but I want to just acknowledge that the volume of that year is there. So once I get the shape in there, I will use a softer or darker led here to get the edges refined things a little bit, and I want to also point out that I'm trying to add a little bit of the mask of the face that's visible from the back. I'm not gonna worry about hairline or anything like that in this particular study. So the main idea is just to understand the features, understand how the back of the head appears, and then also what's visible. And then, more importantly, how it joins the neck and, of course, the back, which is the trapezius muscles. So once I get this late in there, I'll indicate a rough idea where that shoulder line is, and that could be a little bit too low even. But for the most part, I got all the features there that I wanted. I've got the overlapping happening so under I'm getting a really good sense for how the back of the head works. So here I'm drawing it again, but much or a little bit smaller, rather and well laid out the same way. So getting the circle, dividing that in half, adding another third to the bottom of it will give me a good idea of the length of the neck , and then I can start to lay in the other features. I noticed, too, how I'm getting a little bit of a ah, straight line on the side where meats, the mask of the face just so it's not too circular on the edges. And here, just using, ah, softer lead to refine things a little bit. And I'll go through this several times. And as you do your studies, you change the trapezius muscles. Change the width or thickness of the neck. Try to imagine you're drawing an athlete. Try to imagine you're drawing, Ah, feminine female. Someone with a thinner neck, a longer neck, a shorter neck just so you start to get a feel for proportions and how the subtle differences and changes can easily describe a particular body type or head type. So now you can see I'm doing the much smaller version here and approaching it the same way . You know, always starting with the circle and that right there, starting with the circle looking divide that in half that gives me two of the third's like another third to it just by eyeballing those distances, and you add the neck side of the face that years, the trapezius muscles and so on. So again, a very easy exercise, but a very important exercise for understanding that the dynamic relationships of the of the skull, the neck, trapezius muscles and so on and how they relate to each other, how they join the body and things that I've mentioned before. Now I'm going to you just do some random a couple of random versions here and is working with a thicker trapezius muscle, much more muscular. And this would indicate mawr of, ah, athletic type of person. And you can already see how that creates a much different feeling that would have drawn So this would help me. So if I'm approaching a head drawing of a male, for instance, and I can see this is a very athletic person, they're not gonna automatically go back to these exercises and know what some of the characteristics are of this particular type of head and body type. So you can see that's much more masculine, a little bit different feeling that what I've done so far now I would do an opposite of that by working with a thinner neck. So in something a little more delicate again, approaching it the same way circle Dubai and 1/2 at 1/3. Get your neck in there and notice how our king, the trapezius muscles so I'm putting mawr of a curve in it. This creates more of a delicate feminine feel, so that's going to give it ah, lot different appearance and characteristic than that of the Budnick male that I just sketched out for you. So you see how long and thin they are the trapezius muscles and how immediately you get a different feeling when you look at this as opposed to the other one. So there you go. So here I can just a label him out for my own learning purposes here and just to remind myself of what this particular study helped me learn, and now it's your turn to give this a shot. 11. Head Angles, Ear, Cube & Tube: in this video, I am going to share some ideas and methods on how to use the ear to illustrate and show head Ingles, I'm going to start with using the upside down sale method. As you will see, I will lay that out and then divide that into thirds, just like a tick tech too game. So if you remember right, the ear is located in that middle third. And that's what I'm doing here. So this is a demonstration that you've already seen. But I wanted to put the profile down with no head angle and just remind you of how we get there. And this is gonna be important because as the head turns away or towards us, that center square where the ears located now is going to change. So you're going to see how just simply moving the ear is going. Teoh help you. So here you can see all squares are equal. Everything's divided according to the idea that we talked about when drawing and laying out the profile. So here, starting out with same idea. So top to bottom, everything is equal. And then as we move left to right, I want you to notice how it changes. So there is less space on the left and more space on the right. So you've got the minus on the left. You get that big volume there on the right, and that is how I still located the ear in the middle square. But because that square has shifted and moved, that's going to put the ear on a in a location, rather, that tells you the head is turning away from us. So a very simple and effective way to demonstrate or to tell the viewer in yourself that what the figure is done. So these are the ideas, and obviously the head features or the face features would be hidden at this angle. And it's a again. Ah, good way to experiment with understanding how to quickly get your ideas down. So here you can see the first area is bigger, and then we've got the middle, and then we've got a lot less space towards the right. So the proportions of these squares obviously have changed. Thief front of the mask or the face is the same. So I haven't really changed anything. Top to bottom and you'll see I'm still lining everything up. So the eyes or the eyebrows with the top of the here you get the chin. Now you can see added a center line to give the viewer and myself a little more indication on which way the head is turning. And obviously, once you get a hairline and other little features, go on, it's going. It will, you know, complete this idea. But for now, you know the I. The main point here is to use the ear, you know, as a tool to quickly get the idea down of what? You're what your model is doing. And in this case, the model is rotating towards us. So that's going to put the ear towards the back of the skull, and we will start to see more of the facial features. Now here, some ideas weaken due to illustrate that the figure is looking up. So notice now the top of the school will be divided evenly, and now we're going to work on the mask of the face, and this is where the ratios will change. And I'm going to put more space towards the bottom, so that's going to push the ear up towards the top of the skull, and what that's going to show is a head that is tilting away from us. That's just the illusion of that happening. And then obviously using that year as, ah as a way to you get that idea down. So going back over here with a little bit darker lead, and that's just a nine b a lira pencil. And once I'm done, no getting these dark lines in and you know you'll see how that this kind of work. So again, I mean, whenever we're learning to draw the head, we're always trying to focus on the simplest way possible to get the pose down. So for those of you that did the gesture drawing class, um, we always want a line, A big shape. One idea that says this is what the poses doing. So when were drawn, portrait sits the same exact idea. So now what I would do is I will shift it to making the ear God come towards us a little bit. So what I would do is obviously start with this scene sailboat upside down sale, and then I will divide this a little bit differently. So here in the first example, I had the ear up towards the top of the school and now I'm gonna push it to the bottom. So less space at the bottom, under the here, with a lot more space and area and volume on the top of the school. And that's going to again give the illusion that he head is rotating more towards us. Or we can simply see more of the top of the head and again untangle that you will certainly draw and use in your portrait's and you can see here I'm adding a little bit of the front of the mask as well, so I'm indicating where the eyebrow knows and the mouth would be just with some simple lines and you can see, you know, again moving that year down. Creating more volume towards the top is a quick and simple method for getting this sort of idea down, and that's that's what we want. You know, we don't ever focus on details. In the beginning, we were always trying to understand the bigger picture is you can see I'm adjusting the here, bringing that down even more, and then I will get rid of that within a Reeser and and here I'm going to show you a little bit different ideas. Sometimes when we're learning this sort of thing, it's kind of hard to envision, um, the head angle. If I put the head in a box like this, it's going to give it more of a three dimensional look. So it's much easier to draw the head whenever I see it in a cube form like this. So if you're having troubled envisioning this as you draw these ideas, you can also use that idea of a cube as well. And the cube would just simply turn in whatever direction you want it to be. Now what I'm doing is giving you a little bit different idea. So instead of using the upside down sale, what I'm doing is using a cylinder or a tube. So as you can see, it created a three dimensional type tube and I'm running rings around the middle of some dividing that space, depending on how I want the here and I want the ear towards the top of the head, and that's going to give the illusion of the head tilting away from me. But notice how I did a center line for the mask or the features on the mask and that helped me locate the I the nose and the mouth. And, um, this is, ah, common alternative method, but and something that I haven't really touched on. But the purpose of bringing this in now is just to give you mawr tools and options to work with. And then we all digest information differently. We all, um, ultimately try these things and then either tweak them or adjust them to make him our own or alternatively, maybe try something completely different than what I've shared. But this method of using a tube where the head is tilting away from us or we're looking up at the figure and using the year placement towards the top is going to give us the same results, which is, you know, the head tilting. It's a different angle, and I'm just simply using the tubes on putting the face facial features on the front of the left side of that tube, and I'm making sure that ear is on the opposite side of that tube. So it's more on the side. Um, now what I would do is just show you some different ideas of a cube and just making sure you understand how that works and showing you really how that cube can change. So you can see the top of the cube that left hand side of the cube. Obviously, you can see the back of the cube and more of the side so we can rotate that cube and whatever angle we need to rotate it. And again, these are just different ideas you're gonna want to try. So if you struggle with angles and you can't quite understand how to get the illusion that the head is turning or tilting, then this is a really good method to try. And before we get out of here, I just want to elaborate a little bit more on the idea of using a to and showing you some alternative methods on how weak until tit to show or indicate Head Ingles. And and here you can see, I have more of the top of the tube showing, so we're looking down on the tube. But notice I placed the ear in the middle roughly of that tube, and I've got the facial features or the mask of the face showing there. And I'm you know, whenever you try this, it's important to know that even though we're dealing with a round or cylinder object like that, they're still. We want a front aside, so you have to make sure that the ear and facial features are located one on the front line on the side, depending on how we're doing it now, I will change the tube so that we're looking up at it. So I'm placing the ear towards the top and you can see I've adjusted the lines. So have more space at the bottom, less space up top, very similar to the sale idea when we're looking up in the head. So obviously, with the angle like this, you can see a little more under the chin. And but the technique is what's important. You know, it's getting your ideas down quickly, getting the structure down quickly so you can move on. And that's the first part of portrait Drawing is to simply get the layout, and when we do the layout again, we're not worried about features. We're not worried about details so much, and we want to simply understand what the head is doing how it's rotating away from us and then proportion everything out correctly. So there you can see I had the tube a little more off the top of it, showing, um, so that figure is turning to our rate, and that's going to put the year on the left side of the tube in the face, A mask of the figures on the on the opposite side. So here I just want to elaborate a little bit on the cube idea so you can see I'm using that cube to show the back of the head. So, you know, the mask of the face is turning away from us. You can see that, um, the neck more clearly now the back of the skull is is more prominent. The ear is pushed towards the left side. So again, all good tools and techniques. I want you to try an experiment with. Figure out what works for you. Obviously, you can use this one technique. You can combine techniques. You may have certain angles were you prefer to use one technique over the other. But any case, I hope these tools and techniques help you out. Now it's your turn to give this a try, and I will see you guys in the next one 12. Master's Examples: Let's have a look at Raphael and just some of his drawings and sketches of the head, and we're going to just take what we have learned in the previous lessons and see how they apply to another artists and one of the masters. So let's look at this one first. So we have three heading was here, and what I want to stress here is direction. So when I talked earlier about gesture, the gesture of the top of the skull, the gesture of the mask of the face is so important to see these things early on. So if I bring this layer in and what we have are arrows that indicate the direction this. Take a look at the one on the top left here and notice how the top of the skull is heading up and back. So we want to make sure we get that. Even though the figure is tilting the head slightly and looking up, there's still that feeling of the head of the top of the skull, moving upwards and back and then in the front, the mascot of her face. You see, that's heading down this look at the image on the ray here and the same thing. This figure obviously looking down. So we're clearly going to get more of an angle upwards for the top of that skull. They notice how that angle down on the mask of the face is a little bit stronger than the 1st 1 And if we look at this, bottom one here with the figure is looking down into the left. Same idea again. This is all about getting those angles correct, understanding the top of the skull and making sure we don't cropper chop off the top of the head. So let's look at this figure on the top right and examine how getting it wrong could affect a drawing and show you what happens a lot of times is the gesture of this. The top of the head is not corrects If I bring back this, look how this Ah, blue Arrow is moving up and back and look how this angle is off. Probably about five degrees. What that's going to do is push down on the top of that skull, and that's going to, of course, affect your drawing tremendously because as you start to put in the hair the different features is going, you're gonna lose the spacing of that skull. If I were Teoh, do it correctly and give give it the proper direction. The one on the bottom is basically on overlay of that same sort of sketch and with the the red being the correct spacing or the the volume you would want and that is just simply corrected by adding the right direction. So kind of one of those very simple lessons that's easy to overlook on. But you can easily see these things early on if you pay attention to it. So that's just a three examples there of using the gesture of the skull in the head to understand a little bit, Maura, about what someone like Raphael would have been thinking and perhaps incorporating. And they're drawing Teoh. Get some of these things correctly placed here, figure looking up, head shooting up and away from us. And the things I want to point out to you are the ear. So when you have a look like this, the the spacing is different. So what you're gonna have is the ear will push up, and then that's going to push the eyes the nose. All those features go upwards. So the spacing here and if we look at the thirds you have ah less space toward the top. That's base of the nose, and that's going to put of more spacing down below is going to push the ear up towards the top of the head, and that's going to give that feeling of the figure and the correct pose. The other thing I want to point out here is the how the face is in front of the ear. One of those things I mentioned earlier on two. That's easy to overlook. So I take the ever layaway There is how the chin in the bottom of the job wraps around and then stops right there in front of the ear. So the face is in front of the ear, very important to understand that the years on the side of the head and it's easy to get that wrong as well. So this is just again another illustration on how to take a masters drawing here, dissected a little bit and apply some of the ideas and methods we've talked about last month up is this one. We're going to focus on the figure. The boy here on the top left hand side, we're getting a little bit of a top view, so we got a little bit of that. The top of the head here and then anything I want to point out is you know it's easy again to crop off the top of the skull. And when you're dealing with a hairstyle, which you will be doing, so when you start doing portrait's, you're dealing with a hairstyle and you have to kind of see through that sometimes and often times. Do you really understand and envision what the skull is doing? And it's so easy to get caught up in the parts. So I did a little dot dash line going down his part, which is like the middle of his hair, and it will be easy to draw your skull that way to basically a crop off the top of the head and put the skull here. But the skull is slightly above that. It's not as high as the hairline on the opposite side of the head that we can clearly see, but it is fading away from us. But it would be easy to get lost in that a little bit. So we want to be careful when we approach something like this because we want to get away from the details and the features and focus more on what's actually happened. So if I didn't overly here understanding the direction of the head, moving up and out even though the figure is kind of looking down at an angle, I'm so out. Excuse me, This way, we But we are above the figure. So the we have a top view of the head so that in that case, I mean, we're going to see that in the top of head's gonna move away from us. So anyway, with this sort of layout, you can see where the school