How to draw a Human Skull. Academic Drawing Course

1. Intro: Hello, my friends. This is Andres on marine. Today we start a small series of masterclasses on how to draw the skull. We shall be looking closely at the form of this goal and we'll study it once and for all. The SCO lies at the basis of the portrait. You're ability to draw a portrait and achieve a likeness directly depends on your knowledge of the skull. Because a likeness is achieved by recreating the key points that are part of the skull. So you should know the forum very thoroughly. In this series of masterclasses, we shall look at the form from various points. Separate videos will be devoted to the lower jaw and the eye socket. We shall also study the back of the head. In the end, we shall have created a true academic study on one big sheet of paper. We shall draw everything related to this form from various points of view. But first I will give you some theory. I will sketch the key areas on the blackboard with colored markers. And we'll tell you about the structure and the various functions of this form. Let us begin. 2. The structure of the human skull : Hello my friends. In today's video, we are going to study the structure of the human skull. If you are into drawing, you need to know very well the form of the skull, its structure and function. This is the key to lag minuss of your portraits. The form is built around the skull. It's control points are exactly those fixed points you need to find to make the portrait look like the motto. Any professional artists can draw the skull Well, you need to learn this form, wants to be competent in Puerto richer. Two models are going to pose for me today. They will help us study this form. I am holding a female skull, a skull of a young and beautiful girl. She still has all her teeth. And a male skull. This is a skull of an old man. The skull is asymmetrical. You can't see it isn't old man's skull because several teeth are missing and it's a male skull. First, let us find out the difference, how our mail skulls different from female skulls. Of course, all the protruding parts of the bone structure are more visible, more pronounced in men skulls, the chin, the cheekbones are bigger. Another important difference between male and female skulls is that women usually have straight high foreheads. I mean, this part in women is straight compared to the angle of the nose. If you look from one side. Men can have straight foreheads and they often have sloping foreheads too. This is obviously a male skull. To study a skull Well, to learn it, you do not need the names of all the bones are sutures. Although this is usually expected, you are made to learn all the little bones and sutures. You do not need to do that because the bone is fused together in such a way that those sutures are completely concealed by the final form, while other important parts come into play, it is easier to study their form keeping in mind its various functions. I mean, you need to understand what those protrusions are for. Let me first try to tell you more about this skull and show you the principle forms that make it up. You should know the skull consists of two main parts, the facial skeleton into brain case. When you draw a person, a skull or a portrait, you need first to find those two big volumes. So never start by drawing eyes, nose, lips, or ears. You should first draw big things, then switched to little things. A human head includes a big volume called a brain case. The form looks like an average eg, a chicken, a Goran ostrich egg. This is not just a coincidence. The form of an egg is common in various Jiang. You know that an egg can endure a lot of pressure and would not break if squeezed vertically. The purpose of the braincase is to protect our brain. All the parts of the brain case have the same names as the parts of the brain as they repeat it form. Facial skeleton is attached to the brain case. So you can use big volumes when New Search for the forms and you can look for the balance between them. It is very important to bear in mind that the brain case is usually twice as heavy as the facial skeleton. The first and a very common mistake beginner artists make is that they draw a small head into big face. Because they get more information from the face, they tend to give it more importance. This is a psychological trap. There are other common mistakes. For instance, when the eyes are set too high. No artist ever drew eyes lower than in reality. The eyes are always too high and close to the eyebrows. The head, the brain case is very often made to look at too small. So do your best and try to weigh the face and disco with fewer extrasensory vision of an artist. Find their proportional relationship. In this case, the man's back of the head is very large. Look how much more massive This part is compared to the face. Ok? After you have done this, you should remember that there is brain inside, protected by the brain case. The brain has eyes that need to be protected too. And this is when we need to turn to very important parts of the skull, the brow ridges and the cheekbones. We can call them protective glasses made of bones. If you look closely, you can actually see the glasses on the brain case. Moreover, you can also see how they are strapped or tied to the brain case. The movement of the zygomatic arch and the sweep of the cheek bones form the temporal ridge or line. Temporary align is a structural reinforcement. If you look from behind, you will see the parietal eminences. The eminences of the occipital bone. This is the occipital bone below the two parietal bones, a pair of symmetrical bones grown together. This is the occipital. There can be a protruding spot on the top of the head. You might have seen this eminence. It is very visible and bold people, especially men, when the head is pointed like a cone. This imminence is called the crown. Artists call it that way. Right here on the suture of the parietal bones. This is the parietal eminence and the occipital eminence is. The parietal bones have another pair of protrusions. We usually call them second occipital eminence. As we need the occipital eminence is because this is where the trapezius muscles are attached. While these are needed to reinforce the structure. If you look at them more palpate the skull, you will find the eminences are connected as if someone tied these straps together like this. So the glasses that protect the eyes, the cheekbones and the brow ridges are tied on an unsecured at the back of the head. Men have pronounced parietal and occipital protrusions. This skull is asymmetrical because it lay in earth for a long time. But we can see one protrusion well, and the second occipital eminences add up to make a square. Eminences or less pronounced in women, but you can still distinguish them. The parietal eminences are the widest part of the skull. You can easily find them palpating your head and the two occipital protrusions here at the bottom. So what happens is that the glasses are strapped on either