Head Drawing Basics

1. Introduction: Hey, everyone. So today we're gonna talk about how to construct ahead from multiple different angles, and this is just gonna be a basic overview of how to get started if you've never drawn ahead before. So the overall goal of this class is really just a very simple how to deconstruct ahead from the very beginning. Now, you don't necessarily have to have any anatomical knowledge or anything like that. I'm specifically just going to go over the kind of landmarks that you would want to find when you're constructing ahead on and just kind of, you know, how to maintain a sense of proportion. Um, as you're building out all the details of the head so we'll go over basically the most common views that you'll come across, whether you're working from life are from a photograph or any particular reference of any kind. So we'll do front on 3/4 as well as a profile post, and by the end of the class, you'll hopefully have some better understanding of how to get started. If you're not very familiar with drawing portrait at this point, so we're not going to go over how to draw specific features are anything like that. But this is really just gonna be like a primer of getting started from absolutely no knowledge to how to deconstruct the head so that hopefully it becomes a little bit easier as you go along. 2. Before getting started: all right. So before we get started, I wanted to just make a couple of points about, um, approach. Now, Um, there's really almost, you know, the thing is with head drawing is there's almost an endless number of ways to approach it, and I just We can't really go over every single one. Um, so what I want to do is I just want to give you a couple of recommendations now you may have seen before and other books this sort of like, you know, let's start with the ball and then we'll go ahead and we'll put a center line, you know, across the ball. And maybe we'll put, you know, sort of an eye line, you know, across and then kind of, you know, attach, you know, a jaw. And there's nothing sort of inherently wrong with this approach. Um, I will say from my personal experience, I find it, um, kind of rigid, and sometimes it can be hard. Teoh, you know, Stick and it here to some people like it again. There's nothing inherently wrong with this sort of approach, you know, it's just another way to start building ahead, but I find that you know, the times that I've tried to do this, especially when drawing from life, is that it kind of. It kind of puts me in, sort of like a caricature kind of mode. Um, because this is something you would see, you know, like in sort of like more of, like, a character design like or animation style. You know where you're starting with the ball and some sort of very organic sort of are sort of Ah, you don't really over overly geometric shape. So for stuff like this, I don't actually recommend doing that. Um, if you're making something up out of your head, that could be one scenario where you might prefer that because at least it gives you a starting point. But if I were drawing from life or from a model or any even, like portrait reference or anything like that, I don't know if I would necessarily start with this, Um, but again, trying multiple ways and see what works best for you, I But again, I don't really don't really recommend that approach. Um, you know, the more important thing what I would recommend to people is having an understanding of your axes in. Making sure that you know as you're working along is that everything stays parallel. Um, and that is a big contributing factor as far as getting started. Um, because then when you when it comes down to it is it does become a matter of maintaining perspective in the head. So and then another approach which you may have seen sometimes, too. And I feel like this is beneficial to understand, but I don't know if I would necessarily draw ahead. This way is kind of the more drawing sort of ah cube, or like a rectangular shape and kind of constructing the head into that. Um, this, you know, is good. I think understanding of the concept of if you would have, like, a brown line here than knowing that, you know, perspective wise, things have to wrap, you know, around the head, you know, And then so then maybe, you know, like your ear, you know, would go here on the side and you build a jaw. But I don't know if I would necessarily draw ahead into a box. I have seen people do that before, and it can be effective in terms of getting a realistic understanding of of the perspective . But I find that what ends up happening is that you have all these construction lines that become really complicated pretty quickly. Um, so it is. I mean, it is under, you know, and I also to depending, If you don't get the sizing of the rectangular shape right, you can end up with a head that's too short or too long. Um, and so it's just kind of it gets messy, you know, is what I'm saying. So because I mean, realistically, I could, you know, sort of maybe Carvin Teoh here and you can kind of see, like, Okay, this is the top of the head. And, you know, the back part of the head was come out, come somewhere down here. You know, we could kind of slowly build into that, Um, but again, we would have all these excess