would be if we follow the mask of the phase down around. We got more of a square jaw on this boy or young man, so we can indicate that a little bit clearly with that gesture line of the chin and then the jaw wrapping around the ears starts after the face. So we have to make sure we get that place right, and you can kind of see how that would work so again, just just be careful of that up the parts in the hair and things like that because I can kind of throw you off. The next thing I want to point out is the box. So we were dealing with a profile, Remember of the square we talked about? But the square is not perfect. It's a little bit longer on the mask of the face versus the top of the head in a straight on shot like this, but noticed how you can kind of see that here a little bit more alone. The face, right. So if we take, take that shape that box and we dissected a little bit, I've got a blue line that indicates, like a cube. So even though this is a profile where we're getting a little bit of the features on the right hand side, so it has a very subtle turn towards the viewer. So it's not a perfect profile. So we're you know, we're getting a little bit of the front of that cube. What shot kind of indicated here. Plus, we're getting a little bit of the top of the head, so that's going to push that sort of perspective on the figure in the head is gonna push that here lower. And here you can see how the spacing works. So you can see, um, how I dissected There's a little more space up top in this section, the bottom two or a little bit less because you're looking down on it. It's gonna push the ear a little bit lower in dusting that the spacing is not going to be perfect. So again, little subtle things that you can start to see and other artists and masters are drawings. So it's a good idea sometimes just to kind, explore other artists and just see the technique and the spacing. And some of the ideas that we've talked about so far applied. You know, again, it's hard to say exactly what this artist was thinking when he did his drawings. But, um, at least we can have a little bit of evidence and I guess, visuals on how some of these ideas are applied in other cases. But anyway, I thought you would enjoy having this, too. Help support the techniques we've talked about, and now we're going to move into some practice rials, where we put pencil to the paper and we get started drawing 13. Practice Reel - Basics: in this practice, really, you will do a series of 10 drawings. The idea is to keep it simple, so minimize the amount of detail and focus more on the ideas that we have talked about to this point. We want to get the gesture and overall proportion of the head correct. We want to get the angle correct. If you want to add a little bit of a hairline or subtle indication of a few features, just to help indicate how that head is turning on, what the post looks like them, that's fine. There will be a notification that sounds like this when there are 10 seconds left, and that way you have a good idea. When this pose is about to end and the new one begins, be sure to have all your drawing materials and supplies ready to go before this practice, Riel starts. If you happen to need a little more time to complete the pose, that's fine. With that being said, your first pose will begin now 14. Student Critiques - Basics: poses that I furnished for you in the practice. Real, I'm not really concerned about eyes and noses and details. I'm want to look at forms. Do you understand the basic forms, the egg of the skull, the tube of the neck? And then, more importantly, how they connect in space? And it's very important to understand that even though we're working with portrait's and really head drawing you, you have to get away from that. It doesn't matter if you're picking your drawing a building. Ah, car. Ah, flower or head. He had to get away from the literal and understand the form and the structure of things, how they're constructed, how they fit together with each other. And, of course, how they appear and what they're doing in space. It is very hard to do so well. Critique thes. I'm simply trying to understand, and to get inside your head a little bit and you're drawing to see if you understand the basic form, or are you simply focused on contour drawing and trying or caught up with drawing an ear, eyes and so on? All right, so the start right here and I will work with this top image first sold the male figure looking down. So, as you know, when a figure is looking down like this, you're gonna Seymour of the top of the head as opposed to the say, a perfect front view where you're only seeing a little bit of that the top of the head. So whatever we're looking at this. The mask of the face is for shorten because you're looking down at it and again you're getting more of the top of the head. So when we go over here to your drawing and that is gonna be number eight right here So I'm gonna circle that with my cursor and let me who this up here? So there we go. So right in here, that's what I'm gonna focus on my look at this. This Just look at some of the obvious things here. So when we're looking down, when a figure is looking down and we're getting mawr the top of the head, that's gonna push the ears higher, OK? Because the ears are no longer level with the top of the years no longer level with, say, the eyebrow area. And that's what you've got here. So you look at the top of year there and again, this is all about understanding the front of the face and understanding the side of the face. How is that moving through space? How is it connecting along that skull and the egg shape of the skull? When we look at the image over here, I want you to notice how you know the eyes air. You know the front of face here. But imagine that line wrapping around this way around that form. Okay? The form of the the face in general, the form of that egg. Okay, so if you just follow that around, just envision it means going to push that ear higher where yours is lower eso That's just really trying to grasp the volume off the head itself. And that just tells me you're still struggling a little bit in that area. And I want you to focus on that. I did a draw over here just so you can see the difference. So you got the over here, the inspiration image. You got the mask of the face coming down the top of the skull going up and back. So I want to feel that in in the drawing, whenever I try to do it, and so you can see the faces moving down this way. And we got a lot more volume on the top of the head a lot more than what you had. So if I were to take my image away, that's what we would have. So for you, I want you to focus a lot more on just trying to understand how that form feels if you could hold it, you know, with your hands and rub your hands around it and really feel it. That's what I want you to do and not focus on the Contour, not saying that's exactly what you did. But that's my suggestion with you on that one. Now, for the second critique here will focus on this one a very, very tough supposed to get. So when we're dealing with a opposed like this, we're getting the bottom of the chin. So we're getting allowed that die gastric plane you can with the stretch of the neck moving up. In a way, we're getting that sterner Kleiner Mastoi moving down. You can see how much it is used right here in that pose. And when we looked at your So the number five right here you can see just the the the form . Let's just think about the tube of the neck and in which way that tube is moving in space so you can see the tube of the motto is moving up out this way. And that's just taking that tube and understanding. Ah, which way is that moving? Which way is it leaning? You can see your tube is moving up and back. Eso What we want to do first is I understand. You know the direction and this obviously is moving up and out in space. And then how things connect. What are we seeing? So you can see the dye gastric plain. You can see the neck coming down this way, and that makes you a sterner Claudio Mastoi overlapping that neck on both sides. We can see the ah superstar will not here very prominent, with these clavicles moving off in a direction. This way we can see the neck, the back of that neck, and that nice tube shaped their that hourglass curve connecting way back here to the skull back there where the ear is. And then that school is gonna overlap this way. And that's just understanding that form. I mean, really trying to get inside of it, to know what it feels like and don't get caught up in contours because that's just gonna throw you off. So here's my overlay. Here, you can see I got the tube of that neck in there, moving off in a way, I got that die gastric plane in their relieved prominent because that's so important to tell the viewer once happening. I mean, really accentuating in getting those overlapping. You know, that feeling of the day I got of the bottom of the chin area that die gastric clean where that net connects underneath, doesn't connected the chin and moves back in space back in here and it connects and move down. You get the sterner Claudio Mastoi the very, very important structure to understand and feel the back of the neck how it moved back up in here behind that ear and connects, and how that skull overlaps and comes back around in space, getting the feeling of the front of that face in the side of the skull. So we had those different planes happening there. So that's that's my advice to you. There's the things that I want you to work on. And then as you feel those forms developed and you start to understand how they connect with each other, I think it's going to move you away from drilling the head and contour lines. You gonna start to think much differently? You're gonna draw much differently as well. But thank you for submitting. And I hope these critiques help you. Let's go on to the next one. All right, let's go. Right here. Uh, these air Pretty good. Like what you did here. Um, I could start. I can see the forms happening and what you do. Um, I like for you to get away from, you know, some of the details and stuff, but the eyelashes and trying to get the mouth and all that stuff perfect and really just focus on understanding this forms and the proportions. And for the most part, I thought you did really, really well. But for this exercise, just remember, keep it simple. If you go back and you find other had drawings or head images, the one a practice. Remember this is about those basic simplified forms, and that's it. Just feel the volume of it. Let's go ahead and look at the 1st 1 So this figure here top view very difficult, but to unlock that, you really have to get the overlapping Basically the jaw coming down. You can see that little bit of overlapping there. That's basically coming right through here. You get the chin coming down here going underneath the lip so the lip is in front of a known top of all that the nose is overlapping all of the mouth. And then, of course, the forehead. The browse here are overlapping the nose. So you have all this overlapping going on. If you could have pulled that off a little bit better here, I think that would have worked. Also, this look at something here with an extreme view, top view like this. I'm gonna get a dominant top of the head. You gotta show that and we'll look at yours is basically got more of the mask of the face here. Do you do the top of the head? So you didn't think quite pull that off Very well, but just know that the forehead comes up, the plane of the forehead comes up, but stops about right there, just probably below that hairline. And then it starts to be the top of the head. So this starts to move back this way. So again, understanding the volume of things, how does it feel how what's really going on there and trying to understand that part of it ? So, basically, uh, let's see if this is the That's not the right overlay there. Here we go. So I tried to capture the overlapping, you know, the jaw coming down and then going underneath that lip, the nose coming around, I probably could have even overlapped. Atmore brought it out Mawr to the right. And then we've got this so less space in here. The forehead comes up and then we got the top of the head, which comes all the way back here. So if I take this away real quick, you see where you came up a little bit light there and just showing those that overlapping of how the features work in a top angle like that would have helped you in the nose is probably a little bit too long here So you were pushed those eyes down a little bit and things like that, but for the most part, you did well, um, on that, but that that's my critique for you. Let's now look at the 2nd 1 This one right here. This is an interesting one because it's a side of you. You're kind of looking straight on at it. We can see that die gastric plane underneath, so you can kind of see it happening right in there. We got a little bit of the front of the face of the plane is moving this way, the front plane of the face, and then it moves to the side of the face. We're talking more about that as this course moves on. So with my overlay here, and I'll get rid of this, um, I would like to see you focus mawr on understanding some of the secondary features like the stern of platinum asteroid coming down. How that connects with the superstar. Oh, notch. How this will moves off how that neck comes down and here and in the back of the neck, moves up like really understanding how that head connects to the neck is gonna give your drawings a lot more volume and believability. You see how I'm just trying to understand of the forms of those features and then trying to get underneath the eye sockets, that feeling of that and then the cheeks coming back around this way and getting in front of the face, the head moving up and back in space a little bit more than what you had that wraps around the neck is going to connect way back here. And then you've got the clavicle was moving down to see. I just tried to indicate him and just understanding the overlapping and the volume of the forms a little bit better. But having that come through at this stage of the game is important. It's not about the contour or likeness or anything. It's about really grasping the forms and how they all connect with each other. So that's my advice to you. And let's move on to the next one. All right, with this one, I want to focus on these two drawings here and let me slide this over in the screen a little bit better. Um, look at the top one. So we go over here to your drawing. It's right in this area. And, you know, it's just giving things the right amount of volume. Um, so the back of the head, you need to be a little bit more. Um, you've got the trip. Easiest muscles coming down. But then that neck would be back in here, Um, in this section. So given that more volume and not making it such a ball shape, so we would look at this figure You don't see a ball shape here. What you see is that master the face coming up in the direction the direction of the top of that skull as moving back up and back where you're getting that ball. Okay, so you sorry about the move there. So you have to understand that part of it and let me do my draw over here. Ah, that's see. There it is. So with this one, you can see ah focused on the ear and making sure the mask or the jaw right here, the faces in front of the ear. I want to make sure I get that. So if I take my overlay off, see how yours comes up, it hits right in the middle of the year. Case of the ear is behind the front of the face. So very, very basic thing there. And then the neck is coming down. And here the volume of that trap easiest muscle coming off here is much more. Then what you gave me that would have cut that, you know, crop that face a little bit more. I did a little drawing over here to just to give you a sense of how that little bit of extra neck over here understanding the center line. Okay, so that this is the seventh or the C seven moving up. We know that connects that center line is moving up and around, and then it's coming down the front of the that form so we wouldn't be able to see if you can see it here. So understanding that center line is coming up in around Imagine that ear which we can't see over and here and imagine that neck coming down. And then this would overlap it right in here and then getting all of these overlays in these overlapping of the John the year behind the jaw and all that stuff is hopefully more prominent there. So watch out for that. The guy really? Watch out for where? Your next connect. I think your next or connecting really low it is. This is a really good example right here in the second drawing of yours. Where is getting crapped or getting too skinny? So remember, it connects way back here. Way back here is your neck. Uh, this Look at this drawing right here. So that's going to be this one on yours. And again we're getting to This feeling of the mask of the face isn't quite prominent enough. We don't have that really good egg shape. It's just too short. We're in because we're in a 3/4 view. You can. You want to see the volume of the back of that skull? Just don't see a Here's almost looks like the you know, starting right there the ear. So I want you to really focus a little more on trying. Teoh, capture that and let me turn this. Ah, that. See? They're with me. I guess we'll just keep that on eso here on that one. You can see I tried to get the I focus a lot more on the other features. I wanted to understand what the sterner Claudio master ways were doing. How they were coming down. Connecting to the super sternal clavicle was moving off now were understanding mawr. Sorry again about the move now were understanding Maura about how where the neck is in space, where is connecting. And then we got the ear, and then the skull is back in here and it moves up and around and then back and down, and they got the front of the face here. So that's just trying to feel that space a little bit more. Here. I did a little over a drawing over this one right here. Just connecting that neck way back here, understanding that, um, the space underneath the chin right in here. Di gastric plane Getting the volume of that here. You can see up getting away from this egg shaped this ball shape rather and giving more of an egg shaped connecting that neck way back there. There's the things I want you to think about. Focus on. Ok, all right. That's going to conclude the feedback and critiques. Thank you guys for submitting. I look forward to seeing what you do as we wrap this up in the final feedback, which will come much later on. So we have a lot of work to do, and I'm looking forward to sharing all this stuff with you guys. 15. Robert's Practice Reel - Basics: starting out with number one here, I will go ahead and use the basic front layout. So starting with the circle and then adding 1/2 circle underneath it, this particular face has more of ah, square job. You can see the shape of that. So I just want to maybe capture that. So do something I'm thinking about as I'm drawing it so you can see started with a center line and that tried, tried to divide that in half. The figure is looking up just a little bit, so it's a slight tilt. So I pushed that center line from top to bottom slightly up a little bit. And, um, and that this kind of I think gives that little bit of a tilt. They're obviously the hairstyle is covering the ears, so I don't have much to work with there. But I'm just going to indicate where the bottom of those ears are, and then just kind of chunk in the hair when number two obviously a profile view, so we'll start with that classic egg shaped or oval. Go ahead and use that gesture of the head moving back. The mask of the face moving down so