side of the forehead by the ridges passing the crown and returning to the zygomatic arch. This is where the ear canal and situate it. So the zygomatic arch steps over the ear canal to unite with a temporal line. Like that. Ok. The same happens here. If you sell predator, the American movie, you must remember those ridges. The protagonist has not the protagonist, the predator. In Hollywood films, comics or thrillers, the anatomy is very visual. Professional artists demonstrated very well and clear. So you can use that to watching Study. It will do good. It is good for your development and will help understand anatomy. Watch the films. Ok. We have the glasses that keep the eyes protected. These are the eye sockets. So what I am doing now is a schematic, not an anatomic drawing. This is just a simplified model demonstrating you the most important parts. The brow ridges protect the eyes from anything coming from the side. We also need them as a barrier that stops the sweat of the forehead. The brown, the hairy part of the brow ridge prevents the drops of sweat from falling into the eyes. There is a soft spot containing frontal sinus, it right in the middle of the Super ciliary arch. Artists call this spot is the GLA Bella. Bella is that patch of smooth skin in the center. It can sometimes be divided just so this super ciliary arch consists of two parts. The brow ridges on either side and a goal Abella in the center. It is fastened against the frontal bone in this beautiful way. Next, there are teeth and chewing muscles. They're low. Oh, yes. Let me first sketch the elevated areas of the cheekbones. This is the widest part of the face. We will talk about it later. Here. It looks like a bumper to bumper protecting the eyes above and below them. A little lower under this bumper, there are the jaws and teeth. I simplify them into a sphere. This is how they need to be perceived. The function of the teeth is to grind food. On all sides. If you look from below, it is not as fear as much as a horseshoe form. But still the forum tends to be rounded. So here are the molars. These are canines and incisors. But you must see this part as this fear. This whole chewing complex has reinforcement ridges, just like those on their brain case. The teeth we call canines form a plane. You can see it too well on this model. Canines have very long roots that go all the way up to the front little process of the upper jaw. This part that forms the lateral planes of the nose is called the frontal process of the maxilla. Sounds a bit weird, but it is true. The canines reinforce this structure. When you draw a skull, you can often see that the boundary between light and shadow is right at the canine, just like you see it now. The plane between the canines is illuminated and behind the canines fear becomes a cube. There is shadow on the other side. Humans have several teeth that helped reinforce the structure. First of all, the canines. Second, the incisors. The incisors, the teeth in the front have very strong roots to end the molars. Usually there is a sort of a reinforcement bar on the seventh tooth. So this fear is reinforced with these rebars. The seventh tooth is very strong. These teeth endure a lot of stress, but of course, so do the canines and the incisors. A man is a bit like a road and a predator and a ruminant. Our anatomy is an illustration of all the types. This is where the teeth touch. When drawing this goal, you do not have to draw all the teeth, but you need to show the most important elements. By the way, notice that the canines are very strong pillars and a last very long. Everything between the teeth with long routes falling away with time because they are no longer needed. Probably here, as you see, the second incisor is missing. And if you look from the side, you can see that the teeth beyond the canine had fallen out too, because they do not have long routes. Next, the chewing muscle complexes on the lower jaw planes. The lower jaw, if simplified, it is like a flat piece that is pulled to grind food. It is in fact drawn up. The lower Joan sinks under the zygomatic arch. Look, this is what happens. There is an opening here. This is the coronoid process. There is a line going diagonally from the coronoid process to the chin. Divisions. Next, the movement is upward towards the seventh tooth. So there is some empty space left between the teeth and the coronoid process. You cannot see a dome this cast because all this space is filled with plaster. But if it were possible, we could see the tongue inside. The lower jaw goes as low as that. And the chin. The chin varies in men and women. Men have broader chins, usually square or rectangle. Four. Women have triangular chins, so they are narrower. There is an important detail you need to remember. The angle of the lower chin. I mean, this spot that serves as a reference point when you draw them mouth. Usually the corner of the mouth is on one line with it. If the head were in its normal position, this one is tilted a little upwards, whereas usually it is held lower than you would be able to draw a horizontal line between the corner of the lower jaw and the corner of the mouth. This is usually the position of the bone. Sometimes artist's mistake the skin for the bone because of the tendency of the soft tissue to sag under gravitation. I mean, the skin can actually be hanging lower. But if you palpate the area, you will find the bone is where it should be. This is a very good reference point because when drawing a portrait, we usually draw the brain case, the facial skeleton, then go up from the chin to this angle and further towards the ear. Over here. We need all the principal proportions at once. And this is one of the points we use. Okay, the lower jaw is in its place. Now we need to provide oxygen to the brain so that it can breathe. There is a bare shape nasal opening over the incisors, usually on the same level with the cheekbones. If simplified, the opening looks like the numeral eight. It sort of consists of two circles. You can see it well on this skull. Here, there is a partition inside, but it does look like an eight. There are many combinations of the parts of human anatomy that remind a numeral eight. When you draw almost any part in our Morrow leg, you can show this shape. And it is good if you can show the common shape in various parts of the body. Because drawing uses essentially sharing information. The better you show the structure, the quicker it is perceived by the viewer, the better is your drawing. If you have drawn something that consists of separate parts, it will take more to comprehend. Whereas if you unite everything in one solid structure, it will be easy to read and grasp the message. This is an important principle in drawing. How soundly does your form and how easy it is for the viewer to understand and grasp the meaning. So trying to look for analogies of this kind. A little higher. Here on the nose, there are two nasal bones attached to the globe Ella. They form the bridge of the nose. The