lines on, and that gets kind of complicated, I think, um, you know, and it just gets messy. So, um, the important take away is to really understand the perspective of your features so that as a head is turning or rotating and space understanding that your center line, which I think, you know realistically is the more more important thing is to understand that your center line is gonna dictate pretty much everything else. So if I were to start with a head here and this is kind of a shape I I preferred kind of if I were gonna recommend starting with some sort of organic shape, I would kind of start with something like, you know, like some sort of It's kind of like a really sort of bloated triangle. That's kind of ob long. And the reason for that is that if I If I kind of draw this shape and you know, this is kind of assuming the head is in 3/4 you know? So let's say, like, my center line would be something just estimate, you know, somewhere around here, um, you know, So that's telling me by putting that center line, I can't say like Okay, well, now the head is looking off. You know, in this in this direction here And what by drawing this sort of triangular shape, what we're doing is we're establishing the tip of, like, one of the forehead peak, the back part of the skull and the chin all at once. And then if we were, you know, to draw in the rest of the head like Zack and draw in beside plane here. And then I know that the neck would kind of come, you know, somewhere down there. And what it does is it gives me some sort of a mannequin, you know, kind of It's a generic looking mannequin, but it gives me a starting point. And so if I were going to start with any sort of sort of these sort of I conical shapes, I would err on the side of doing something like this, and then I because I feel like that's easier to build into, um, you know, cause then again, from here, I can see like Okay, well, there's, Here's my eye line and I know my eye line has to wrap in perspective. You know, there's the bottom of my nose that has to wrap in perspective. The ear is gonna kind of come somewhere across here. You build the jaw and then so on and so forth on, and that's maybe something to consider. You'll see me in the demonstration videos from the various angles, though is because I'm more used to drawing from life. And so a lot of the times, what ends up happening is I kind of just sketch out sort of like, ah, very vague shape, and I use a lot of angular straight lines. And for me, the reason I do that is because I find it's easier for me to keep the drawing cleaner because I don't have excess construction lines. And then if I need Teoh, I can just kind of say, like, I can carve into something really quickly, um, and just take it out. So, you know, if I had a center line and let's say, Oh, well, maybe my, uh, you know, the chin was too long, so I could just kind of quickly just carvin, you know, and bringing the drawing. So I prefer toe start my drawings that way cause it's a little more. It's not necessarily freeform or anything like that, but, uh, I just find it's it's the most flexible, and that's kind of what I prefer. That way I can if I need to take something out. Um, it's super easy, and I'm not tied into some sort of like rigid system. You know of lines that I'm trying to force myself to get toe work. So that's just something to consider because I've found over the years in a lot of sort of instructional books, you'll see this sort of approach where it's just it's kind of a little too rigid on, and it's kind of forcing you to adapt. You know what you're seeing into, like a very sort of, you know, it's almost It's almost too formal, I think, because you're, I think. 3. Head Construction Front View Pt.1: So because I'm making this up out of my head, the head, the drawing I'm gonna do is basically gonna look fairly generic. So it's not gonna look like a person, you know, by any means. So keep that in mind as we go, but so I'm starting out with a kind of a large generic shape. Um, Now I'm not doing the whole ball and then kind of adding a jaw sort of approach that you may have seen. And the only reason for that is that I find it's a little too, um, kind of rigid. So I like to just start really loose with a simple basic shape. And so I'm gonna go ahead and divide that up and find my center line and because this is gonna be a front on view of the head, the centre line is basically gonna be right down the middle. So if I were drawing from a different angle, I would obviously bend that center line to show the correct perspective. But because of the straight on view, we don't really have to worry about that. And, um, basically, from there, we kind of have to start breaking the head down a little bit farther. Uh, and this is just gonna involve getting some axes lines put in. And so we're gonna just start right at Thea Top here, and that's gonna be sort of my hairline. And what I'm gonna look for is to make sure that all the lines are parallel because I'm not going to deal with the tilt in this regard. I'm just drawing basic straight on. So we're gonna start with the hairline first, and that's going to go to the brown line from there. It's gonna be, you know, we want to try and get equal thirds if we can. So we're