basically combining the upside down sale with the idea of using an oval and the mask of the face. And, um, with a profile like this Ah, you know, you're trying to place the ear and that center square. Remember the tick tack toe type of, ah, lay out some kind of rough in that end, using that as my guide for police in the through the eyes and different features. And again, I'm not going to get into a lot of features here. But do you want to get the hairlines? I think that's, um, important. There's a little bit of the dye gastric plane underneath the chin and jaw area on that showing. So I tried to capture that and then just kind of place in the neck. So they headed in floating here, a 3/4 type view. So I'm going to start with a basic oval and then create that center line, and that's going to right away. Give me enough information to get the rest of it out. So you know each of these poses and angles are going to be a little bit different and how I laid things out or begin it So I tried to take the easiest route from A to B and for this one, obviously just getting that quick oval with placing the center line left to right. It was a good way to go ahead and start that they're from there. I can use the same methods and techniques we talked about for finding the eyebrows and nose and different ideas. So, um, again, trying to work quickly, But it's important to say that we want to work quickly, but it's not really about fast drawing. If you get too fast and you're not really thinking about what you're doing, eso work quickly. But don't try to get in so much of a rush that you're losing control over what you're really trying to do. So you're better off to lead these sketches very raw, undone, unfinished type of thing versus trying to finish him because that's not what it's about. These practice rials air intended to get your I bet ideas down quick, which is what I'm trying to do. But, um, you were trying to capture the gesture in the feeling of the pose and not trying to capture all the details. So here we have a head profile view, but we can see a little bit of a 3/4 turn as well, the figure looking down. So that's going to change. It's gonna push the ear towards the back of the head a little bit. You can see I've got the center line running up. I've got those fate indication of a facial features. They're just enough's where shows us on the front of the shape and not on the side where the ear is. Here are a little more of a challenging view, so we're looking up at the figure. So we're below figure is looking out up. So we're getting a lot of that die gastric plane in there that's going to push the ear up the eyes, nose and all that will start to crunch or scrunch a little bit. So we're the perspective is going to push those features really close together so you can hear here. I'm trying Teoh. Just locate where a lot of these main ideas and features are, um, with just lose lines here. You can see I'm getting that hairline in there, and I'm going to fall back now and try to get that feeling of the Ah Di gastric plane. And the hair style obviously helps a lot with up opposed like this because the hair really tells the viewer how that head is turning as well. So whatever features I'm including are the ones I feel are needed in order. Teoh make the best of the quick one minute layout and gesture head drawing. So we got it back for you here. So a basic circle or oval for the head on the figure is looking slightly to the left. But because we are not quite flat on to the figure, the photographer was adjusted to the right a little bit. So we're catching a little bit of the right of that face. But you see, I indicated that years I tried to get the thickness of the ear in there. I'm also using The trap is oy trapezius. Muscle was excuse me to indicate how it attaches to the neck, getting a little bit of that hairline in there and getting the overlapping so the faces in front in the ear than the neck. So try to just loosely indicate that so here, a, uh, profile view, obviously the figure is looking to our right. So we were getting that also a little bit down. So the chin is pulling down towards the body. We can give that by just getting the gesture of the top of that head Moving up and back were backing up. Ah, so we got a slight tilt, their in the axis of the head and that cranium or than the top of the skull. And I hear just really trying to place that year because the figures turning, Um, and we're getting we're getting the back of the head. But, you know, it's gonna push that year more towards the front versus the back. So we're not getting a full glimpse of those facial features. It's really that cheekbone and all that. That is kind of dominating that face. So I even just left those facial features. Ox, I really want to capture the face turning here. We got top view looking a little bit over the figure. So we're getting the dominant shape there is gonna be the top of that skull. I want to make sure that's the big shape, and we get plenty of that in it. And then because the figure is looking down like that. Obviously, that's going to push the ear up and pushed. Those features are down a little bit. So again, we're getting, ah, the dominant feel of of the, um of the top of the head versus of the mask of the face or with a side of the head. Um, So the hairline again is a good way to indicate that you can see I didn't quite give the back of the skull enough Body and volume. Just making some adjustments on the fly. Here is I go with this one. I'm seeing a really strong kind of a capsule. So notice how I use those straight lines along the sides getting that feeling of almost a tube. And we pretty much had that. You say you'll see me use that a circle on top to indicate the top of the skull because this is such a dramatic, um, or obvious top view here. The skull is really going to dominate, and there's ah, the mask of the face. All those features are getting foreshortened and all that, so that's going to create that illusion of layers and overlapping, which I know we haven't talked a lot about, but we're going to get into a lot of that as his course moves forward again. Getting that hairline in there, I think, is critical to really tell the viewer and myself what this figure is doing. Eso that is a good way to know. Capture these gestures and the capture these poses quickly. Our last up is this one, and obviously looking up figures, looking up in a way, a little bit out to our left. So I want, like to create that oval and get that center line in whenever I'm dealing with a pose like this, because I feel that's going to help me. Yeah, and get in getting this. The idea down quickly, and that's what this exercise is about. It's about getting these i det ideas down quick, using the techniques that we've talked about trying to decipher, which sort of shaped to use, Um, I mean, we discussed the capsule the to upside down sale, using ovals and, you know, the mask of the face moving down, the gesture of that skull moving back and down the masks. So different ideas, and as you get different poses, they're going to present a different problems. So you're trying to find the right one of the right time? Um, is a challenge, but that's what this is what this exercise will help you do. Here's a look at my finished drawings, and I look forward to seeing what you guys do as well. 16. Box Construction - Part One: The basic idea we want to do is trying to examine the best way to render some of these details and some of these transitions. And to do that, we're gonna think a little more boxier than what we have talked about to this point. So the idea is to think Maura about construction. So how are these things least together? How are they connected? And we started thinking about construction. You have a few options to consider that we have discussed this point. But also just if you're using geometric shapes to build anything a phase, ah, landscape or whatever, that there are certain shapes that just everything kind of falls into that category. So if we looked at lists a spherical shape, we have something like this that we have that X shape. I'll do it a slight access there. We have the two. So the tube, let's say, moving off here. We can see the bottom of that tube. Of course, that could be a tapering to you can be a cone. It could be a many different sorts, forms or ideas of different tube. For the most part, that's just use a basic tube on. Then we have a box or cube, so we have this sort of thing happened. So let's go ahead and look at the sphere here and let's say I try to render this and I can do that by just adding a little shadow. Good. We got this sort of thing. So what that does is it tells us a little bit about the form, so it's no longer just a flat shape. It's actually has a little, ah, three dimensional appearance to it. So we have that going for, but it doesn't tell us anything about position, so the position it's something we're going to need to know. We're gonna need to get enough information there on that sphere to understand its position . Another thing that the rendering gives us is, ah, form want to go a little bit darker here. But when we combine these ideas, so if we know we have form and we have a three dimensional look to it, it still doesn't give us the structure of it, because structure really is a matter of combining the form and the position or even perspective of it. So for structure, a game is form plus here and for the sake of this course, we're gonna think Maura about the position because perspective can't just be a little intimidating and fine when we start talking about perspective, they were thinking about vanishing points and making things a little bit too complex for what we need. So let's look at the egg. So we have our X shape here. And if I start to again render this so I add a little shadow here and what that gives us is three dimensional feel then that this gives us a little bit more information in the say the the sphere because now we see that it's Leaney. So now we have a shape that has three dimensional aspect to it. So we've got the shading, We've got a little form and now we have the leaning of its axis. So when we look at the tube here, this tells us even more information because now it's tilting because we can see underneath it. So we have this access going, So the tilting Ah, and then we have this sort of thing. So now we know it is, um, basically leaning away from us, and that gives us a little more information that say than the X shape. So if we look at the Cube, you will find that it is leaning. We've got the tilting of it so we can see the bottom of it. But now we can also see where Let's say we have a 3/4 view, dumb that we have the eyes, the nose, the mouth and we have our here over here and so on. So now we're getting more information. We're getting getting that extra layer that the others couldn't provide us. So we'll be learned here. Was that the Mawr corners you can put into it, the more we understand about it. Position. So again, we've got the leaning. Then we had the leaning So this tube is leaning into the paper and the bottom of it is coming out. So we're getting the tilting as well. We're here. We're getting all of that. Plus we're getting the facing. Which way is it actually facing? So we're getting that extra dimensions. So remember no ahead. We can be perfectly uprights for looking at the front of a face. The same. We can lean a direction and then the head can tilt up back um, we could say towards the viewer, away from the viewer in an angle and so on. So that's a broad range of very dynamic movement that we need to capture when we're thinking about the head. So again, the more corners we can get, the more we understand about the structure and structure equals form plus position. So that's very, very important to understand. And as we make this shape a little more complex, that's what we're going to dive into. So let's go ahead and add a little more information to this egg shape and that will bring us up to speed on where we were when the last section of lessons ended. And then we're going to, of course, take these ideas and build on top of that. So I'm going to go ahead and add these features, so just using this is really ah, worn out Sharpie. There's not a lot of ink in it, but it's really good for lightly drawing these ideas can. So I'm gonna go ahead and draw the center line so we can kind of visualize where that center of this first section is, and then we can start to plot out the nose. I'll go and plot out the island. If we look at the idea of just that center line real quick, we wanted to make this figure lean a little slightly. Then we could tilt that access here. Obviously, that egg shaped will be more along this line. If you want to share this thing tilting, obviously we could get a little bit underneath. So if you remember the dye gastric plane where the center came down and moved under, so it's going to show a little bit underneath that chin, so that would combine these. So just trying to relate these ideas here. So that way, when I start applying these to a drawing, you kind of understand where these fit in a little bit better. I'm gonna go ahead and finish the years which would be roughly in this section here, and I'll go ahead and square this off so we'll kind of make this more of the same mail for this particular on demonstration. And then we also talked a little bit about you know, the hairline. So maybe a hairline can be in here and we'll put a little hairstyle on it, and that's kind of where we are 17. Box Construction - Part Two: So we're going to work in the forehead area for right now, and we're going to basically join that skull to the forehead and basically, you know, dealing with this section. The first features we really noticed on the head are the eyebrows. So if we take the eyebrows, you'll see that most eyebrows have some sort of arc to him or they have a this idea. They kind of go up and then head down. So we get this sort of movement and shape with the eyebrows again. Not everyone has them, but typically you'll see some sort of shape or line like that for for a nine brow and want to use that Eso. This is interesting because immediately this will start to join things that's going to have some key connections to the site planes. And, of course, how the forehead starts to meet the eye sockets and so on and what we typically see here in between the eyebrows. So if I were to quickly just draw the idea of a profile here, I'm not gonna worry about all of this. So the forehead comes down, it comes out a little bit, and then it tends to go back in right here. And this is the same section I'm talking about. And then the end of the news will go back out and eso on. But this is basically where that would be located on the profile. So I'm going to change colors here. These are just some oil pastels. You're going to notice how it transitions here into the nose. We get this sort of shape so I can just kind of color that in a little bit to illustrate that again. That would be right in there. Now I'm going to go ahead and add the eyes from so the eyes are roughly and here I'm just going to do a little almond shape and mark the ends a little bit here, where the lids meat and, uh, you know what you'll notice is with the eyes. Typically you have the width of a ny is can be put in between them. So, you know, if the eyes are no, say this wide, you can measure that distance in the middle, and that's going to be the separation between the eyes. And then you also have another one on the side. So basically five eyes. The with of them across is a good guide into understanding the placement proportion. And so on, um, of the eyes. So I'll go ahead and add those just so you understand how that helps you understand the width of the face right there. And you will notice to where where this happens is also where the cheekbones are. So this is basically where the cheekbones come down and meet the face so we can go ahead and kind of plot that out as well. Okay, taking this a step further, we can go ahead from where the corner of the eyebrows are here the peak and draw a narc up that's going to give you the corner of the forehead, basically where the front of the forehead transitions into the side of the forehead. So if we look at our profile view over here and just take this a step further and try to add that idea, I'll just do a real quick here. Got the ear and your eye brows will be start up in here. So remember, that's below it. We get a little arch, the eyebrow. Let's say here. So what if I were to look at this. I'm gonna move this here a little bit closer here. That would go in here. So again, this would be the front, and that would be the side. And, of course, the I would sit saying here somewhere, and then we have the little kind of cheekbone roughly in there, and I'll just refined that. Just a smidge here so we can know a rat di gastric plane. Arching eyebrow. Andi, Right in there. We connect a few things here before we move on. If we take the eyebrow line here, where starts to our down or go down here and we continue that that should be the corner of the cheek. So we come back over here and we draw this line down. That should be roughly in here. And just to distinguish these, I'll go ahead and ah, put a blue line here. Now I just use a Ah, I'm a greenish. They're just doing kind of see how things a lineup on that view. So when I say the corner of the cheek is basically where the front of the cheek meets the side of the chief, we're getting the front to the side So the front of the cheek to the side case that transition from the side in front playing that that's what we're talking about. Another thing I want to point out to you. If you start to see the shape of the cheeks and draw a circle. Typically you can continue that right on around to just below the nose there and that old almost form that circle that we used to construct the head as well. So just some inter interesting ways to start to connect things that we've learned and also what we are adding on here. So at this point, we're starting to see some front and side planes already. Notice how narrow change greens here, notice how narrow the front of the forehead is, and then how wide the cheeks are and then notice again, the transitions from front to side. So if I were to draw a line to say, right below the eyes here to those cheekbones, I mean, there's very little side plane showing there. I'm just going to you emphasize these cheeks a little bit. These eyebrows skulls gonna be push out. It's a little bit more. I really want to share the fullness of that skull here. Now, just change this. Just a little bit of got a little bit to round on me if you go the direction, remember, he's a head back and that around in a circle. So notice again. Your cheeks are a to this point where they curve out and start to come back in. That's probably the widest point you're going to see on the average face. The circle, though I didn't make that dark, okay, because it doesn't really make its way. All the way down, they'll come down here and then we have a spot on the skull where there are a lot of muscles that basically allow the mouth to move and make shapes and so on. So basically, it's going to transition down and here, so you'll get that sort of shape on the front of the plane. So basically, what happens here is we start to transition or see a transition for the front side of the face. So if we were to bring a mark over that, say, how does go right at the knows here and goes to the side of the face like that? All right. Incidentally, the the with here, the safe from this space. This area where the cheeks transition into the muscles that basically are filling in a cavity of the skull that connect to the teeth the mouth and allow it to move is