broadest part of the nose is below the bridge at the end of the bones where the cartilages are attached in narrow down towards the tip of the nose. You can touch your nose and see that the cartilages can move from one side to the other while the bones stay in their place. This is where the nasal bones and they curve around the form and are even a bit concave on the other end where they are attached to the GLA Bella. This is where the frontal bone suture is. We have now mentioned all the principal parts of the skull. The eye sockets are formed by the cheekbones and the super ciliary arch. So you do not need to draw one part of the eye sockets separately. You need to see the skull as a combination of volumes. I mean, draw the browser and the cheekbones. The empty space between them will be read by the viewer as eye sockets. It is good to draw the eye sockets and volume, the inverted volume. Sculpt their form. Do not simply draw over these areas. Here as you see those planes or smooth down probably to save time. Whereas inside there is a deep cone-shaped opening. When we study a human eye, we should remember that the eye is a sphere. We say it all the time. To learn to draw the eye, we must understand that there is this fear and sign the head. There should be enough space to fit as fear. So shaded really well inside and look for the shadows cast inside by the eyebrows and the brow ridges. Okay. We have mentioned almost everything except another important pair of eminence is they are the so called frontal eminence is the Sutra of the frontal bone goes like that, curving around their ridges and the super ciliary arch. In the front, you can see protrusions. The frontal eminence is between them and the globally you can easily distinguish a square plane. This is the so-called plain of the forehead. In portrait, the forehead is one of the most challenging parts to draw. The forehead and probably the chin of beginner artist usually concentrates on another more striking features, leaving their forehead empty, not drawing it at all. I do recommend studying the structure of the frontal bone. Watch this special video on this study. All the protrusions. Do a separate drawing of the frontal bone on a separate sheet of paper. Study all the protrusions and Most importantly, find the plane of the forehead and the center. You should understand there is this central plane in the lateral planes, the lighting is different on these planes. It is very visible on the in Angular plaster cast. It is very schematic and has three planes that stands for the forehead. When you are drawing a portrait, it is good and useful to find the correlation between the canines and the plane of the forehead. As if you were connecting them with a railway track. This is how we call them these two parallel lines that repeat the form. The forehead looks very much like the Zhuangzi and the teeth, but it usually broader in the Zhuangzi are usually smaller. When you are drawing a portrait. Let me draw it again in a three-quarter view. The brain case. Then you attach the facial skeleton. Next. And artist would look for the symmetry axis and make sure that farther apart is smaller than the closer part. After that, you look for their proportions using the rule of thirds. We shall talk about it in more detail later. That there are three equal lengths between the chin and the nose. The nose in the browser, the browser and the hairline, you draw them in perspective. After that, it is very helpful and will save you a few mistakes to draw their railway track that creates the plane of the forehead. The track goes as far as the chin. This is something that will help you remain in the center rather than go too far left or right. When you draw the eyes, the nose, and the lips, the lines will ground your drawing and prevent you from making the obvious mistakes in a portrait, like a mouth placed too far on one side or an I placed too high or too close to the nose. Drawing these lines will help you find the position of the nodes, for instance, or find how much wider than the track the mouth is. How narrow the nose is. Find the position of the eyes. The eyes are in the center of the principle form. But you still need to find the lacrimal care on calls and it is easier to do so. If you can use these two lines as a reference, then you will draw a symmetrical eyes. So do use these lines as guidance. You are drawing needs first to have a thorough structure before you can turn to details and look for a likeness. The first structure must be symmetrical. Even if the face is not. First you establish the symmetry, then you break it. If you are drawing a beautiful person, remember more symmetry, more beauty. You could even say that symmetry equals beauty. There are beautiful and attractive people with a symmetrical faces. But that is certainly not always the case. It is generally accepted that faces are very asymmetric lat 30, somewhere close to the first divorce. Then they gradually grow more symmetrical and at 40 or 50 people look better. Children's phases are also quite symmetrical. So do not forget these two vertical lines. The frontal eminence is, there is another protrusion. It is rarely mentioned. However, there is the temporary lemonade is on the side of the head, right here in this area. When you are drawing the braincase, you're shading. We will go in this direction. You will be drawing an egg that curves like this around the brain. And this is where you find another eminence, the temporal bone. It is close but not in the same place. You can find the suture. The zygomatic process is here. And the parietal bone where the pariah to lemonades is. This is where the protrusion is. Oh, yes, there is another, probably the most interesting part of the skull that you need to remember. It is the mastoid process. It is close to the ear canal and a little lower. It looks very much like a cow's D8. This is probably where the Russian term for the mastoid process can be derived from. This is where a strong muscle is attached. The muscle divides and goes down towards the breast bone and the collar bone. It is called the sternocleidomastoid, naming the three points where it is attached. The muscles movement is towards the front of the neck, like this. It is very visible. And their portrait between these two muscles there is the Adam's apple or laryngeal prominence. At the back there is the trapezius, the trapezius muscle. The mastoid process holds the muscle. All the protrusions on the skull usually have a function. They either protect the skull from without or muscles are attached to them. If you study the skull thoroughly, you will understand the facial expression anatomy too. I mean, there are muscles that participate in this gesture complex. By the way, when you study the human skull, you find there is much we have in common with animals, especially when you look at the teeth. There are all types of them. Canines, incisors, molars. But when you turn to the mimetic muscles, well, all facial muscle, you see how different we are. There's