gonna It's gonna take us from the brow line to the bottom of the nose roughly, and then the last third is gonna essentially be the bottom of the chin. Now, this is a very generic sort of, uh, you know, system of measurement. So it's not always going to be, you know, equal thirds. And this is kind of why, when you're drawing from life, that you really just have to be objective and really rely on what you're seeing. But for the sake of getting started from an absolute you know beginner standpoint. A safe bet is to just make equal thirds so that you have at least something toe work into, and you can always deviate after the fact. So now that are thirds air established. I personally kind of like to start in the middle where the eye sockets are, and so what I'll do is I kind of mark where the beginning of the eyebrows are, and I want to find the distance in between because that's gonna vary from person to person . And so for me, it's a nice way to kind of get their per. The person's likeness established is seeing the distance between the brows. And so as I kind of draw the brow socket in, there's gonna be a little bit of an arc, and within that arc you're gonna come toe a peak, and then within that there's a little tiny peak. That corner is going to become a little landmark that we're gonna use in just a second, because what it does is right here. As I'm drawing up, that kind of is going to go right to the top of the head, and that's gonna help establish the side plane on. So we want to do that from both sides. And what you'll see is that as I'm working, I want to try and work from one side to the other so that I'm bringing everything in. Um, you know, simultaneously. I don't want to stay isolated on let's say the right side or the left side of the faces. In order to maintain some sense of symmetry. I want to be working side to side the whole time. In that way, I can you know, maybe something looks wrong is I can start making comparisons to each other. So from here, I'm gonna go ahead and just build out the rest of the sockets and from a generic standpoint , think of them just sort of like a pair of sunglasses or something like that, because we just want o establish kind of what would be the entire socket from the skull. And then we can go ahead and actually put the eyeballs in from that point. And so I drew this little axes line kind of in between that middle third and because roughly you can kind of get a sense is at the end of the eye socket will kind of fall somewhere in between there again, that will kind of vary from person to person. But, um, you're kind of it kind of makes a little bit of sense, as you see here on and then from there, we can kind of, uh, in between those will have where we can place the eyes just kind of in between. But I usually like to find the tear duct first and find a measurement, you know, even from the corner of the brow to the tear duct. Ah, and see what that angle is. And then that way I can align the tear ducts right across from one another. Ah, and then go ahead and and know where the eyes going to sit. And so once we have the sockets in, we can go ahead and establish the nose and where that's kind of it kind of just imagine this shape that's fitting right in between the two sockets and we're waste. We gonna build into that and divide it up, and even from straight on will be able to see maybe just a tiny little bit of the bottom plane of the nose, and that's gonna from this straight on view, we're gonna be able to see the front part of the bridge here. And then we're gonna be able to see both side planes. Um, after we get in the rest here. And so we're basically seeing almost all four basic planes of the nose from the front on view and then depending on the person's type. And, you know, let's just say like, ethnicity or anything like that, there's gonna be a lot of fluctuation, and sometimes the planes may not be so obvious, but you should be able to at least get a feeling, um, of how the nose is sitting on the face. And so what I'm doing here is I like Teoh. Sometimes if I'm kind of guessing about where the wing of the nostril is gonna end is I'll pull this angle from the corner of the socket and it becomes this sort of triangle shape on from that triangle shape. I can really get a sense of where things are lining up and because on each person that with and height that the triangle can vary quite a bit so on, and then that will actually change to, depending on if if you're drawing someone who's like, let's say a child or an older person is that triangle shape very, quite a bit. 4. Head Construction Front View Pt.2: so I'll go ahead and just fill in just kind of a generic ball shape of the I just so I kind of know how it's sitting in that socket on. We'll go ahead and fill in the other one here, and we just kind of want to get a sense of proportion. So at least by having a ball shape in there, we can kind of see just how large the over all eyes will be as we go. And I'm gonna go ahead and just kind of imagine if there was a pupil in the eye. I can go ahead and pull a vertical line down and that's gonna rough. Come of in a rough sense, Give me a indicator about where the corners of the mouth are gonna line up. Um, but what I like to dio is because of a far distance