typically, you know, it could be the same width as the forehead. Depending on the figure may be a little slightly narrow. It may be the same. Where could be a little bit wider if you know that particular part model has a wide, lower face. So you just have to kind of pay attention to that landmark, and it's a really good landmark. And by the end of this video in this section, you're gonna have a lot of landmarks to kind of use whenever you start constructing the face. So now let's go ahead and add this idea over here. So let's say we know we have our connection. I'm a good with my darker Sharpie. Here s O, the cheeks come in And then we start to get, uh, this section here. Now, as we start to move further down, things get even more narrow. So we know we of the forehead we have that kind of narrow plain here. It gets full at the cheeks, and then we start to work our way down to where it meets the bottom of the cheeks, and the bottom of the cheeks will meet the cavity in that skull. But we have all of the cables on, and then it starts to get even more narrow as we meet the chin area. So we added that to the chin, it would be roughly and here. So we're getting this sort of shape. This this may curve a little bit again the model. So we start to make the jaw. So eso let's just look at the planes again. I'll use a green marker. So we have this idea of the front that was not a great good green. Um then we have the inside front, the side side, the front, the side. All right, so corners here and moving back, you know, So we have that sort of thing happening, always trying to understand where the transitions are. Another thing I probably didn't mention here is how the from the front, that cheek I will push out and it will tend to cover some of that year, is Well, eso I wanted to make. Be sure to bring that to your attention again. Depending on the model will depend on how much of that here is covered. I'm just going to make that a little bit fuller. So we are moving right along here, and hopefully you're starting to get the feel of some of these corner some of the boxing nous of the face. 18. Box Construction - Part Three: So one thing I want to point out is this sort of diamond shape that's starting to form here on the front of the skull, in the face. And if we take where the cheeks push out, they start to connect to the tip of the eyebrows. We did this from the front. If we follow that along, we've got the front of plain of the skull here. This is where it transitions to the side. We start to get this sort of thing happening. And then if we start to move down, obviously it narrows this way as well. Okay, so you're getting that sort of shape going on. So again, why this is the cheeks narrows to here. We've got the cheeks coming down here. Get that circle. But obviously, we've got the muscles that move the mouth. And here it's going to continue to narrow as it approaches the chin. And just to help a little bit with the construction here and understanding the planes, I'm going to just dark in these lines. So again, the front side and it moves out front, side moves out. Okay, Front, side and drops lose out and so on. We've got the same thing happening here on the chin. Front side side moves out, get the same idea along this section, front the sides and moves out. Okay, so hopefully that illustrates a little bit better. If we look at the to say that the plane of the front here it comes this way and moves back and then with the ear of the ear moves out. So it's going to kind of go out this way and then down and then back. So we kind of had those planes gone as well. Keep that green. Move these lines out here. Okay? Hopefully can start, Teoh, see a little bit more clearly. Know how those planes work a little bit, and I just want to elaborate real quick, too, on the ears. So if I just take a this to a quick egg shape here, this kind of happens a lot. What people do with the years is a draw. This really full ear like that. Obviously, some people have larger ears and the other, but the truth of it is when we looked at how these cheeks overlap, the ears the skull was going to the cheeks are going to come in here a little bit and the ears move back. Okay, so we get more of that. Sort of, I think so. The overlapping. Okay, so the face is in front of the ears, but the ears you don't want sitting out on side of the face. So you want that feeling of it overlapping. So it's kind of important just to keep these things in mind as we move forward, because the overlapping and what sits in front of the other is going to become very important as we start to move forward. So now we need to start dealing with the nose again. A very complex architectural shape. And up to this point, we've just kind of just marked it basically from the profile, Maybe we gave it a quick little shape, their triangular type C. But we're going to need to map that out a little more clearly and to get a better grasp on the nose, I'm going to Lee out just a quick profile here, but basically the nose if we look at the mask of the face So this is the front of the things moving down school moving back. So we talked about how the front of the face is just this. Okay? And again, this direction moving this way. Well, when we start to nearly in the skull here No, this well, the nose well, move out in its own direction. So So it kind of separates, obviously from the direction of the plane of the face or the mask of the face. So we have to consider that now from the front, And I just use this example right here. It's different because you can't see this protrusion happening as you can from a profile, because it is pushing towards the viewer in a front view like that. There's some four shortening going on. So basically, the front of the nose is closer to you than the say where it meets the eyebrow or in between the eyebrow area. So we look at the nose a little bit closer, and I'll try to explain a little bit of the protrusion of the nose and we'll look at the san underneath view. So whenever you're looking at the knows, I'm gonna go with a little bit darker marker here. So I mentioned fast comes out. We had this kind of plane coming down. So what comes out on its own little angle there? And we have that. So on the nos No, you have the tip of the nose, and then you have the knows where actually meets the top lip. So the root of the nose. Now, if we take that idea or take that information and we start to draw face here and again, I'm gonna be underneath the face. So the pose or the model is looking up or underneath. We wouldn't try to capture that. So oftentimes what happens is, um se The artists will mark out where it starts, though, Say, place the eyes in here and then, though, take the nose and just basically draw that sort of thing. And what they're doing is they're basically drawing the length of the news as they know it . But it's not in the right perspective, because when you're looking underneath and again, just like, look at yourself in the mirror and then tilt your head back, your chin is going to go closest to the mirror, and then your odds are going to go towards the top of your head like we talked about before and then the four shortening of the nose is what's important. So typically, you may get the nose way up in here, which is probably what will happen. But what you want to do is try to envision where the tip of the nose is. And then where meets the upper lip, the route. So it may be in and there somewhere, So the eyes would be shaped something like this you have back one on and then from there No , I'm meats. He had the top lip in the center and then the bottom lip. Okay, so you may market ah, have to give that distance right to the top, the middle and then the bottom. And that would obviously probably arc this way like so. And then you basically have the chin, the bottom of the Chen like so if we would map out the other features, remember the eye distance looking in here somewhere, you have the plane going back. So you have the cheeks, skull, the overlapping. Remember, if we remember, if we add the eyebrows So the eyebrows are no coming up and where it it pushes down. Remember, we have this sort of thing happening as a narrow. So that's the front plane of the forehead like so it's going to widen as it hits the cheeks that's going to come back down. And here a predator pushers cheeks a little bit higher, continue to come down narrowing as we approach that chin. You have all of this happening. Talk about underneath the chin here in a second. And then, you know, we get to the ears, which typically get pushed up way too high, and the ears at this point are pushed really low. So I will, uh, over this for the pen real quick. So we get it clear idea of kind of how this is shaping. So I want to kind of draw out these planes a little bit. So we started. Get a feel for how that's going. Remember the little playing there underneath the eyes, where it meets the nose. We have lips, Chen cheeks and the narrowing, and then so long, you start to give that sort of thing. And just to kind of mark this, we could do the planes so on, and we could even take here and we'll pretend we don't have any eyeballs or eyelids or anything. This is going to be the bottom plane of the forehead. Of course we can see that, too, on our little sketch down here. So let's get back to these ears before I I lay that in. I'm going to just give you an example. Reminds you kind of how this works. Remember? You have your No, the eyebrows, the ears sit roughly here to the bottom of the nose. So you have that sort of thing. So if we draw that line lining that up, it would look something like this. So if we draw a square even and we'll box that in something like this. So again, this moving across there. So again, the top of the year on the same plane is the eyebrow. More or less. Bottom of the ear, bottom of the knows. More or less. Now, tilt. The head is going to look quite a bit different. Making sure I get this in the camera. I'll do it real small here. I'm going to take the head up this way. Okay, So the top of the skull moving back face here and say we do this quick here. So we had the we can draw our lines here till on everything up. No, it was moving out Way we can do all of this stuff. So now what we have is a different dynamic. Okay, So if you remember, right, we were dealing with this over here, and then that's still the same. So years obviously Don't move just because you're looking up. So what's going to happen now? If we draw a line straight across this way, how do it with, see if that's visible. I think I'll use this one. You're gonna find the top of those ears may line up even with the bottom of lip, the middle top lip, something like that. So that's basically what you have to start to look for. The shift, the change in perspective. So that's why I'm gonna drop this down just a little bit. I think we can still see are drawing when you start to locate the ears. We need to understand that because if you just say OK, well, I know the years are at the top of the, you know, started the eyebrows or the eyes, and you start to put him up here. That's gonna look funny. because you're trying to draw a much different perspective. So again the ears probably start more. Were our place mawr and this sort of location. I'll just go over this a little bit darker here, so that gives you a little more information on how to. I understand there's different angles and really the placement of the ears, which is something we talked about in that first section. How, ah, valuable of a tool. They can be an understanding angles, rotation, tilts, leans, that sort of thing. So that's that. 19. Box Construction - Part Four: So now we're going to look at the jawline broke quick, and then maybe use this example here where the were underneath the figures looking up. And typically what? What happens here is and I'll just plot out real quick for all this is mouth. And here, Chen. Okay, so we have years, cheeks. I had all that going on eyes. Nos Chen cap. So we're kind of up to speed, so to speak, cheeks. And then this wraps around and what happens, and I'm gonna do this a little bit darker, so you can see it is the artists will just come in here, go Well, it's come down, and then they'll just do this really harsh angle like that for the chin. And that's that's really not ideal. Assigned, really a very amateurish type work, and it starts to look like a mask. Okay, so you start toe, um, it starts to thin out and just get a little bit detached from what's really happening. And truthfully, it's kind of what is going on. So you have ah, low jaw, hei chin, low jaw, high chin. But there's a much better way to plot that out. So let's just look real quick. Let's just take this profile. Since this is in complete, your the ear sits behind the jaw or the face weaken, Just say so. This line comes down. So from a profile view, it works out really well, cause you can see that line. It drops down. It goes over. Obviously, some models, some faces, maybe more curved. So maybe more square. But for the most part, um, and we're in most cases, we we get this sort of shape going on on different angles. You can still see that you can still see the line, Um, that is coming down from the jaw and then goes down to the chin area. And then, of course, there are other cases such as this where the figure is looking up, your underneath it where it gets lost. So we really lose this beautiful ah, shape going on and the kind of help us with this idea little bit. I'll just use this example here. Um, the the body has bilateral symmetry, So basically, if we take the body, split it in half, you know, you have I hear, I hear eyebrow eyebrow. You have, you know, shoulder here, shoulder here, nipple, nipple and so on. But no, that is never perfect symmetry. So if you look at someone's, you know, the say the side on the right here of this ray picture of an actual person and we covered up the left side. If we were to take a photo copy of this and then paste it on this side, it will look funny. I mean, I even looked like the person because it's not there close to close to symmetrical, but there are imperfections on and everybody has those. So again, it's just not perfect symmetry, but it's close to it. And understanding those imperfections and irregularities of it sometimes is what is key to capturing that likeness. And obviously, whenever we're plotting things out, um, we're going to look for those corners. So we had, ah, that that corner here, remember, we've got the the eyes. We've got the corners of the mouth and different things. Well, that the chin is the same way. So without Mark where that jawline comes down and they say it's right in here, then we have that symmetry going on where we understand now. There was a somewhat of a A and b Assad to this. So no matter what the, um, perspective, maybe so let's say the heads looking down We have the center line here nose, mouth, chin and this wraps around say, that jaw comes up here we have the ear. So I get a little more skull on top here. So basically, we follow that line around the shape. So we've got the mouth. Ah, and we plot out. Let's say this point right here. Okay? Where it goes in to a different direction, right, The jaw, the bottom of the jar right here. And we plot that around of wrap around and end up over and here. Right, So that that lives with this sort of landmark of understanding how that works. And of course, we can do different angles. Ah, where that hole is true as well. So this kind of go back to this for a second, This idea. So when we plot out this idea of understanding, so I'll go with this instead just so it doesn't get too messy. So we did this for the eyes. We did this with the nose, and then we did this with the mouth and the ears and so on. So basically, let's say for the jaws and right here, Okay? So we can look at our image and determine that this is the point just below the ears that the jaws had this angle. So we're looking right here at that angle right there and then we can use that as our guideline was not much ink in that. So we go over here like this, and then we could say, Well, where's the tip of the Chen? So the tip of the chin right here underneath. So right there. That point is what we're looking for right there, and we can determine while the tip of the chin is slightly above it. Okay, so we have this going on. Where are Jaws? Change And then we have our chin, and that's what we're trying to line up. We're trying to find the points, the landmarks and where they line up relative to other landmarks. And it's not always going to be below the chin, depending on the head angle. Um, you know, the head could be in a position where you know you're slightly under it, but not so much. The case where the chan is still here. So the jaws that point right there is not quite above this mark. So you have to always consider the pose you're working with. Everything changes from posed, oppose and then, of course, from model to model. So if I were to kind of draw that out in like, a schematic here, make sure we again get this. And, uh, on the camera, we have that say, a the chin. And here, jaws coming out, going up, like so. So again, this lower and that higher. But you want to interpret it this way versus trying to interpret it with that sort of shape . Okay, All you you want to think in terms of here and not there. So if I were to take this drawing here a little bit further Ah, this would wrap down. You gonna have the dye gastric plane, which is what we talked about that's going to wrap underneath, don't go over the throat and then curved like that. So then we can go ahead and we'll just go ahead and shade that in with blue just to make it clear, I'll just make these lines a little more obvious. We come back to this idea, you're die. Gastric plane is basically going to be in there. So if I were to connect this to a body, it could look something like this. And just for now to keep it simple. Something like that. And remember, the ears get pushed. Lo are the chin typically will get pushed right high. That will get pushed. Lo OK, so you jaw and again remember the boxy construction. Okay, the remember this gives us more information. We have more corners and we can understand things better. So if we take this idea that we worked with with this head and we start to square it off a little bit So we want to get away from that horseshoe. We want to think more in terms off squaring it off. You can always come back around it later, but for now we want to thank Mawr Square, more corners, trying to understand the plane's what's on the side, what's on the front, but slightly above what's no slightly below and getting everything plotted out correctly. And we could even take this a step further and put another plane right there. So you have the at the forehead, we get the sides and here and then you even have a little more of the skull there. So if you really looked at this and say, this is the forehead, that's the side of the forehead. So I'm basically doing this a little bit bigger and then really have a little sliver of the other plane there, so you can really look at having five planes right there. But anyway, this starts to break down. Ah, little bit Maurer of the of the front plane, the underneath plane of the forehead. We're starting to understand more about the the side planes that we talked about. We talked about a few of the awkward positions we can get in sometimes when we're dealing with these sort of ideas, and now let's go ahead and look at the top and bottom plane 20. Box Construction - Part Five: Okay. What we'll do now is first recap quickly what we learned in the previous lesson, and that's the idea of taking the mask of the face case of the front. The front features up front plane and turning it into