me, Mike is not as sophisticated and animals as it is in humans. We need much more muscles to express our emotions. Okay, we have shown all their principal parts. Now I might remind you the proportions. If we take a square, it will hold the skull inscribed in the side view. This is how it is usually done. The square is divided. I have this habit to always do a Union Jack division because I am used to construction. I find three sections, three equal parts of the square. We need these points. This will stand for the facial part. Look, there is something we can find straight away. We can start by finding the global Bella here around this point. I am talking about this volume above the browse. Next, there is the beginning of the nose. The bare shape nasal opening will have this wedge like shape. I will try to use the same colors as in the three-quarters view drawing. These are the nasal bones. This is the transition to the GLA Bella. When you are drawing a human profile, you always start at the root of the nose and compare it carefully with the angle of the forehead. They can be very different angles. There is a drag his OID turned upside down, a plane that is situated exactly where the nose meets the forehead. Next, you build the jaws and teeth. The chewing complex can vary a lot. This whole part can be protruding, the face can be long or flat so that these are on one line. I show where the teeth touch. Next. Of course, we need the brain case. I am drawing again. Look, the braincase steps over one edge of the square in this area. So remember, this segment only reaches up to the hair line. This is the hairline here. Then we go down the back of the head to the level of the pear shaped opening of the nose. In fact, the occipital bone is even lower than that. Then we go back. It is not an idea leg, of course, a little too short at the bottom. The back of their head can vary a lot. There is even a science that studies the form and the protrusions of the back of the head. Its supporters even attempt to diagnose diseases and predict life. Okay, we have completed the egg. Notice the angle of the symmetry axis. The line goes up. There is another method. Americans love it to draw a circle and then add the mask of the Iron Man, Like this. Simplify the temporal ridge, divided and attach the year. It is okay for sketching. Keep in mind though, that there is the risk you draw a two small braincase. Better do a thorough structure and follow the movement expressed in V-shape. Let us move on. I can use the line of the bottom third to draw the cheekbone. Cheekbones are an important reference point. There is some distance between them. Cheekbones and women are usually the widest part of the face. Remember that the widest part of the skull are the parietal eminences and the widest part of the face are the cheekbones. In men, though, super ciliary Arch can often be as wide or wider than the cheekbones. Look at the skull of Nikolai value you have, it is a good illustration. The brow ridges are so massive that they eclipse all other forms. Now I connect the cheekbones and the gloom Abella to find the contour of the eye socket. Like this. Doc. Next, there is the zygomatic arch beginning at the cheekbone. By the way, the ear canal in this case is situated in the lower right segment, close to the center. The zygomatic arch also moves towards the ear canal and leaps over it as it were like that. Now we can find the ridge starting from the globe Bella. Next, we extend the temporal line, then return to the zygomatic arch. This forms the temporal concavity. This whole area. The temporary line can divide here and disappear into the mastoid process. The mastoid process protects year can now from behind. Over here. Now it is time to draw the jaw. I always use the protrusion of the chin as a reference point. I tried to estimate how much it is sticking out. Remember, we said that the angle of the lower jaw, Our next reference point, is situated somewhere around this area. I extend the line up here. There is usually a flat bit here. I mean, the angle of the lower jaw is not just a sharp angle. It is where the chewing muscle is attached. So the chewing muscle is here. It is strong enough to endure heavy work and is very powerful to. Heat goes under the zygomatic arch, divides and clings to the brain case with three branches like this. So there is an opening here, not on the plaster cast. But in real life it is there. We finish the job drawing a diagonal line towards the chin. And we draw the opening here because the joy divines here into two parts. So cheaters. Next, I cut off a teeth. I look for the roots of the seventh to the reinforcement bar. And I grounded in the lower jaw. These are the two teeth. There can be an eighth tooth, a wisdom tooth. Sometimes it is there, sometimes it is not. Let us move on. The canines, more reinforcement. And the incisors, they are usually sticking out. The upper incisors. The lower incisors are usually hidden underneath. Mind that teeth on plaster cast models are usually not shown as they are in real life. See the front teeth touch. Normally, this is not the case. And when we say the rule of thirds, meaning the same length between the chin and the nose, the nose and then browse the brows and the hairline. Remember that the lower third is the least stable. The mouth can be open or the lower jaw can be stiff and the teeth clenched. This position where the lower teeth are covered up by the upper teeth is not always the case either. Normally the jaw is hanging a bit loose. If you touch your teeth with the tip of your tongue, you will find there is a little gap in between them. The jaw is loose. Andrew, relaxed. If you are drawing a portrait, remember this. Ok. It is good to show the protrusions of the brain case. There are the frontal eminence is protruding here. They are very visible in women. As we move further down the temporal line, we find the pariah to laminates. It is always quite bulging. I want to show you the male skull and where it has this wedge like appearance. As if this was a hill with three lines leading to it. So the parietal lemon and says here are really massive welfare announced. Now the occipital protrusions, This is where the trapezius muscles are attached. There is another pair of protrusions. Often you can find them here too used. In males there as often the crown protrusion sticking out here between the parietal lemon and says, You probably know that the brain case consists of a few bones that have grown together. Here the sutures are very visible. This is the frontal bone in newborn children that is made up of two bones divided with a suture, but they gradually fuse together to make one solid bone and the sutured disappears. There are parietal bones. This is the occipital bone. This bone is called temporal. It includes the zygomatic arch to the sphenoid. The parietal and temporal are pairs of bones. The sphenoid is in fact one solid bone. This little pieces internally connected to this little piece. A newborn baby has Fontenelle, the anterior