is I'll go ahead and actually taken angle, um, from the wing of the nostril instead. Um, because at least it's closer to the corner of the mouth and so I'll go ahead and put in that angle there and because at the same time it kind of gives me sort of a laugh. line in the person's cheek if I need to have it in there, Um, but more so from a distance standpoints, it also helps frame the mouth and then because from the bottom of the nose, knowing where the corners of the mouth or I can get a better idea of placement about where the lips are going to sit in that small form before we get to the chin. And so I just kind of connect these lines. Um, and there's gonna be that little tiny space just under the lower lip, and that's gonna be usually you're gonna see that in shadow if the person is lit from above . But it's gonna help define the bottom part of the Lipa's well as established some of the chin, and I kind of just put in a very generic mouth. Now that I kind of know where all the points are, I'll just put in a very simple lip shape. And again, this is one of those features that can really very quite a bit, depending on the person, whether they're male or female and ethnicity and all sorts of factors. But a zoo, long as you would know where you can find the key landmarks. You can kind of then worry about specific shapes as you're going on. Okay? And so now let me go ahead and put in the ear. And so the ears gonna be kind of in that middle third. That's gonna be essentially roughly between, you know, the eyes and the bottom of the nose. And depending on, you know, the person again. You really want toe take, you know, take measurement, um, and kind of see where they really line up. But try and draw that years from side to side, like I'm doing here and that way again, you're keeping the symmetry in relationship from one side to the other. And so, roughly speaking, we can kind of fit those ears in that middle third. And then now that those air in place, I can safely draw the rest of the jaw and kind of connect that down to the chin. And so now, with the ears in what I can do is from the top of the ear here, I can pull an angle down to the corner of the mouth. And what that does is it can help me define the cheek plane in a very specific way, and this could be important depending on the lighting situation that you're drawing. The model is typically you're gonna have ah highlight on this upper portion of the cheek. And then there's going to be a drop off as the light kind of goes down to the lower part of the jaw. But by having that line in there, you get a very specific plane change that can help you, especially when it comes time to shade the portrait later on. And so now I can kind of just I'm going back and I'm gonna redefine some of the lines a little bit better so that they're a little bit more obvious and more specific. But you can see here from from kind of what we have here, we have a very sort of simple, plainer head. And this is kind of how I would start. Ah, lot of drawings, especially if you were just starting out. You know, I wouldn't really worry about likeness or anything like that is I really stick to this really simple geometric shape. So from here, I can feel pretty confident about going back in and just being a little bit more specific with some of my lines. And that way everything just kind of looks a little bit more clarified. And with the major structures there, I can then take Ah lot of the bigger planes and maybe divide them up even further into smaller planes so I can go in. You know, in this case, on top of the balls that I of the eyes that I established, I can put in the lid shapes, um, and just kind of have those in there and again just working from side to side, making sure that there's some kind of symmetry and you'll find that as you go, you can really you know, a lot of the areas of the face can be broken down even further into smaller and smaller shapes. And it really just depends on, I think, the model that you're drawing from, um or again, if it's photo reference, or maybe the kind of character that you're trying to create, um, you know, depending on, like how much detail or how intricate you get with some of the planes in the face. And that's always gonna vary from person to person, quite a bit, and you know things like ethnicity and age all become important factors as your drawing, because that's what's going to give someone the distinction on whether or not you see certain plane changes in their face and what kind of shapes they make. So that's something it always just kind of keep in mind as you're going along. But you didn't see come as I keep continuing here that you do end up with quite a bit of lines, and I think ultimately, as you're drawing, it's It's not so important to be, uh, using all these lines as you build. Ah, you know ahead from a blank piece of paper into something. But it's more about understanding that thes planes and the shapes all exist in that head and maybe picking and choosing the ones that are going to serve the best at the time. Ah, and choosing those wants to use maybe over other ones. And because you can see, I probably wouldn't want to put all these lines if I were drawing from a model, I wouldn't want to necessarily use every single line because I would have a lot to clean up afterwards. But by understanding what's underneath and knowing that they're there, I can feel a little bit more confident about the lines that I am using on and then really make a decision about OK, well, maybe I want to use this one over that one. Um, and on and then, you know, just be, you know, a little bit, you know, more picky with what information you're putting in and what you're leaving out. But by doing this exercise over and over, you will kind of mentally project that over time. And, uh and I just you just become more confident the more you use it. So hopefully that made sense. And thanks for watching. 