a box, using these corners as a way to determine the front, top side and so on. And with the features of the face. It's a little bit easier to do that. But we also understood that having these corners and using this box idea was useful because it helped us understand a lot more about where the front is, where it turned transitions into the side where it goes underneath and so one. So we want to take that idea and apply it to something round. So basically, what we need to do is to transition or convert a round object and to this idea of a box idea, that's what we're gonna have to do a little bit here when we start working with the top of the skull. So if I were to this, let's go ahead and do this feeling of ah, top of the skull here and would do a figure looking down. I'll make that a little bit bigger. So you got the here on the back and we'll put a little center line in here. Bring that around the skull. And we knew actually, switch markers here. I'll go with the red here. Well, jaw line here. We can wrap it around the first so we can find top of the eyebrows. And we know now, top of those eyebrows and the Kate, the forehead underneath the forehead. I got the news coming out. Get the mouth like that a little bit longer. So if we take this idea of the forehead, we wanted to make it mawr of this box idea. And we know where the corners of those eyebrows go up. That's this line moving back. Then we have the eye sockets moving down, which meets the cheeks are the widest point. We can use the contour line over here to get that. And then we know this line moved down tapers as it meets the chin. And that told us a lot Tell us a lot about where the front of the faces and how that transitions into the side. Three efs idea of the front. And then we knew underneath the eyes or the bottom of the forehead underneath eye sockets. We have a slight inward angle there, so that kind of brings us to the top of the head and the temporal Alice, which basically near the eye socket right in here. We look at that on the skull. It won't start to move up this way along this line, and then it will sort of fade. It'll kind of blend into the roundness of the skull, but that's a really good line to follow around when you start to see a work to indicate the side. So if we work, do you think that's the top? And that's the side top. That's the side that already give us something to work with. We already have, like a little bit of a hitch going on in that curve. So if I took that real light that we have this head looking down so we have the forehead and then we have this sort of change. So it's a lying coming down here. So again, a slight hitch and to the top of the head, so you start to see how interpreting around, shaped like that can help you with understanding the tops and the sides. That and the combination of using a little bit of a ghosting feeling. They're putting that line back up and around again. All I good ideas and techniques we can use to understand the top and the side. I know this looks a little bit robotic now, but it's going to change. It's going to get a little more organic. This is all about construction, trying to understand how things were constructed. And to do that, we're simply applying this idea so that we can plot out the features and understand where the front sides tops and things like that are. So again, this idea of a circle here you can start to draw that with using a Siri's of our King lines . So if I were to take a shape like this, this little hitch right there is all we need and that breaks us out off this sort of thing and he can lay it out. However you want, you can come in here and start with your circle and then go. Okay, well, it's coming down. I can see where the forehead starts, so you have this little bit of overlapping going on, and then you start to get in here and refine things a little bit according to whatever it is you're drawing, but that's the idea that we're looking for. 21. Box Construction - Part Six: so say I add a hairline here and this is taking for granted that we're not dealing with bangs or hair that's covering the face or anything like that. I mean, that may be roughly and there. So let's say this is our That's the hairline. So you can take some of these lines that plot out some of this and take it. You're right on back like that. So if I took, you know, the same lines kept in parallel, I can get back in here. And even where it starts to transition, Weaken, bubble it. So you have that sort of thing happening that would be a little more sophisticated, maybe a little bit more than what we need right now. Obviously, we can take take this back, make it into on actual square or whatever. But the idea again is we're trying to turn this into more of a boxy sort of shape or construction that could render this out a little bit more. We could at our neck maybe bring this out So a little bit of a solution going on already into how we can make these little hitches. These little subtle changes in a curve and tweak them. Work them into the top of the skull like that. So we look at a slightly different angle. Take this idea of, ah egg here and we'll say this figure is looking up a little bit. Remember when we're dealing with a this sort of position where the figure is looking away from us, Obviously we don't have the luxury of all of the facial features, so we can use them in the same way we use them here to plot out the top of the head, and the ear is closer to the front of the face, much closer and right in this area. We will have a eye socket here, So right in there and then we have the cheek. So this sheep, so because we're on top of the head here that's going to push the ear very low, will be dealing with something like that. So from this angle, you may see an eyelash or something. But we don't have that luxury of being able to track the symmetry in the face. So we we don't know where this other I is. We don't get this, Ah, sort of mapping out, going on or these extra tools to use when we're dealing with this sort of angle. But when you're looking at this angle, you're are you will be able to see some of this right here. So, for example, if this were coming around, we can treat this right here as the part of the hair. And we had school moving back here. Um, that right in here, you're gonna be able to see one of those some sort of edge where it goes off into the front , and then you can come back here. They're behind it a little bit and trying to figure out where the how deep that school is, where's the back corner? And depending on how you want to approach it, you can I'll make these these lines a little bit longer. Speaking overlapping. You got this idea of, ah, box that he can start to use to give the back of this head so the back of that skull and just depends on how you want to approach it. Teoh, obviously, that again is like a bread box. You know, our a loaf of bread so kind of swollen or puffy. But if you were to say, Take the same idea. And were you kind of plot out this instead of making the say, Ah, line like that? Where is very, very Let me go a little bit darker. So you see it actually think I'll change to read. I'm just going to capture kind of the back of that skull. You can also use this sort of idea where we get these. You're the hitch. So we get that sort of thing. Just however you want to do it, it's up to you. But that's that's the sort of boxing this that we're looking for and remember, we want this ear. Have plenty of distance from the back of the plane when we're dealing with this angle. So we need a couple of years right distance. If we look at the cheek, we know that this is the tip of the eyebrow. So that point you see if this will go over it point right there and right there, that's what this is right there as it comes out was that moves out, get that little eye socket there and we know that the temporal is kind of goes here, so that's going to start to move back. They're so that's going to move here. So we start to kind of plug some of these ideas that we learn here into this angle. So that brings us back to that idea of using corners, doesn't it? We have is very, very boxy. And you may even want to curve this. So you get that kind of ah, loaf or bread feeling, Um, or you could do it gradually. But it is. It's the idea of using corners to understand the top and side planes again. Notice how you know, we really we can't see any sort of facial features here because it's around this side. All these features are hidden in an angle like this because we're looking at a dominant side plane here or top or the back. Okay, we really can't see that front. So the last position will look at a little bit closely at some of this stuff we have touched on, and some we haven't. But I just want to cover this while we're looking at these views. Is this kind of the idea of being in a side view? Maybe a slight 3/4 view with heads turning away from us and being underneath the figure. And if I were to draw a tube something like that. I'll put this in. Not quite as heavy perspective here. You can see these lines are running like this. So with the perspective in the curve of the top and bottom. So if we were to take a notch out of this, take a drill to say this is a barrel and drill right into it. I think I'll switch to a marker here and drill a hole right into it, right on the edge, right here. Okay. That that line isn't that drill hole isn't gonna look like this as if you are looking at the barrel straight on. Okay, it is going to be in perspective with these lines. So is going to come up, curve around and then go back down with this sort of perspective line. Okay, so it's gonna follow that, And then if we take this top one and it's coming down here, that's going to curve around and back through. So the notch in the barrel will look something like that. And I point that out to you because this could be beneficial when you're drawing an eye socket from a particular angle that I'm going to show you right now. So I'm going to do this with a little bit of a lighter lead, and we'll take the say of you here. Say the head is moving off this way. Um, Dow, go ahead and fill the central quick. So let's say we're again looking underneath, so we'll see. Catch a little bit of this di gastric plane. We know the eyes will be in here. So we're looking at the arch of the eyebrow. So, you know, right in here where meets the cheekbone. Okay, so if you are, say, looking at a hedge straight on, get the center, got the eye sockets, and that's what we're dealing with here. So from a side view, you have this sort of idea coming around for the eye socket and that's going to come around , pick up the cheekbone and then move downward, and then this I will move down like that. So again, highbrow moving around and there's gonna pick up the cheek, move around, and then that hi socket or the eyeball will come in here like this and then, you know may pick up the nose, and so on. May we have a little mouth? We have our here back in here. So again, we're underneath it. So the cheeks, all this would probably come in. Maybe this would, uh, come around so you'll be able to see all of this. So the I would sit in there if you want to use that idea. We just talked about, um hit the forehead. We had this idea of, ah, kind of more of a boxy feeling start to employ some of that The neck di gastric plane. Remember, I could even square that off if you wanted to. If you want to really force that box. And so again, it just gives you a little more information there of using that idea of a notch. Of course, the head could be looking on a little bit different direction. Could be looking off. Say, this way. Ah, the sea working. I find some room Here I'll go. Ray will be here strong over this, and I won't even do. The whole thing is just say it's moving off this way. A mask of the face. And here I will say this would be the I line. So remember the notch will move around, and then this would come around, turn into the cheek, move down, and here maybe would see the chin. And here have a little bit of a die gastric plane showing here. So let's say you're here is gonna be really close to the front of the face. So this was the back of the skull will be wrapping around here. The neck would be coming through like this di gastric plane. Then there is that notch again. Catch forehead moving off this way. And then we can kind of go in here, and you that maybe that's the arch. The eyebrow moving up and around I would get into the back of the head and so on. 22. Box Construction - Part Seven: and a quick reminder, Teoh, when we're in the's sort of positions, how you wanna have this sterner Clyde of Master Wade, which you know that's gonna run down and here back of the year, front of the ear. Basically, you have that right here as well. Moving down. Just a cable, you know, So the muscle cable, if you have you want to think about it that just moves ahead. Side to side the back of this head, would, I guess, eventually come around. You have the neck moving out this way, and there's an overlapping too right here with the neck, which is basically moving here. And the throat, the sternum. Clyde of a massed away. So if I draw that a little bit clear here that say he had the jaw coming around to the chin throat. There we have our ear and we have these cables running down, and that's basically what you're seeing right there. So the space is moving off this way, and that's what's going to create on overlapping. Okay, so it's overlapping the throat and the debt and the dye gastric claim so the throat neck would be in the same moving off this way. Head is moving up in around. Of course. You'd be ableto see that right here to with this angle. So this would come down, you would see a little bit of this throat. Right? Mayor Stern, apply dome Asteroid moving down this way. So you get that overlapping, Then you would have the back of the neck. And here, you know, the spine moving back down this way. Traps coming in, moving off. This way. There's your shoulders so your traps would come in overlap in here. Right there is your C seven seventh cervical vertebrae. Those of you that took my figure class. So that starts to kind of break a few more angles down for you. Hopefully try to make a little more sense of understanding this box idea and remind you of some of the other things we talked about. So you can take something very round, make a box out of it, using that idea now, just ah, little hitch here and there in a circle to show a subtle change in direction. Sometimes all you need, he may want to put the head and aim or box. Or again, you can use that idea of these subtle changes, whatever. Whatever works for you. So you understand the top insides Talked about a few different angles, kind of tying in some ideas on how to, ah uses little notch in a barrel to understand the little bit more about the eye socket from a side view from a slightly even 3/4 view. The head turned away from you. And hopefully that gives you a little more clarity into some of the construction ideas and why they're important. And, of course, as we move forward, we're going to continue building on this idea. But we're going to pause with the schematic drawings and things like that right now and have a look at some of the old masters work and see how some of these ideas played into their art. 23. Masters Part One: the start with this whole bind. And we're going to just map out some of the architecture that we learned in the previous lessons and just see how it works of See if some of these masters applied some of this technique or if we can perhaps just see some of those things in their drawings. You can see the skull, you know, coming down very much on egg shape here. Um, so I'll bring that down. And here. So we have that going on, Siyassah. Quite a bit whiter. Ah, maybe not quite a bit, but definitely whiter up here. That is in this section. Ah. Then we can start to look at the cheeks. So let's just go right here. Because, see, the cheeks are nice and wide, so coming down right in there, starting at the peak of that eyebrow. So we have that sort of shape going on where the eyebrow peaks right up in here and heads over this way, you'll see a plane change. You're going to see this little shadow right in there lining up with the arch of that eyebrow. And we got our forehead plane right in here. Well, then, that would switch Teoh top plane of the head on. And then let's go right over here to the widest part of the cheeks. Right in here. You can see how that is. Definitely the widest part of his face right in there. And obviously, where I just threw these marks, that's going to be the side plane. And you can tell just by looking at the little bit of shadow he has here. We're just going to follow this line down from the bottom of the cheeks. You can see how it narrows. So we get right in there so it's gonna come down this side. It's going narrow more. And then we have our should right in here. You have that one on. So it's whole Not pretty. Good. I'm going to a race part of this just to point out another little detail here. So we're racing that I want to show you. Um, right here. I'm going to change color here. In contrast, how we haven't overlapping of the side plane of that cheek side of the skull or the mask of the face right here. And how is covering up that here So you can see the layers layers Rather happening there. All right, so going Teoh ad school and notice how why that school is You can see the back of it right there. And let me erase that again. Just you can start to see these things, and I'm going to grab my lighter color here. So again, we've got the widest part of the side playing the cheeks. They're overlapping the ear, and then the jaw comes down and then around right here, you can see that overlapping going on for the skull. You start to see the layers, even in a front view like this. Um, if we take this idea of the circle and see, we remember, comes down here, raps beneath that knows right there and that, uh, a complete circle idea which comes through here. Okay, um, we have underneath the eyebrows, which we're not getting a heavy shadow in this one. See, Ali's comes down, and that's going to shade this in. Obviously, this is this section. The below the bottom of the forehead were sinks into the sockets of the eyes is broken up because we know we have eyelids and we have ah bulging eyeball in the air and everything else. But for the most part, we know that's a bottom plane. And I'll go ahead and shade this little section in here representing the side plane of the face. And we'll just repeat that over here, bring it all up to speed here like that. Then we connect Cheeks coming down. I'm just going Teoh, race that last mark. All right, so let me try that again. Just got a little bit too heavy. There you are. Okay, so now where the Where this nose comes in, there's always an interruption there. So right in this section can be aggressive. Um, depending on the face. But you wanna have that sort of interruption happening at that mom back in here? So we have that. I mean, obviously the we were going to get into a lot of shapes of the nose and this sort of thing in a intermediate and advanced Porcher drawing. But the last thing I want to point out is just the neck. You see, all this neck flares out very masculine and joins. See a little bit of these traps sagging down. And we're good again, I think taking a drawing like this and just sort sort of breaking it down to see where, how we can understand a little bit more about face construction. See how some of the masters did it. I think is a really good tool and a great way to learn to see how some of these ideas were putting put in place or or put to use. I should say, Are this have a look at one more front view here? And I believe this is another