and the posterior, where the bones are connected. As they gradually grow together, the Fontan nails are filled in the substance can even start bulging a bit. In males, this is sometimes the origin of the crown protrusion. You can feel it really well palpating this skull. In books, you might have come across the high point of the sql expression or the top of the head. It is in this area where the fontanelle is and where the frontal bone meets the parietal bones. This is the high point of the skull. High, but not always the highest point of the skull. Sometimes the crown eminence couldn't be higher than this point. Sometimes it is not. The skull can be sloping down. You need to check this every time. Okay. You can also find the temporary laminates and shade it. You can see it well here. You really feel the depressions on both sides of the skull. It is present on this one too. Very pronounced. By the way, this super ciliary arches also protruding slightly. You should perceive it as a bumper protecting the ions. We sometimes joke that a human head can be rolling on the ground, but i's into brain, we'll still be safe. I mean, everything is protected with protrusions on all sides to ensure soft parts are not injured. Ok, now let us move on to the frontal version. I extend the lines. I will draw the skull here. A usual faces, slightly elongated, but not necessarily. I mean, they're around and square faces. When you are drawing a portrait, first ask yourself, what face shape this is. Are you drawing the square? Is this an oval or a circle? Or is it triangular with a narrow lower part? You start by identifying the shape and recreating it in straight away, then you are sure to secure some likeness. Even if you fail to catch the expression of the IR lose some minor proportion. The form of the face will suggest the person. So here is an advice for you, by all means, determine which type of face shape you are drawing. Because a beginner artist starts withdrawing eyes at once. Not so fast. Plan you're drawing, find its position on the sheet of paper and determine the face shape. Then draw the biggest element, connect everything, measure proportions. Then you can move on to smaller parts. Okay, I extend the three equal segments here. Look, the skull here is a bit bigger than the square. So this is the actual size of the head. I draw the circle of the braincase at once. Look from the cheekbones and even a bit lower. Again, we get the American method of schematic drawing. When you draw a circle up to the root of the nose, invent new ad the face. So you can draw the symmetry axis at once and find the railway track we were talking about earlier. So in other words, you roughly sketch the plane of the forehead. You do not have to show the exact width of the forehead, but it is important to connect the upper and the lower part, the jaws and teeth wait, I promised to use the same colors. I draw a circle that stands for jaws and teeth. The line of the teeth. As soon as I found where a line between the teeth, I go to the left and right. And I can form the angle of the lower jaw from the Chennai go in this, in this direction. And all the way up under the zygomatic arches. After that I draw a curve towards the chin. Like this. Draw the opening at once. Do not forget it. I show the width of the teeth. And you remember you find the molars, that canines and the incisors. Having finished the Juang, I attached the cheekbones at once, but look at their position. Two volumes on one horizontal line. This is like a dumbbell hanging here. There is usually no forum in this spot where the canine reaches the cheekbone. No substance. As if nature wanted to improve these parts by taking out everything unnecessary. There will be more shadows here. There are some openings here, the infrared and super orbital Freeman's. There are also two mental foramen here to conduct vessels. Between them you can still see the same railway track system as before. Remember this go on Pirate flanks. They look somewhat like this, right? To simplified openings. So there is a curve here that goes down at the cheekbone school. You need to remember the same shape here. Okay, let us move on. The zygomatic arch curves and moves around the lower jaw. It vanishes under the brain case. You can see the mastoid process from under the zygomatic arch. We copy this mastoid over here. This can vary in each particular case, these parts are more developed in males, like everything on this skull. Next, I draw the pear shaped opening on one line with the cheekbones. The shape of the nose is very individual. The nose is a part that tells a lot about the character of the person. People will have very different noses. Logically, the pear shaped openings are different to plus, they can be even more different because of deformation. Noses are often fractured. Many people broke their noses at least once. Everybody used to slay as a child and had the nose, the nasal septum, the separation inside the nose is often deviated after a viral infection or a fracture. I draw the nasal bones reaching the third line. The pair of nasal bones. So if the nose had been broken, the form can curve following the shape of the fracture and the bridge of the nose can move to the side. For instance, I have drawn a portrait of segregation. You're off. It is very visible. Their surrogates broken nose, a very beautiful nose though. Ok. Next, you can form the globe Bella. The typical form of the GLA bella is a circular curve reaching the forehead. I draw two circles and sculpt the global apart. Next, I draw the brow ridges in a downward movement. In this case, let them be smaller than the cheekbones. Now, look at the Globe Ala. It curves around the brow ridges like that. This is a difficult part. Few people study it, though it is of key importance in a portrait. Very important because we draw eyes. We need to draw everything around them. This part of the portrait is in the center and gives the most information. You can now find the relation between the forehead and the jaws by drawing the numeral eight. I mean connect the teeth and jaws with the forehead. As if a numeral eight is there inside the human body. Then the lines cross over the nose or the global Bella and show the movement of this area really well. For instance, the skin will form folds here. These nasal labial folds will be directed towards this point, the lines of the forehead will curve towards this spot. The movement of the brows will agree with this cross. So this is something like a diametrical, a geographical center of the human head. When you draw a person, you concentrate all the emotions here. So it is useful to remember, especially when you are doing a portrait of a man. You are telling the story of a life, so to say. Because all the lines on the human head combined to make up a map of life, a health map, if you wish. And you can see that this crossing point is where they meet or where they are directed. So you must draw the GLA Bella here. It takes parting, that's movement. Next, I create the