5. Head Construction 3/4 View Pt.1: So as we're beginning a 3/4 head, we kind of have to start the initial shape a little bit differently. And so you'll see me here. Just kind of sketch in just like a rough shape and you'll see, like if its front on it's gonna be maybe a little bit more, um, you know, kind of more even and more symmetrical, but because I'm gonna be drawing ahead at an angle, I try and capture that rough angle from the beginning. So and by the time I put the center line in here, you'll get an idea of you know what direction the head is actually facing. And so that's something to keep in mind, um, as your beginning. And so if the center line is farther and farther towards one side or the other, that's going to sort of dictate how much turn, um, in the head there's gonna be so with center line and I can start breaking down the head into smaller divisions. And so, just like the front on, I'm going to start with the hairline, the brow line and then the bottom of the nose, and that's just gonna give me my thirds so that I can go and start breaking this down even further again, remembering that the thirds are gonna be relatively equal. But there's always gonna be some sort of variation. Um, you know, depending on the person on dwhite you're observing, so keep that in mind, but at least break the head down into smaller chunks. So once I have those divisions in place, the next thing I'm gonna do is draw in a side plain. And so what this side plane is going to establish is it's essentially gonna tell me where the front part of the faces. And so if I were to think about the head and the features air, all gonna be on the front part and then on the side plane will obviously have the side of the head where the ears located and then like the corner of the jaw. So and then, depending on how much tilt you may see in the head, you major all these perspective lines up or down at an angle, and then that will dictate how much pitch or how much tilt you're seeing from the model. But any way you want to establish that side plane so that that basic gives you a clear indicator. This is the front. This is the side and you can start drawing the features accordingly. And so now that all my divisions air in place, I can kind of start flushing out the features again. I like to start with the sockets and the distance between the sockets themselves. So I'll go ahead and kind of mark those off and then using my side plane, I can get a better indicator of where the corner of the socket is going to end. And it's usually gonna be in this little or that peak of the eyebrow is it's usually gonna bisect the side plane here. And so that's sort of like a good landmark to keep in mind as you're drawing the sockets in . And so I'll just get the rest of the corner of that socket in and again, working side to side. I just want to build up the sockets as a single unit, and then we'll divide them later once we get the nose. In that way, we at least from a 3/4 sense, we can still maintain some degree of symmetry as we're developing the drawing so with the sockets, and I can kind of establish, you know, roughly where the nose is gonna fit as it wedges in between them and, depending on again, the angle of what you're seeing. The person from 3/4. I usually like to take an angle from the socket to the wing of the nostril to get a better indicator of where the nose is going toe actually line up in relationship to the eyes. So and again. That triangle, shaped from the socket down to the nose, will vary quite a bit from person to person, But I like to use that just to kind of at least start and then make better judgments as I get more information in later. So from the mouth here before I actually put it in, I'm gonna draw a new center line. And the reason for this center line is that I want to make sure that I'm drawing the lips in proper perspective, and the way to think about the mouth is is that that it's a volume that's sticking off the front plain of face, and so the only way can get that volume toe look correctly. Um, is to draw a new center line so that those lips will stay on that center line and they look like they're facing the right direction and go ahead and just draw in the ball of the I That way, I just have a better idea of the volume that's sort of sitting in there. And in this case, because the head is turned in a 3/4 I can't see the other tear duct. But I can still line up one eye to the other and that way have a good idea of how that I is gonna rest in the socket, even though it's turning away from me. So with the balls of the eyes, and I can kind of get a