whole biden. So a different face, obviously much more austere, not as fleshy as the previous example. So we're getting more skeletal features, things like that. I also want to point out the eyebrows in this case. No, these eyebrows are very much arching like this, but we could still I use that as a guy. Also noticed the bangs, um, more difficult to see some of these ideas we talked about, but I believe we can still map him out. You know, you could see a slight change in direction right there where it starts to go to that side plane and notice the cheeks cheeks push way out in here, and that's gonna be the widest part of the face again. So we're going to get this were thing. If we follow that around that, that's going to take us, you know, right along. And they're so that all that is kind of holding up. Nice. You can see it as it comes down. It's going to switch. You can see a slight shadow there. And let me go ahead and get rid of this for a second so we can see the face little more clearly. I want to point out to the dimples. So, uh, this see a slide dimple right there. Um, and this going up the dimples, they're going to be outside. Uh, this mark so kind of pushing more towards the side of the face. You can see the chin right here. Very narrow, almost pointy. Feeling there of the chin. Very. You can see a slight head of the school there of this particular figure of much more prominent years. Still see the overlapping and more prominent years basically than the previous model basically previous example. So we can track change colors. You contract the skull, Probably up in here. That, and I'll go ahead and carry that around here so it looks less confusing. Yeah. I'll bring our head here so you could say the you can see. Ah, top plane starts about there. So we have not quite as wide of a forehead, I wouldn't say. And this one, of course. You may see it differently, and that's fine. You can track below the eyes here. So the lower plane on the forehead go ahead and she that in I'll stop it right there where we get that change, where the nose meets or the nose connects to the face there. So all of this is going to be side playing side playing. Oh, that's we're not pretty good. Come again? We didn't talk much about the news, but you have that sort of thing happening. Can't see the neck. Do you really see the net coming in here? I would imagine we're gonna be dealing with something about like that. All right. So again, um, I'm gonna go a little bit darker, um, holding up pretty well. So we have the more of an arch. But there was a subtle change there. Very subtle. I could probably push that a little bit wider, and here that's going to be side of the head. Andi like that. We got our cheeks and the white is part. And here, uh, these particular model figure has a little bit wider, ears more prominent, coming down to see a slight overlapping there, too. And so on likes Long chin on this one. We'll get the temple over in here, underneath. All right, so that takes care of another one. And let's move on to a few more and we'll see. Start looking at some different angles. 24. Masters Part Two: all right. Another 3/4 view that the male head one here and this map out some of the things that we've learned. Um, so if we take the eyebrow, so not quite arching as much. But you can see that change of direction of right there. So we get that sort of thing happening. Let me get on with C. Right in this section here. That temple line. Okay, so we're getting that change in direction. So that top of the head here in the side of the head here, top of the head here and so on. We can follow cheekbones and get this line through here and watch it go right underneath. And this sweep right back up in here. You can see the eyes coming over here back around. So we're starting to see a lot of this for the forehead from plane in here. I got that nice change in direction. There. You can see for the nose map out right there. Those points, I'll go darker. Go back with the purple here, shave that in a little bit, have our cheeks and coming down a lot of nicely there. And we have to get a change in direction. Here, dash that out A little bits. We have the top side. We can even see. I level here and would change that to an orange. Actually, it's good green. You just check the eye line top of the ear, coming right there to the eyes. It's working out good. And let's look at how it narrows. So we'll get back to the purple. So this is coming down, you can see is narrowing. And then, you know our mouth is probably gonna be corners or right in here. I can almost see these marks that were placed that kind of indicate the narrowing of the face through here. We got this little feeling of comic series Hatch marks. Here is a slight, subtle indication of the face. How that I was working for placement, getting things mapped out. See, that's Colon. Probably come back in there. You can see a really nice right here, coming around. So see these overlapping there cheek. Not much of a hint of ah jawline or anything because of the beard. But again, uh, you know, a little more information here on how some of these ideas work. Point out one more thing. We didn't really talk about it, but, oh, look at it real quick. We'll get into a lot of this stuff in the and being a version of the workshop. But let's just look, we have this eyebrow coming up arching down. There's our little bit of a whistle notch coming through and notice the eyebrow where the eyelid comes up in around here, and then you can see that angle right there, pushes it back more, I say, pushes it back. I'm talking about the eyeball itself and then the eyeball, his way under here. So it's basically protected. And that's the whole purpose of the eye socket is to protect that ball and to protect the eye itself. So come, steak is just a bulge, those eyeballs out way too far. But you can see how far that sets in to the head. So we're just kind of something interesting there, I think Teoh to think about. But again, we're gonna talk about that sort of stuff when we move into it. But again, we can Yeah, I know this is in light, but we shaded the side planes here started Get a feel for how some of this works. And then how some of these other artists apply these ideas that we're talking about. Okay. Okay, now we'll look at this one, obviously looking up 3/4 view. So we have some different ideas to explore here. I'm just going to lay out what we know about this. I'm going to change colors there. Let me try something a little bit lighter to start with. Here you are. Special plane here, mascot. The fees. It going back there was how it was up and back, and then start to curve around. You're here. Well, the skull was going to come back in here and right in here underneath the chin notices, though. Zigzag Mark's right in there showing that die gastric plane so powered shade that and it would look something like that. We have the neck at that point going down, and we have some nice overlapping in here. We have a center line. We went through here like that. So the things I want to point out to you, Tom, you can look at the are to that eyebrow going up right in here and then changing directions . You can see even that hairline in there is a slight hit. Had that plane of the forehead we get from a plane right in there. So that is going this way and then changing directions when we have cheekbones. So where these eyebrows come down, you can see the slight hint in here. You get these cheekbones right in there, you can see these marks that indicate coming down, still moving in here. And then we get this front of the chin right there. All kind of interesting stuff when you start to look at it. And this would be the widest part of that cheek in there. And the other thing, I want to point out to you here. I'm going to erase just this one part right in here. So remember that idea of a the whistle notch? Okay, so we have, um, that coming around following the perspective and that notch going back around there. So if we look at this coming down, that's following that perspective this way, you can almost envision the bottom of that socket being here. We got that whistle notch, and then you have that eyebrows coming down, joining the nose and then coming out there, you can almost see a hint of that eye socket way back in there, tucked away back in the socket. So what kind of interesting To see that in action as well. And I'm just going to take slightly darker me Go even darker than that for a second. Here, I'll go with this purple. So all side plane underneath the eyebrows, we had the lower plane bottom plane on that forehead that knows there, too. I noticed the curves that we had this curb action going around the face there you can see it tracking here. You can see it tracking on the lips and kind of keeping things in perspective, even see that slight tracking there, keeping it all flowing and or can nicely together. See how this jaw comes up in front of that here. Skulls probably move in, back around, See this way. And, you know, it's probably going to be that neck is probably gonna be in here. So that's tracking with the top of the ear. There's eyebrows, that skull right in there Shave that die gastric plane Teoh. All right, so, uh, again a little more evidence a little more. Ah, confirmation here on the ideas we're learning and starting to see these things in action 25. Practice Reel - Intermediate: in this practice real, you will do a series of 10 drawings with each pose being five minutes long. You will start each pose with adding the main features of the mask of the face and the skull that we discussed in the first section of this course. Then we will build on that by adding the intermediate ideas and methods you have just learned in the second part. So each drawing may look something like this. There will be a notification that sounds like this when there are 10 seconds left. And that way you have a good idea. When this pose is about to end and the new one begins, be sure to have all of your drawing supplies ready to go before the practice. Real starts. I typically have at least three pencils that are sharp and ready to go. Your first pose begins now. 26. Student Critiques - Intermediate: All right. Welcome to the critique video. We'll start right here with this one, Al Focus on the one on the top left here. So I've got the image, the inspiration image there. And if we dropped right below it, you can see your rendering of that. And the main thing you have to look at always is the big picture angles, shapes. Which way are they moving? Also, the angles relative to each other. So we look at the inspiration image you can see clearly, the neck is moving upward and to the right. So that trajectory, if we take that and then look down at yours, years is moving in the complete opposite direction. I'm sorry for the move there. So that's the big picture. If you get that part right, then you have a much better chance in getting the rest of it in place because the drawing yourself isn't that bad. It's just that you were trying to do it with incorrect angles. And when you do that, then you kind of go back and forth to the image. You're kind of get a little bit puzzled when you don't understand what buy things aren't. You're running at a room to place certain features and things like that. So you really want to be able to do that. Here's a draw all over. You can just see this little tube, which basically represents the neck angle, is a starting point. So when we draw the head, the head is attached to the neck and you always have to consider how things are attached. So trying to draw a head floating in space without a neck is difficult. We placed the neck that it gives the viewer in yourself more information about what the neck is doing. But the head is doing more specifically so that just simply doing a tube of the neck, which is things we cover the basics. The first part of this course I was number one. So again, you gotta build on top of that. Always look A your subjects is simple shapes, ovals, spheres, tubes, things of that nature and never get caught up in detail. So you have to break away from the fact that you're actually drawing a head or face or neck and break it down into basic geometric three dimensional obviously shapes. Then why take that neck and I attacked it to the head like that and just start to look at the angle of the head, the angle of the oval of the skull, the angle of the mask of the face. I just start to lay those in than in like, 10 seconds. You can get the big picture. From there. We can render details and start placing things, but you have to get that part of it, right? And that's just where you came up short. And I know you got a note here says. As you can see, I am still struggling, unable to think inside the box. Well, you know what drawing skills are going to tell you exactly how much you know about your art . Drawing skills are going to you can't hide. All right, so you can take a big brush. You could take color. You could splash it on a canvas, and you can mask a lot of things where you come up short. But the thing about drawing skills is it's going to show you your weaknesses. So with a pencil and paper, you can learn a lot about how much you know about art. So again, if you use that attitude as I'm struggling to think inside the box and you keep telling your things yourself these things, then the chance of you having a breakthrough and actually enjoying drawing, which is where you need to be if you want to create better art than you're really minimizing that chance ever happening. So just have to think more positive. Yes, you are struggling inside the box here, but you have to think in terms of why where am I coming up short? And I'm telling you right now where you're coming up short, so use this information to move forward and to not struggle within the box. You start to find a little bit of success in that area. I'm also want to point out I'm going to actually get rid of this. And this is just take the second image here or your second critique and what is? Look at this image in the middle and just look at the big you know, something as simple as the mascot, the face. If we took the center line and ran it down through the middle of her eyes, all the way down to her chin, the middle over. Chen you're going to see on that angle is almost upright. It's a slight 3/4 view, so you can see obviously Maurer of the ear on the left and no, here on the right. So you're going to have a center line that favors the right hand side. But if we just take the vertical, um, picture here and it's almost a perfect 90 degree angle from the chin, so it's not there's not any lean or tilt going on with that head. She is looking straight ahead and slightly rotated to our right. So when we look at your image here and you're drawing, you can see the access of that line. So if we look at the center line coming down the face, you can see your your tilted about 10 degrees there. So you're already off. So if you when you don't get that vertical line right, we don't get the, um, orientation right of what the head is doing, which is basically looking straight on and slightly turned. Then what you gonna do is going to go back and forth to your referencing your start to squeeze and details. But the main picture in the main viewpoint that you're drawing is off, so it's going to start to look skewed so and that just comes down to what I said the force about understanding the big picture, getting those main first lines and accurately, and that's where you need to go back. I like for you to go back and really just take thes examples of the head and the practice rials and just thinking to in terms. Off spheres circles tubes of the neck, try to capture the lean, the correct angle and the mask of the face, which how is it leaning? Is a vertical is a slightly left is a slightly right. I think if you do that, you're going to struggle a lot less. But that's my advice to you. And again I would. Overall, I would highly recommend you start to get more comfortable with drawing because again you can mask a lot of things with color and paint, strokes and all that. But if you lack the drawing skills, it's gonna come back and bite you every time. So it's something that's going to keep I rearing his head and snapping back at you, so work on it and I think you're gonna have a lot more success with your are your paintings are going to thank you for in the end. All right, next up is this one. And overall, I thought you did a good job with this pose, but let's just look at the big picture. So before pencil hits the paper, you always want to spend about 10 15 seconds and decide what this figure is doing what this head is doing. So this is a viewpoint or a vantage point where you're looking down on the head so you're not looking up. You're not looking dead on. You are slightly above the figure, which is why the shoulder lines sit so high up there by the ears and the figure is also looking down. So what that's going to do is show a lot Maurer of the top of the head. So whatever you do and the details are in their rendering, you want to make sure you understand that the top plane, which we talked about a lot in that you meet intermediate section that we covered is visible. And I did a draw over here so you can see that so top playing coming down. So we just take where that starts way back here and wraps around because it's not a flat object. It's a three dimensional object there, the top of the skull and wraps down, and we know that the top of the forehead starts about right there. So we look at that distance in the volume of the top of the skull. That's very, very important. If you want to capture this particular pose, it's not an easy one to get. But when you seem or the top of the head than the mask of the face, it will become foreshortened because the chin is moving away from you. And that makes all the features and the space between the features. I'm talking about the eyebrows to the eyes, to the knows, the tip of the nose to the mouth of the chin. All of those become scrunched a little bit, so whenever you're drawing things, you almost want to exaggerate. Um, because you got to get that image. You have to get that information across, and I thought you came up a little bit short in this, although I thought you did well with some of the features and understanding the dynamics of the different areas of the face and the planes. Unfortunately, the very first bit of information just kind of lacked a little bit. So I did a draw over for your art as well. You can see I tried to exaggerate the top of that skull more. There's this to show the volume of the side of the skull moving up and then the volume of it moving in the back. If I take that off, then it's going to expose yours where it's just a little bit to, um, circular dozen. Quite show the volume. So right back in here is where you would want to have had that particular volume. If you had done that, then we could have scrunched. It would have almost given the appearance of the face being shorter. But I did go back and put I reduced the amount of space in between the features because I felt like that's what it needed as well to really capture that. Okay, so that's my critique for this one. Let's go on to your 2nd 1 and we've got that's see here. We got this one actually removed that Here we go. Okay, There we go. There's the inspiration image. I thought you were moving in the right direction. Here, Conceive you. You opted for a box technique for the skull, which I think is a smart move for this choice. But let's just look at the big picture. All right? Um, you not seeing much of the neck? Well, you've seen a lot of the back of the neck, but because of the way the head is turning and everything in the hairline and the trip trip