partitions of the temples. Then I move up straight to the temporal line. The temporal line, or rich. Artists and doctors have a lot of terms that do not coincide. Artists love to use jargon words and simplify names. Dr. study anatomy very thoroughly. They have regular anatomy, pathology, pathological anatomy, topographic anatomy. And artists have plastic anatomy. We study actual volumes. Artists like to give names like Rich Dog muscle or the like. Okay? Of course, having drawn the temporal line, I will show the parietal eminences at once. Now we have the parietal, we can look for the crown protrusion, that crown temporary lemon and says if there are any. What other eminence, as we can see here in need to mention, the frontal eminence is they are the least perceptible and the best illuminated. When you draw a portrait with a regular classic lighting, you will find that the forehead usually shines. And the highlight is exactly on the frontal eminence of very bright highlight that can be as bright or brighter than the highlights on the nose. The head is a sphere with a high light. The main highlight is on the frontal eminence is here you can show that plane, the frontal plane of the forehead. Now clarify this form. This is how it looks. There is a plane going in this direction and in this direction two. Then it can be developed further and various ways you need to sculpt this part is if it was a soccer ball. Okay? Now we only need to complete this curve towards the nose, the frontal process of the upper jaw. And we complete the eye socket to the eye socket looks like a square, slightly crushed. Do not make it round. Men and women have a bid different eye sockets. In this case, the man's eye sockets are square. These are more rounded. This is probably all the information you need to learn now. Do a drawing of the skull. To study the skull, you need to draw at least the three views on one sheet of paper. I mean the frontal view, the side view, and a three-quarter view. Study the skull in terms of its function. That is all my friends. Thanks for watching. Thank you. Good luck. 3. The glabella, or How to draw a forehead: My friends. Hi everybody. This is Andre saw Marian. You are watching the extra video I made to help you learn more about drawing a human forehead. This is an extra video because you have already studied the anatomy of a human, Scott's, or at least you have watched the video about it. Just like, you know, it's structure and the parts it is made of. It is good if you have already started drawing the skull. When I am teaching a course, I usually ask my students to do a separate drawing of the frontal bone so it helps to study their form better. Because human forehead is probably the most difficult form. The most difficult part to draw in the portrait. It is usually said you are good in drawing portraits. When you're good in drawing foreheads. When you care about the form of the forehead. Because an amateur artist usually just leave some blank space where the forehead should be. Clear that when you draw a forehead, when you understand this structure behind it, you act professionally about everything else in portrait to. So let us find out how to do it. Okay. In order to draw a foreheads, you need to know the structure of the frontal bone of the skull. There is no fat in the upper part of the head, no actual volume formed by folds of skin. Skull up can be used more than nickname logo. There might be a few dynamic wrinkles, but it is mostly just the bare school. So if you master the bone, you master the forehead. You probably remember that the frontal bone is in front of the skull. If you look at a scope from the side, you will see it is sort of separated into two areas. The queue velocity at the wall is this period from us. This is the forehead, This is the front. This is the suture. These are the parietal bones. The parietal bones in the occipital bone below them. The temporal limbus pheno data over here. So you see this is the forehead. The brow ridges here. If a shape is convex, if you look closer, you will get the impression that the skull is actually made of two spheres that are separated by an invisible thread is as these Google, this is one form, and this is the other. It is very pronounced in male skulls, though it is true for female skulls to, this is a male skull. You can see what I am talking about because of the heavy back part. Women's heads are more rounded, their foreheads are straighter and higher. They have more weight in the forehead. So the division is not so pronounced. It is quite visible and men's heads. And as you might remember, there is also a prominence on the top of the head. So okay. Though high protruding part of the skull. Okay. So he's now there are two main volumes you need to be aware of. They are the frontal eminence and the brow ridge frontal em, and it says are important because in classical lighting there is usually a glint on one of them. Is the loop. That head is a sphere. In order to show its volume, we need to find the lightest area, the glint. As a rule, there is a shiny spot on the frontal eminence. As for the brow ridge, This is a complex form that also consists of two parts. N is crucial for the likeness in a portrait. It's whether or not your portrait looks like the model depends on whether you can draw the brow ridge wells. But as this is the central part of the portrait, now let us go into some detail. I am drawing the hemisphere that will stand for the frontal bone. It will be quite convex. Choke up on you might you need to understand that the brow ridges position like this. Anybody knows nationality, that's almost a musician. She has purpose is to protect the eyes and prevent sweat from falling into them. All the gloss. The sphere is crossed with this movement is going to go any new here, as we have already learned, the form is very close to a sphere. This is the top of the egg. If we compare the skull to a chicken egg, is diesel, steady meets the forehand. Here has an obvious circular movement. So the two principal forms cross. Old by the circle of the forehead and the wings of the brow ridge. Another important thing you need to know is that the brow ridge is made of two parts. At the former associate idea, she is on both sides you see the actual ends of the brow ridge that are connected to the temporal bone, such as search native dictionary. The temporary aligned directs the volume further to the parietal lemon ends over here. With research that I didn't do it. Here is the line leading to the parietal eminence. This is the brow ridge. There is another important volume in the center that is called the globe Ella. The globalize, the volume that is connected to the form of the forehead. So for my old steady meets a quota, she joins this circular movement. You must understand that the goal of ballets that part of the brow ridge that sits sort of astride the brow ridge. Eddies so wise, so you must not draw the brow ridges just one form. This is often what amateur artists would do. They draw the brow ridges, a