better sense of where I'm gonna build out the rest of the mouth and what I usually like to do is just find the corners of the mouth, and that gives me an indicator of how much volume or space the mouth is going to take up within that front plane of the face. And so I just look for a couple of landmarks in that way. Once I know that those landmarks air in, I can kind of get a better sense of Okay. The mouth is only gonna take up this amount of space and then I can move on from that. 6. Head Construction 3/4 View Pt.2: let me go ahead and put in the ear and again remembering that the ears gonna fall somewhere in between that middle third. The main thing to keep in mind is that the ears not gonna rest up and down. It's gonna be at a slight angle when you draw it in. So depending on how you know big, that angle is gonna vary from person to person. But it's never gonna be straight up and down and then with the ear. And I can go ahead and find the rest of the lower jaw. And I'm gonna go and drawing that rhythm from the top of the ear down to the note of the mouth. And again, that's going to establish the relative rhythm of a cheekbone and with one, and I can go ahead and attach the other. The tricky part with a 3/4 Is that because you're not seeing the symmetry of the other side of the face, you kind of have to use one rhythm of one cheekbone down to the other on, and that's gonna get a better sense of them connecting in perspective. And so I know right now is looking kind of like a generic head, which it really should be because I'm making it up. But you can kind of see just the overall structure. That's kind of taking places. We start adding and more and more information. A lot in the side planes here can really, um, you know, depending on if it's male or female and their hairstyle and things like that, a lot of it often times is covered. But you do want to know what information is there. So that way you can at least construct it and be absolutely sure about your proportions. So with the majority of the features kind of roughly flushed out, I can start breaking them down a little bit farther and being more specific with a lot of the shapes. So let me start with the nose and basically again, I'm gonna draw kind of just a generic planed out, knows, um, and just thinking about you know, how many of the different sides I would see from this particular perspective. Odds are depending on the angle of the head, you would see the front, the side and the bottom. But, you know, granted with this with this particular perspective, I don't have to worry about the other side. So I'm only gonna see three planes, you know, on average. And then, obviously, depending on the person's type, we might see some fluctuations within the nose itself. And so you'll see here as I start building out the lips, I'm gonna draw them on top of that center line that I drew, um, earlier on and again. The reason I'm building them off that center line is that's what's gonna help me keep them in perspective. If I were to draw the lips on my original center line that I started with, they would definitely be looking at me instead of away from me with the rest of the head. Eso That's I definitely encourage, you know, especially if you're just starting, really. Try and draw in that center line on the mouth. Eso that it just It's a good way of just keeping everything a line in in perspective on. You'll never have that problem of the mouth looking in the wrong direction from the rest of the face. And so you could see as we start adding more information and breaking things down farther, it kind of starts to take shape a little bit more now. Obviously, if you were drawing from a model or anything like that, you're gonna be a little bit more specific with shapes and everything like that, so that you're getting more of a likeness. But from just kind of, ah, construction standpoint, you can kind of see how the head would slowly tart start to take shape as you put more and more information in. And one thing I'll go ahead and do here is I'm gonna draw center line all the way down where the rial center line of the face would be. And this is almost kind of like a contour line, which you can see the plane changes and how the volumes air sort of turning and becoming convex and concave. And and that's what's really happening in the form. Um, you know, if this were like a riel, you know, sort of person, you know, or anything like that. But that's kind of what you would start thinking about Maura's if you were to start modeling the drawing and you were thinking about light and shade and just the levels of volume that are occurring. But for the most part. That's kind of maybe a Sfar, as you would really go in terms of construction. Um, you could always, you know, break it down farther and farther. But, um, the inherent problem you have when doing this, especially if it's from a model or anything like that, is that oftentimes you're not going to need all the lines to take place in the drawing. You may only use a handful of them in depending on the models type. You may find that, really? You only need a handful, because that's all that's necessary. So I wouldn't recommend, you know, um, you know, using everything. But, you know, try and use the ones that you