easiest muscles of the back, that neck is getting covered a little bit on the trapezius. Muscles are going to cover the volume of that neck quite a bit. When you're turning like that, one side's gonna be exaggerated. So it's going to even hide the neck, the tomb of the neck even more. But all I know it's not bad, But whenever we just say, look at this angle of the neck going up, we had that angle and then it's kind of moving. If you take the master, the faces coming up, it's moving back and upward. So this way so you can see that that movement going on and I talked about that in the very first part of the Siri's how the common mistake is for people to chop off the top of the head. So we missed that volume of the head so that the line basically comes up and it moves back . But we want that line to come up and move upwards and back that way. I think if you had done that, it would have helped quite a bit. Because you can see your the mask of your face is coming up and you're missing that volume bright back in here. That would have helped show the volume of that. I did a little drawl over here just so you can see the trapezius muscle on the right hand side would have come out a little bit further. And that would have, um I could see you have your struggling in the mouth and chin area because you had too much space. And the reason you had too much space is because that angle of the trapezius muscle on the right are right. We didn't quite have that angle. Correct. I'm gonna touch on that in just a second. But again, look at the big picture, trying to capture that first and then build everything around that. So what I did here is I made two dots. I've got one dot right here, which is basically the top of that trapezius muscle. I made another dot at the very end of it, which goes all the way down. Ah, here to the end of the clavicles. So if we just draw a straight line from there from point A to point B, that's the overall angle we're dealing with. Obviously, there's some sag there and some curvature, but that's the angle of that. The access line from endpoint to endpoint. It's kind of interesting to you, but take and copy this access line, and I drag it up. It's almost. You can see how that angle would have helped with moving that head upward and backward as well. But that's kind of Assad note there. So I look at yours. I did the same thing. I took a little dot that maybe started where your trap is. On the top came down to the bottom. I'm gonna come up about five degrees or so light or too heavy, really, so you would have wanted that to move outward a little bit. So that gets back to drawing basics cover that some of the basic drawing mechanics of understanding angles understand using endpoints where things start, where things and trying to envision a line between point A and point B to understand on the angled of things. So that's little simple idea would have would have helped Here is well, But anyway, on the that's what tipped advice for you, that's all the the submissions I had this week s Oh, we're going to stop right there. I want to thank you guys for submitting, and I'll look forward to hearing any comments. You may have things. 27. Robert's Practice Reel - Part One: I'll start with my to be so here. We had that basic circle. I'm going to draw 1/2 circle here. I had my center line and I have my I lying there knows line, mouth, chin And here I can't really see the ears on this particular figure, but I'm going to go ahead and Adam just to give me some extra practice time here. Go ahead. And now that I've got the main lines and I'm going to go ahead and connect that to the neck . So from the front view, remember, you were basically dealing with, Ah, a tube type of thing for the neck. And then when we start to get to some of the side construction lines, I'll remind you of some different ideas here. So we're going around that out a little bit, and now we have the cheeks in here again. These are this is the eye line. We have the home and shape eyes and here, basically an eye in between. And then we have our eyebrows. Ah, little bit. They're really full, and they curve as they get back in here. The left side is in shadows, so a little bit hard to tell, but, you know, they don't arch too much. I remember writing the here. We can figure the forehead plane roughly in here. Right Where these eyelids meat. That's gonna be underneath the forehead. We didn't talk about the nose a lot. We're gonna get more into that, um, as we get into the more intermediate ideas, but the say this is the base of the nose, um on his draw, little shape there to indicate that. And then we have our mouth as we know. Now, if we follow those cheeks around, we want to kind of get that feeling of the circle right in there. And we can look at her chin fairly, fairly narrow, kind of, ah. Comes to a nice point in there. We can follow the cheeks around and it narrows as it gets to the chin. And here. So that's going to give us a lot of our construction line. The last thing I'm going to do is just fill in the hairline, which is basically coming down. I'm going to add the side plane here. So the cheeks, the side plane, and these ears that are getting overlapped, and then we have so again site a slightly side part coming down around kind of flaring out . I think I got her neck a little bit too narrow. So we have about 1/3. So let's say roughly in here got a nice long neck. Um, we have I think they're the neck is a little bit too mainly there someone just feminine make that little more feminine. And then the clavicles in here about to run out of time, get this sloping or sagging shoulder lying there and there we go. So I'm pretty much finished with this. I'm gonna go ahead and shade the side planes for you, just so we can kind of have some clarity on that. You kind of see how those lines move. And then we've got the top plane of the head and there, uh, really narrows. And here, So let me get side playing in here. So bottom lip top lift. That's our chin. And then I'll go ahead and shade. Remember, we have that kind of an eruption right there where the nose starts. I'm going to continue that line over just so we have it. When that comes down. Traps or in the back. We have this V shape. There is a pit of the neck. For those of you that took the gesture drawing course. You know, that is the super sternal notch. I'm just going to make these eyebrows a little more prominent here. So now the side of the head is there, and, you know, this skull comes up in around. All right, so that's number one. All right. With our profile view, we're gonna start with that idea of a sale. I'm go a little bit bigger for this one. And remember, we don't go straight back, okay? Has to go up just slightly, so we don't press that That's top of that skull down. It's a little bit longer in the face, and we have something like this. Egg shaped there. A mask of a face comes down back and we know that I line's gonna be in here. That's also where the back of that skull or the neck comes into play. The ear was sitting that third, remember? But it's gonna It does favor the back in most cases. So if we divided this into thirds, we got one. And here we're looking at something like this and we have the jaw coming down like that. Die gastric plane has got a little bit of, ah, loose skin here. So that's coming down and then the neck and here so again, the point where the neck meets the back of the skull is higher, obviously than the front and bump that here down just a little bit. And in the really doing a bad job on that ear, I want to make sure that jaw, if you remember right, is in front of the ear di gastric. And we have almost even though the neck here isn't that flexed. You still see the stern? Oh, Claudio massed away there and now I'll go ahead and add the hairline. So it's coming down and here around, uh, then we have this sort of thing, and he really has that big push back like that. All right, where these eyes come into play, we have that debt or the notch there from the side noses coming out on its own. So lips and arch the eyebrow. So we get you can see it coming up and then back. So we know that this is the forehead plane so we know this is the side. That's the front. We can follow this down to get the cheeks. He can see it. Um, this would continue to come down until we reached that shin area. And if we follow that circle and then perspective, it would cut under that knows. So construction line cheeks got the external cloud of master weight again. And that about covers what we have talked about, um, so far. But what I'll do now, just for the sake of having it is go ahead and to shade in the side planes again. So I'll start with this. Use this four B and instead of shaving it in, actually, I actually use my six b. How did such a bad job on that ear? I want to go a little bit darker. The hairline NEC NEC, Stern oak, Lottum asteroid. A little bit of shade there, or just a value. And what I'll do is draw these construction lines. We can see the front in the side. So we have there one more in here, right underneath. Hers are underneath the forehead. We have our eyebrows nos moving down in there. All right. Going through a little shade on the value on the hair just for fun. And I hope, you know, this brings a little more clarity to those construction lines and how it works with profile of you. Let's keep on trucking. Eso a slight 3/4 view. I can start with have an egg shaped here, and then I'm going to push that line over just a smidge. That center line, basically, that's going to a little more skull on the left hand side. And so we can mark the center of that first over there. All right, so we've got another third down here, so we know that knows is roughly in this section. We've got mouth Chen, and we know the ears, Caesar, From this angle, it's slightly below those I line. So we got that sort of thing happened, and we know that Shen and the faces in front of that here, that's what I come down. Probably have to adjust that a little bit. Okay, we got that cheek coming out there and we have the socket there for the I forehead moving back then around so we can follow this around. Ah, say the bottom of that ears. And here I'm just going to make a few adjustments and then them on pull the skull back. And here so we don't chop that off too much. Nice. Gradual curve there to the chin. All right. I want to go ahead and add the hairline. Help me get the character of the figure here. That's We're going roughly to the center a little bit in the front here. And then we kind of go back, comes down nice and tight there, on the back of the skull. And we had this kind of pony toe action hanging down. You can see the neck is coming down. We can see an indication of the sloping of the trap. I followed that center line down a little bit and slightly left. We had the super sternal notch or the pit of the neck. So we have. And here you can see that stern Oh, Clyde of Mastoi. Move around the net. Coming down. You can see that shoulder line is in a slight angle. So I probably talked a little bit too much on this one. Um, so I'm just going to real quick finish this just so we can kind of get through some of these marks. You could see the arching eyebrow and then coming down, moving out and then down. So we know the forehead plane front is in here. We can see those cheeks and there kind of visual envision with that circle would look like obviously, that's going to be mawr. Wouldn't be a perfect circle cause we're in perspective. We've got the Chen and we know that going right into that cheek there, we got a little bit of that side plane and that's moving up around and we have our eye line and there get that bridge of the those there that would be our eyes so I can go ahead and just shade some of this. I'm just going to shade the side plane. So we see it. And the last thing I want to point out here. I apologize for taking a little bit more time, but kind of talking through this as well. So I'm trying to make that cover a lot of the things that we've talked about there. So that's turno Claudio Mastoi. He can see it there, and these are the sloping trapeze trapezius muscles there, NEC overlapping. And then here, you know, you've got that clavicles moving off. Sloping trap is oId and so on. So that gives me a, um, pretty good feeling for this one. I'm just going to, ah, shade in a little bit here. Some of these construction lines a little bit darker. Just so you see him. But I'm really wide prominent cheeks faces in front. That would be top of the plane moving down into the front side. Plane moving over. Okay. And that should do it. I'll see you in the next one. 28. Robert's Practice Reel - Part Two: I'm gonna work a little bit smaller for this one. So kind of profile view. But we can see the slight indication of the other side the faith. So the center line will be roughly in. They're going to use for this one this idea of a sale upside down sale. Make sure I get that ask a little bit longer. So, um, I can go ahead and fill out the skull in there and that sort of access line. We know the NEC is gonna be in here. Go ahead and flatten this out just a little bit. Make that line a little bit. All right? Something like that. Curve that up here's getting pushed to the back of the head a little bit because we can see the left side of the face. So we know that here gonna be roughly back in there somewhere. We do see some of this die gastric plane underneath, and then we got this sterner Clyde, um, asteroid coming down really prominent because the neck is getting tweet. There has she turns the head. We've got, um, eyes. And here, actually, a little bit lower. And there put the news about here. and bottom in the mouth. And there that's gonna be our chin. Okay, so we have the forehead coming up when we've got this angle here we have the nose coming out and then going back in. I'm not going to get too much into that. Drop her chin a little bit lower and we got in the mouth. Chen, you can see I'm following the front of that face are to that eyebrow coming down. So that's going to be the front plane over here. We can see it coming up and then feeding back so we know that forehead plane is in here. I was going to erase a little bit of this. Where over did the eyebrows. So we can you can see what's going on. So that's gonna be that knows eyebrows come up an arch around cheeks. We can't see the contour of the cheeks on the other side because we don't. We're not quite seeing enough of that face. We know this comes down, continues a creep over until we get to the bottom of the chin. We can see the slice side of her face over in here. So bottom lip top. Lip which again I'm not going to get into. We got a little bit of this chin, but is narrowing because skinning pushed out of you. Almost. Just take a second here, and I just finished this. So that's going to be the eyes. Push the ear down just a little bit. You see your ears or shaped a little bit different from the face, and then we have a little bit of that die gastric plane down in here. You can see it moving down and then joins in right there. Okay, So, top of the skull. If I did a hairline, I would go above that a little bit. Move that school back and around, see the hairline and coming down. I got pulled up into a ponytail, so we're getting this sort of thing. We talked. I talk briefly about the the, um, sterner Clyde. Oh, massed away. Moving down. That's gonna put the super sternal notch about writing here. We can also see it here. You can see that sterner Clyde amassed oId moving down like that or or round you've got the clavicles moving up and out in that range, and that's going to put her neck there. Us, like crease. And we've got the sloping traps here. So if I follow the clavicle on this side, we've got the neck joining back in here. The skull and the neck looks a little bit wider from this angle, and then we've got the sloping. I think I'll start up a little bit more because of the perspective. Like so. So we'll take a slightly darker lead here and just kind of walk through this, um, one more time. Us. We got the hairline coming in here, moving around, coming down here. I was going to shade that a little bit. We got the front side front signed front side. You can see the lovely importance really of that sternly replied, a massed away there. How it moves out. Pay attention to these land works will really help you understand a lot about what the what's what's going on with these poses and then the hair. So I just kind of shade that in so you can see that I'll shade in underneath a little bit. I'll shade in a little bit this side plane as well. I meant to work a little bit smaller on that one, but didn't quite do it. So I'll get to a few smaller ones here, um, on the next in the next round. All right, a little bit tougher angle here, but we can determine the angle of that face head moving up and back. We can wrap that school around, face down, and we know that here, because of the face, is moving tilting away from us. That's going to be closer to the top of the head. So we have face, and then this is all going to be compressed. So we're not going to get a full a mask of the face here because again is tilting. And the easy thing to do will be Teoh to just keep the proportions of everything the same. Um, so now it's wrapping around. So we've got the bottom, say the eyes. So following that line around eyebrows, nos we have our lips, and then we have our chin right in here so we can look now at how that wraps around, moves down, and then there's neck. You could really see the layering going on here of that neck, moving this way, wrapping around him back and the neck is coming down. We're getting that hourglass feeling, OK? The neck is moving away from us and we're getting this from the front. The neck is a tube. Okay, So if this was the front of the head eyes, nose, mouth, we had this tube action from this sort of angle. We're getting the hourglass looking shape. The stern oak, latam asteroid, which is really lovely. Ray here as probably a bad angle. Maybe not too bad, and then is moving up and around the corner here. So stick to the skull. I don't know. Chop that off too much. Okay, coming down and then we can see a slight change in direction there. We got the nose moving out, and then the lips and then our get her chin. So if we follow this line around, that's our eyes. He can see the arch of the eyebrows. Even from an angle like this moving up, that's gonna be the forehead. We can follow that down to get the cheeks again. We're not dealing with a circle anymore. Is more of any lips because of the angle And that's getting more narrow as it approaches the chin. All underneath here it's gonna be underneath the forehead. God knows you can see them. Bridge that knows to coming in just like that. So if I erase that too, so you can see it, how that's connecting You can see that eyebrow over and here, Chan. Now, if I go ahead and add the hairline has really tight because he's pulled up. And then this is moving up in a way. And then they could see the hairline coming down roughly in there indicate that a little bit stronger. And then we've got the back of the neck, which we know we'll be reaching up and here somewhere like so. Super sternal notch. See this from moving out. The neck is coming down in here. The trap. Easiest muscle behind. And then the shoulder muscle over here. We got the net coming down. You can see it start to connect, and here and then the trappers away, moving off their real quick I'll do the bun. And here now, I just shaved the center a little bit. So this is pretty much done and just kind of go over some of that with you. So again, side plane from plane side, front um, eyes And here, eyebrows arching, moving over. You can't really see much on that side. Um, nos Which