sausage that has two lumps here above the nose. And wholesome. The dish, there's at the glove will. So this is the goal of Bhalla and this is the brow ridge. Yeah. I mean, all of this is actually the brow ridge over here. The belay is divided with a structural line that forms a shadow, comes up to you and Bella can't have two separate parts, two lobes is do I didn't have cheese G, Basel II right here. But over there mirror between the goal Abella in the brow ridge, there is an opening or a curve in the eye socket. Anything between an opening and a curve? Cutesy. Here's what they showed us, but let me show you once more. This is the line that separates the curve to the forehead and merges with the temporal line, separates their brow ridge and neglect Bella. Hello, below. The brow ridge curves in this direction. It is shown as a way to search annuity for temporary line is also called the temporal ridge artists like the word rich, I didn't that chest, this part is separate. Angola has for the globe Bhalla, it rotates within its own orbit, synchronized with the circle of the forehead. Olga nash. This circle is also a volume formed by the protruding frontal lobes of the brain. Right here, e. So it turns out that our frontal bone a little bit in that kind of that, that would get sphere nonetheless did in small children, it is made of two pieces separated by the frontal suture. Then the pieces grow together until the suture is obliterated. And so adults do not have it. It becomes one solid bone. But because we used to have to suture ends because we have a brain inside the two prominences are formed. Again, will grow as dish. And there's an anemia. The substance between them lies a bit lower and it was glove. Now there is a shadow of a big shadow above the glow, Bella GNU. There will also be a glint on one of the frontal eminence is human. And we did bleak. There will be a glint in this area on the forehead, on the frontal eminence just flooding. Now you can construct a plane between the protruding parts of the globe Bella and the frontal eminence is gullibility. It will limit will go to quadratum squared plane. So there is a circle with a square inside. I mean, you can study this circular movement and use four points to construct a simple plane. Mirrors, which can make you more BLOSUM. You always need to see a human forehead has three planes, one in the center and one on each side. So either via book oh, we got at the buckets on the one that predict that this is something you see on an angular plaster cast head. East history. And of course, as the three planes will be lighter differently, with the light falling from the side, we shall see the gradient. So that's we used to issue the widths unless we've shown that. In this case, this is the part that will be better liked it. And they, my meal here is an important detail for you that should not be overlooked. As if the globally wanted to sit astride the brow ridge like this, like you more Buddhism. The pizza was muffin or what could it be? A bird that spread its wings over this form w. And the issue, moreover, it tries to route in the eye sockets and Hilda does Eastern yotta Quito. But if you look closer, you can see the structural reinforcements on both sides. Between these volumes are the bones of the nodes, the nasal bones. And that's how we go about doing those chicken I have drawn is slightly crooked. Knows that the witness. So these are the nasal bones that connect with the globe Bella Groucho. What's up soon I show the regime. That is all my friends. The plane will curve to reach the highest point of the skull, the top of the head cheaper right here. So just miss wheelchair. However, this is not always the case which are typically called Kitchen horizon human skulls varying a lot at the bullet special blessing, but you can always see this plane of the forehead age, as you remember, women usually have straight in high foreheads. Male foreheads can be straight or slanted and sloping. Show that would give me that is all my dear. This is important to try to learn this and draw correctly steroid usage and watch the whole way to do the construction work. Fetch carefully. Do not leave foreheads as white empty spaces. Eddie silicate. Then Fermat's drawing is information. The more information you give in different areas and parts of your drawing, the better is your drawings. Well, let's say it's got just feels placebos or pneumonia, but it isn't. Thank you for watching subscribe. Good, good luck in drawing. By 4. A human skull study. Front view part 1: There will be three drawings in this study that we did, but it is still one big compositional. Sell them at the odd numbered shy composites. So before I start drawing the various views, I determine the areas void where I will be working with code doesn't get any children East globalist media. Yeah, we'll do it on both. I will place them checker wise. I am drawing squares. Let it be like this. We're gonna get stuck. Most of them, I might use free spaces to sketch some smaller elements. Lee, right here I will draw the front view of the skull. Okay, number one, the relationship between elements, I put down the height and the width of the form. I locate the line of the eyebrows, I roughly sketch the dimensions of the brain case. I use only straight lines being Ramya. And let me try sketch the teeth and the angles of the lower jaw. While the SCL is high, so the angle should not be too wide. You have, you have a nice guy. I define the width of the cheekbones. Though. This preparatory drawing takes some time to find the lower edge of the pear shaped opening it. But if I take the length between the line of the eyebrows and the chin and divided down the middle? Yes, def same line serves to find the cheekbones. The lower jaw is attached so that the ellipse touch dr will be smoke. Because of that, I need to add a bit more to the jaw creators too. In real life, of course, the position of the teeth in humans is slightly different. But this is the plaster cast we have. This is our model for those who use the vertical railway track mind. Remember, we talked about how important that is to locate these two lines that will help us build the vertical axis symmetry. We did see. In the lower part we are guided by the structural reinforcement of the canines. In the upper part, by the supraorbital. For him is the globally we'll change that general direction slightly. A next widening a bit. There are the frontal eminence is woven label go to. But now the main proportions are there. I will use smaller strokes to sculpt the form further, horrible little. I locate the brow ridges and cut out the glow Bella issue. We should go. That's one of the look. The strokes are really general. All of them are longer than necessary because it is more important to show the direction of the plane and then the shaded area like poverty. And yeah, we'll discuss Jeff. I pick up the cheek bones, which are very important landmarks. I notice the movement of the substance we deal with TB on my theater. I draw the