think you're gonna be most beneficial to you at the time, and they're gonna help drawing be more successful. Now if you're just starting. And this is kind of maybe the first time you've seen construction like this again, I would probably maybe, you know, practice just doing the construction process, you know, even if it's from photos or from, uh, you know, if it's from the model or if it's a shorter pose or a longer post is just really practice going through the steps so that you get a better, better understanding of how to construct from the absolute beginning on. And then as you get, you know better and you feel more comfortable with it. You can start using less and less because your mind will kind of project a lot of those construction lines as you go along. But it's helpful to know just kind of where to start with a lot of these basic lines. And the whole goal is to not really, you know, rely on anatomy or anything like that because that in and of itself can be a little bit more complicated. But at least if you're starting from scratch, you have a basic idea of kind of how to begin, Um, and at least hopefully get proportions in perspective. Correct. And then from there, as you start modeling and doing going onto more complicated aspects of drawing things like anatomy and stuff like that do become important. But without knowing any of that, you still have a method hopefully to begin construction and at least get everything aligned . Uh, from from, you know, from the beginning. So for the most part, you know the drawing is done, and I can kind of tighten up lines and keep going. But hopefully that made sense as faras construction method from a 3/4 perspective. And again, this is something you want to kind of just continually practice on. Do more and more so that you just get really comfortable with the idea of the construction process and kind of what information needs to be in so that things look proportionate and in perspective. 7. Head in Profile: so doing a profile drawing obviously, is a bit different than the other two perspectives, mainly because we don't have to worry about paring features. But I find that what makes it maybe a little bit more challenging is that is that proportion. Um, can sometimes be a little trickier. Eso What I'm doing here is I'm starting with a box in which I'm gonna basically fit the head inside of, um and so I'll make divisions within the box. And I'm first going to draw a diagonal from corner to corner so that I could find the center point. And then from the center point, I can draw a horizontal and vertical axes on. Then that way from there, I have basically perfect quarters within the box, and then I can start building off from that. So think of the front of the box as sort of like the front of the face, and then we're gonna draw the nose protruding from the box. And so, with that in mind, I'm gonna just start building out the rough sort of skull shape and the back of the skull will more or less fit towards the end of the box and the bottom. But the bottom part of the box is going to represent the chin, and about halfway through that box is kind of where our jaw is gonna be. But we'll go ahead and get some more information in that way, we can kind of divide that up a bit further. So already you can kind of see just a rough sort of sort of skull shape. And we're basically gonna take that and then start breaking it down, just like we did the other heads. So again, working from big to small and then start dividing things further as we go alone and so will basically continue. Teoh do the same things we were doing before as well go and we'll find our thirds within that front plane of the face. And we want to try and get them, you know, more or less equal. But again, there's gonna was gonna be some variation depending on the person you're drawing. But we'll go ahead and get those in, and we'll carry our lines all the way across That way we can kind of have some lines so that once we start putting other things in, we can just build off of those. And so again, once I have those thirds and I usually like to start with the the eye socket. Um, main reason being is that I find it's a lot easier for me to build the rest of the features like the nose and mouth once I get the socket in. Ah, so we'll go ahead and establish that as a basic shape here, um, And then again, working from the peak of the eyebrow weaken, build in the side plane of the face because even in a profile, you're still going to see some delineation of the front plane of the face, a swell as a side plane s. So we're gonna just draw that side plane line all the way across. That's talking in there from a profile. You know, the eyes become not so. You know, you don't really see that same sense of volume as much as you would from different angles, but you'll still see around it sort of volume through there, and you'll see more of the eyelids kind of cutting across that ball shape. And so what becomes important when drawing the eye and profile is really making sure that you get that sense of overlap between the ball of the eye as well as the socket. And from there we can go ahead and just attach the nose. And that'll connected the cheek. And that becomes a lot more obvious, especially with the wing of the