again? You can see it. That bridge coming in there, cheeks, that shape is getting more compressed. So we're not dealing with that full circle narrowing as it reaches underneath. You see the overlapping going on in here of the dye gastric plane. Sorry for the bump. So all that's going to be really do its job there and giving us information about that angle. All right, so a mouth, all that stuff in here, but it was going out. So a top view here, I'm determined to work a little bit smaller. I could go a few different directions. I can use a tube. I can use this an egg shape, which I probably will, and I'll try to get the angle of that. So center line coming down back. We go ahead and put these on the island in in the nose, the mouth, and then the chin. So all of that's getting compressed cause we're looking down on it. So all of those features are getting pushed down, and then obviously the top of the head is going to be exaggerated. So we got eyes and we go over this again knows, um, mouth and then chin. So centerline coming up and back and then going back around that skull. So now the ears, because we're looking down like this, are going to be elevated. So if this is our eye line and just to make this a front plane for right now, I'm just going to Mark knows, see? The will say the eyes, uh, nose a mouth and then the chin. So the front of the faces in here from plain and then this starts to wrapped back around that school. So now getting back to this ear, We look at this high level here and is going slightly this direction then will see that the top of that here his way up here. So this would actually be the bottom of that here and there. And we can see the top of that era's well, so I'm just gonna place it there for now. You know, I may have to change it, and I probably will. It's probably a little bit too, too wide are or two to big in general, but for now, let's just leave it and I'll adjust it later on. So now we'll go with this chin so the chin is moving up. So we're coming around and then up here and we get in here. So probably that ear and here somewhere. So I'm just going to adjust that and here, like so and then the back of that skull and here so that coming, uh, and around around that Sheikh and then down someone put that even a little bit more towards the back there, that skull. So this year and there, we can't see much of the neck, but we can kind of see this spine moving off this way and then the shoulder line moving that way. And this is again is just going to help me with some of this perspective and then getting this thing situated in space. So now I'll go ahead and start with the eyes. So if this is our center line, coming down here is coming up that forehead and then moving back this way. So we got something like that. All right, So now if I were to mark the eyebrows coming out, we can really see the layering there and a socket that's dug down into that skull. But we're going to get moving up and then back here again. That's my little sign there. I'm trying to use the same practice real you guys were doing, but because I'm talking this thing out, it's it's hard to Ah, stick to it. So we got the plane of the forehead here, the front plane pause at sucking. Talk through this right in here. And because we've got that top view, it's going to be much. It's gonna be a little bit exaggerated now from these. Took that right from the corner of those eyebrows now, because the angle is a you know, such an extreme top view this it will be really skewed. But that's going to be the cheekbones coming out. We can follow that right around to hear and bring that down that cheek, and then we can kind of see the outside edge. That face the lip is kind of getting in the way here, and that chin is really getting almost out of sight. But obviously we can still see that, and I'm going to actually bump that year up now that I'm starting to see this a little more clearly. You can see even it's biggest that made that school back there. It's still needed to be even bigger. And that's going to push that here, probably up in here and then around. That's gonna be the side of the head. I'm just going clean that up with an eraser. You see that a little bit better. We've got the top of the ear front of them, face coming down and then over. I'm not going to worry too much about this, and we got the nose. I'm just going to lightly indicated just so that puts it in perspective, obviously see the eyelid. But we got the these socket underneath the forehead right in here because that I lit is poking out. It's obviously catching light, Um, and that it was back in around. Now I can go ahead and start doing the hair so they hair is coming here. We've got the bun that is moving across and then kind of up and here and then it's coming back around the side of the head here and we can see a little bit of that overlapping there , and we've got a few little frizz ALS in that direction. So again, let's go with a darker lead here. So I can map out some of this for you and shade it. So again, the cheeks moving around getting narrow. We got a little bit of that, Chen that's getting skewed. We got the side playing here, a touch of the side plane here, and we've got the side plane and here and then underneath the eyes, which is really hidden to, for the most part. But they're still there. All right, so here's you see a little bit of the volume of that year. Can't get much of the neck here. Front of the face, moving down and then extending out and around here forehead. If we follow that center line, it would kind of go up and then come down here so I can see that in. We got this shoulder. I'll go ahead, draw the edge right there. So you have it. Cheek coming down, working its way down in here. So we've got, uh, side of the face moving across side of the face moving across. So that will cover this one else. See you guys in the next one 29. Robert's Practice Reel - Part Three: all right with this one and get the side view from behind. So let's go ahead and talk about what we already know. So we've got the mask of the face. I'll try to go a little bit smaller, keep saying that. But maybe this time I'll actually do it. And here, mascot, the face looking almost straight on and the here because we can Seymour of the back, the back plane of the head. Here we can see a little a little bit more of the ah, the ears. I'm sorry is going to be pushed forward. So we we got I can't really see the chin that that makes a little more challenging. So what I would do is finish the idea of the back of this head, be around a mask, and then I can see roughly where that neck meats and then we know up in here that trap is coming down and that trap that is extended or stretched that way. And this was getting compressed a little bit. So we're getting that sort of thing. So we wanna push this ear to the front and this area and view Look, he can see there's a little bit more Skoll up here and less space down here where that trap is coming down. So that here's gonna favor the bottom and not the top. So Well, what kind of put it in this area? Slight, angled down when we can see here that eyebrow and it's coming down. So that socket you start to see how that socket works and something else I'll point out to you. Maybe when we get there, if I have time and then we've got this cheek moving down, and here now the neck is getting is rotating to the right. So we're not seeing any dye gastric plane on this side because all of this is getting compressed. So we're getting these squeeze lines or this contraction over here. Which is why we have these wrinkles. Um, now, with this eye socket, which is in here and let me erase that just a little bit here. I'm gonna try to go over something in that area. It's a second, but you can see the arch of the eyebrow coming down. I mean, we can barely make out, you know, we really can. That I was gonna say we could barely make out the plane on that forehead. But we really can't. So I'm gonna go ahead, and I think that you're a little bit smaller. Hairline, the side burn coming down. Uh, then out. And then we have the hair coming back and then coming down skull and then wrapping around so we can see the corner here starts about right there. Wraps around, then up around. So this comes down trap that's coming up in here. So, um, you know, we got that lying there. So we're getting obviously a lot of the side of the face here, But that socket here is where I alluded to this earlier. But you have your eye brown here, and since we don't have a lot of other things to talk about, um so I'm just gonna do this a little bit bigger. So highbrow is here. I think I see the eyelid coming down and then going back. So you have these eyelashes here, and then the I his way back in there. So if I did the forehead here and then we did the bottom of that, I there and then this cheek will be coming down. And then the nose is coming coming out. So basically, I want to point out how protected again that I is in that socket and often times you know what happens is people will push that I way out way out there. I would really is tucked way inside that socket. So you have your cheekbone coming down. This would be your no lips and here and then you have your nos and there. So if we just shade the hair and now just to give us ah, clean the shape up a little bit, I can make a little bit fuller on the top there. And we got this compression going on here. Traps. You see a little bit of that overlapping in the neck. Just a smidge there. That would be a little bit fuller back in there for that skull and then this moving off that way. So again, not a lot of information about what we talked about. We're getting a lot of the side of the plane here side playing in the skull. But we talked a little bit more about how that I recedes, and that's just something we're gonna talk a lot more about as we get into the more advanced stuff, but, um, that covers this one and this. Go on to the next. All right, Another top view looking down. So we've got mail head. Obviously, I can start with Peter for ways I like to start this one with, almost, like an egg shape for the head. And I'm trying to get that access moving this way. And then the mask of the face moving down. We've got the center line and here. So why jaw here? We've got the ear back of the head. Who can see the skull coming up around nice and full. It is common to do this and then cut that skull off before the ear. But the school comes behind the ear there. So you got again this coming down this way. And so we got a chin years or pushed up, and if I want to do it, I can I will. I can get the thickness of that ear there, and then we can bring that around. And then we didn't talk much about that yet, But sometimes it's nice toe cap for some of that. So the mouth getting pushed lower here because this would be the nose, not the tip of the nose more where the nose would meet. Base of it and then our eyes. So the center line moving down this way wrapping around and down. So we've got the bridge and here, highbrows moving up to the edge of the face. You can see this is the socket and the cheek are underneath. That's we've got an overlapping going on and see the Joe there. Something like that forehead moving up and back on this side. We have it going up and then a slight heart back. I kind of see that forehead here. And but see, we've got eyes looking down here. We can see how this forehead it comes up and then how you get a little bit of that side plane right there. And so we got forehead. We know the eye socket is in there so that to paralysis, I'm gonna be moving back and around there. And we've got trap trapezius in here, shoulder moving off and down the neck, moving back. This way we can see an indication of story Quite a massed away there, Stern Oh, Clyde of Mastoi! And now we can kind of start to map out a little bit of the hairline. So coming down and to this area, we got a center line. So it's kind of like coming down and here and over and curving down like so can go just about the skull. And that would, I'll do is I'll come back and just kind of map out some of these planes again So you can see again that eyebrow coming out, they can see the arching eyebrow here, more of a curve. We know that four have plane is in here noses coming down. Probably the end is probably wrapping and wrapping around here somewhere. Um, yeah, I'm not gonna get caught up in that. We got the eyelashes and here and then in here, same thing. So that's getting hidden. We've got the cheeks moving out, chin moving down that the thickness of the ear this time had moving up and around and shoulder Get the stern. Oh, Clyde of Master Wade curving this way. And then we've got our chin and it's getting shortened because of the angle. So we've got, um, that sort of thing. We can follow the contour on this side for the cheek. This is all moving down in here and top, top of the head and so on. I just can accentuate this a little bit, being up and start to make out that clavicle moving out from here and then the shoulder moving down so shade that even though we can't see much of it, we can see a little bit of it there and again. We can start to map out a little bit of these planes. One so I can take a lighter lead here, Shea, then some of this and that covers it. 30. Robert's Practice Reel - Part Four: all right. Extreme top angle. I like the tube idea. Um, did this originally, obviously in perspective. So is going to narrow. So you're really looking down on that, um, tube. And that's what's happening here to get a lot of the lip nos and then I've and wrap around that's gonna push the ears back in here. And you came to see the chin. So you see that it's big top of that school there, and then you can see a little bit of this hairline and in the center line movement right down. And here it's gonna help us mark that hair like that. So it's gonna push the eyes way down here again like so. And you can see the eyebrow. They're coming across following it around here. We've got the nose in this area that lip coming around again. You can't really see anything else. You were so far on top shoulders. You see that trap and then the shoulder muscle coming around this way. Um, one thing kind of nice is this feeling of overlapping with the eyebrows and nose is coming out like so. Yeah, that really comes to a point at the bridge And then this eyebrow is coming back in around so we can follow that forehead playing up. You can see a bear that side school here, Um, obviously cheeks here, but they are really skewed. All of this is narrowing as we get to that knows. And then the lip and then cheek and I could probably elevate. Told the dimension into that. Here. Really see it coming up. Really See the length of that skull there. So now we can come around and get this hairline in there. You see a little bit of that chin right there must win a race that lines. So you see a little bit better. I see that there is going to come back moving around and so on. But again, you see the side front and a bit of that side again. We get a side front and inside. Then we'll get this shoulder end. So even with an extreme angle like that way still have all that information and it's ah really useful. We have that knowledge. I'm ask Wannabe this side of the nose, it's ah, it's like an easy angle to draw, but it's actually kind of tough, but I will go ahead and shade a few of the plains here. Start with the head or the hairline. Really? See it coming straight down, please. A slightly lighter lead here. We had that first plane, and then the second plane side. Um, so good. You see how drawn that? Top of the top view there? Um, a few techniques, you know, use that idea of a tube being looking down on it. So that gave me that nice big skull. We got the tapering going on and we find Find that center line. Ah, and then we can start to map out some of these features, get those ears place right, And the rest, we hope, will start to fall into place. But of this, the eye socket that Ah, temporal Alice would come down in there, maybe see a little bit of a here. My 100% sure the examine that. All right, so that's that one. All right. Looking up underneath the model. So we talked about this one. I can use egg shaped there. Um, Senator, Mind coming down. So top of the head eyes were going to get pushed up, knows, pushed up. Did you know that on the mouth and our chin will be a little bit longer cause it's closed for to us. We can see all that happening right here so we can start to follow this around and we can see how low these ears are. So, well, me if this is the chin those that here this year, his way down in here. And that means this this, um, is going to basically being here. So this were the eyes. Will bees. We've got the eyebrows, some believe every all that stuff where it is for now. And I'm gonna get get to the structure of this face as moving off this way. We've got a very short we can't see much of the plane of that forehead because it's out of out of sight. Eyes are in here. I'll just indicate those in this eyebrows wrapping around. So all of this, we can really see that socket curbing around here curving around. So that's going to be underneath the forehead. We've got the nose, which I'm just going to indicate with a rounded the contract. Ingle, Obviously the top lip is going to be in here and in the bottom mark the corners of the mouth. You can see cheeks coming out. So where these eyebrows hit, we can see this cheek a little more clearly. Aiming for the bottom of that knows you see it coming down, and then we can start to see the front plane of that chin. Have that, um, just trying to feel where that bottom of that here is. And that bottom of the ear is roughly. And here we get this here, we can follow those angles around. See the that neck. That's turno Clyde. Um, asteroid rather coming down this way. Really? Getting this sort of action. See that die gastric plane coming down and around and under. So all this is coming up cheeks, eyes. So all of this underneath the forehead, you can see how exaggerated is here. Barely make out. Side can make out a little bit of the site plenary here and obviously on this side, we're getting a lot more of it. So the top of the head scholars and there So you see the hair coming around? Um, but I want to point out to how this year is way back in here. Let me erase that so you can see a little bit better in the edge. So all of this hairline moving up, you can see coming to the skull there to the top of head, wrapping up and then kidding. Pulled down tight. That neck. Sterner. Quite, um, asteroid. Really overlapping. We have that moving up. You can see that I gastric plane in there. We have a new overlapping going on here for the neck. Little crease trap is oy trapezius. And then this shoulder moving an arm moving off. This way. So we're going to get a lot more who follow that center line down Sterner or the super sternal. Notch in here on the neck, moving down, sloping a little bit here sagging and then the clavicle moving off. So if I were to shave that out, we've got here. Thanks in tight because we're not getting much of that top hairline at all. And we've got the side and then side again. Air is moving down in the round here. I put the nostrils in there if I want to, and we've got the eyes nice and deep in those sockets shaded underneath good forehead. We have our lips. So cheeks sigh coming down, all tapering as it gets to that chin. So really good. Um, interesting angle to work with. I think I understand a lot of what we talked about, and that should do it. So I hope he's, um Demos helped you out. And I'm excited to share this with you to talk you through the process and how some of these ideas fit into play. And then, of course, um, I look forward to seeing your work, so thanks for watching.