nostril. Um, and as it rides right up next to the cheek, and the one thing you'll find when doing the features in a profile is that you can, obviously, because you don't have to worry about you know, the other side of the nose or another eyeball or the far side of the mouth or anything like that, you can actually put them in fairly quickly. And so that's kind of one of the fun parts of doing a profile is because you have less information. You can actually do them a bit quicker than other portrait's, so we'll go ahead and just kind of build in the ear and again that's gonna be at a slight pitch. So it's not gonna be perfect up and down and was gonna fit right into that middle third of the head, and we'll attach the jaw and again, depending on the on the model is a lot of this back portion of the skull, you know, obviously is going to be covered by something, you know, whether it's hair, um, you know, male or female? Long hair, short hair. Ah, lot of it's gonna be covered. So you most of this. You probably won't even end up seeing in terms off construction on because it will be covered. But it's nice to know what's under there. Um, and in this case, because I'm making this up, I'm gonna go ahead and just draw everything in so that you can see that. But now that's that's pretty much it. I mean, all the features that kind of sitting on the head. So now I can kind of start putting in some more information and breaking them down even farther so again here with the lips is you know, we're not going to really see Ah ah, whole lot of information. Eso depending on the person's lip type. You know, if they have thin lips or full lips, you know, or anything like that, you may or may not see a lot of information and you may see slum slight overlap of the top lip inter playing with the bottom lip. But odds are it's gonna be just a very, very small portion. So again, from the year here, I'm gonna go ahead and pull that line down to the note of the mouth. That way, I can kind of have a separation of the cheek plane. Um, you know, just keeping in mind that where the top portion of the cheek drops off to the bottom part of the lower jaw and because depending on how your models let, you're still gonna kind of see that sort of, ah lighting effect throughout. And basically, now I can just kind of really start, you know, just defining things a little bit more so in here, in case just really getting in the overlap of the the eyeball here on depending on the model and everything like that, you want to really get a nice sense of volume, which is kind of tricky to do in a profile in general, because again, you're not having to pair the other eyes. And so it's sometimes hard to, you know, really created the same sense of roundness as you would in another perspective. So getting overlapping lines it becomes a really key point in doing a profile so that they still have that sense of volume by the time you're done. So you can see here, though, is we kind of just keep developing this further. Um, it's profiles are nice, because again, you it's nice to not toe have to worry about paring. Um, you know, the other features together. So I feel like it gives you a lot more opportunity to really hone in on the individual features and get all the subtle nuances and character you know of the particular person that you're drawing. Um, and you know and again because you don't have to worry about, you know, trying to match anything. You can kind of explore a little bit and really pay attention to, like the finer points of like contours on overlapping line on, just like all the little things that kind of create a sense of volume, even though we're looking at essentially a one sided view of the sitter. So hopefully that kind made sense in terms of constructing a profile again, it is it is a fun. It's a fun exercise to do every now and then. Um so that you kind of gives you just a different set of problems to work on. Then if you were drawing ahead from a different angle, So I, you know, I do find that they are It is the different kind of challenge that I think you can have a lot of fun with. So, you know, along with the other, you know, you know, head perspectives and things like that, you want to just basically do as much of this kind of construction as possible That way again, you just get really familiar with it on it becomes a little less scary every time you go and sit down toe to draw a portrait. Thanks for watching. 8. Closing Thoughts: so closing up. I just wanted to show you guys essentially where all of this is headed. So all of these portrait's essentially were started with the construction process that I've shown you in this class. And obviously there's other components involved here in terms of modeling and understanding , form and things of that nature. But we really can't get to those stages of drawing until we understand the construction process and have a thorough understanding of how it really, uh, takes precedent over all the modeling and all the, you know, more fun stuff. So I hope everything kind of made sense and that you'll take away just some good general practices as faras approaching your drawing. Um, and really? Just give yourself a lot of time in practice and you will get there. Uh, promise. Thank you for watching