diagonal lines of the jaw towards the chin. Choose just define the angles of the lower jaw wide and the John slightly. The edges of the eye sockets. The temporal line. It is my observation that the temporal line is directed towards the eminence of the chin, but little additional whisk before you can use that. Here. The, so the form must be solid. I look for the connection between the upper and lower areas. I do not rush to draw the eye sockets because there is no actual volume in the eyes. They are negative volume with the cheekbones. So you can see well the mastoid processes. I show the beginnings of the frontal bone around the globe LST oil. I define the size of the nasal bones and put down the bear shaped opening this photo and go through that list. This hard pencil as well sharpened and does a very good job. Waterfall. We draw the teeth very roughly. I mean, we do not actually draw the teeth. We simply locate that place where they should be getting enough weight. It's everything that of course, depends on the style. If you're drawing, sometimes you do need to draw the teeth. When you work on a tattoo sketch, for example. Then they can be an object that you need to draw it. So it I establish the direction of the brow ridges. Little 2G. And the skull starts to look like a skull that he, so when I draw one element at a perished, I locate the other one at once. We'll do not draw them separately. So we have discussed in details during the lecture. There is a lecture that focuses on the globe Bella didn't do. Globally. I move up to the frontal eminence is n divine the planes tonally with masses of lines, which I am working rather fast. I would like to define the lower jaw better. If you're strokes or short, you can switch to the more handy tripod grip. Doc ID, so it to login here. But the imminence of the tune is a complex mixture of substances. Goes pretty near my TAT. However, there are two lobes. We put them down. It's WMO. Very carefully I star drawing the eye sockets so the lower edge of the eye socket is well lit. So which industry? The lining here is classical skeet. Along the lamp is straight above the skull. That is why the lower edge of the eye socket is brightly illuminated with them, for goodness. This is the frontal part of the upper jaw cheaters, Jeff. And I correct the position of the nasal bones, removing them slightly upwards. Because I suggest you see me into the nasal opening two, we can now show the symmetry. The nasal bones are attached higher, they narrow down and then become wider again. At this stage, you can start drawing the contours of the cast shadows. I mean, they are part of a construction drawing. There are shadows inside the eye sockets. There are also big shadows cast across the diagonals of the lower jaw. Ninr mutiny tutors to. These big shadows are cast by the cheekbones. School lowercase t. The fall, beautiful me and you reveal the teeth and the lower jaw. Could I see you on the left loop? So here are the structural reinforcement serves as a boundary. I told this whole area at once with vertical strokes to show it is in shadow by Lucian Kenya. But our model is placed on the block and unless you Monday then you can mention it lightly. It is not that important. Anemia Kenya. I draw the shadows around the temples at once. You And yet the tonal contrast is great here. The frontal bone is protruding and casts shadows on both sides Under the temporal lines. Soaps and I again. But the VCE, which of course was the eye sockets also belong to the big shadow of the Jomo Kenyatta. The big shadow includes the form shadow, the cast shadows, and the reflected light. As soon as the last element of the big shadow is toned, the line separates from the shadow and we are able to see the form as a whole. So you get the medium. For one cell. The eye sockets will be filled with reflected light in the shadows will only be thick along the contours. But so I do not try to make them dark, concentrating on the contours instead. Now we need to scope the cheekbone. As before, I use the shadows of the temples to separated from the background. Kenya with now the Moscow face is already there. So it is very beautiful and we can see it now. Each volume created by bones has its form shadow and some reflected light goes negative guy here. So, but anyway, so when I am drawing and start to sculpt the form, for instance. The curve of the zygomatic RG, I save some space for the reflected light iStep slightly away from the form shadowed. A silhouette of the mastoid process is quite enough to at this stage as the processes are very far behind, let us assume that there is a big, but if we can call it a big cast shadow, because it divides the pear shaped opening into two parts. It will pull up a big chandelier and signed the pear shaped opening. The form here is irregular in beautiful in its own unique way. The pear shaped opening is close to us guy. So I am not afraid of creating too much contrast. Will go next or be Dilfer admins. The openings that transmit vessels. And he asked what remains is the empty area of the teeth and the lower jaw. We have agreed not to draw the teeth. However, we need to show the planes separated by this structural reinforcement bars. In this case, our canines are structural reinforcement. The are slightly tilted. Teeth are unstable as if form you. They tend to tilt it slightly here and there. Yeast incisors are also reinforcement bars Andean important part of the form. For all of this must be integrated with the volume of the cheekbones. Gusty. This frontal parties in half-tones, will I go across using long strokes? The frontal part of the upper jaw is also at a slight angle. We just need to discharge him. As the tone of the drawing becomes deeper, I gradually reinforced this or that area aka yep. Stp or no shear with chest. There's no I mean, earlier I thought the shadows and the eye sockets are deep enough, but as the drawing develops, we need to add tone. We just want the same way. Slid them. No good, I am. Same thing with the globe Bella. But if now it is time to sculpt the form of the skull a bit. The frontal eminence is our brightly lit. They are among the brightest elements, and in a portrait, they would often have highlights on them. Now, with the hard pencil a week in sculpt their volume. I moved from one area of the drawing to the other. Just now. I do not work as much on the irregularities of the form. Nine-year-old, honest, if I only identify them. Here is an interesting detail. You can see well on this skull, OK, how the temporal bone comes off. As you know, sometimes it is called the scale of the temporal bone, exactly because it tends to scale as it dries. And this is what happens here. This is, of course a plaster cast model. But we still can see what happened to the real skull. This hard pencil and gradually becomes inefficient. I have to put more pressure to the pencil and it hurts the paper which bore Bamaga. Lay nice three. That means it is time to change the pencil. I need a softer one reaction. I have an f, e, and f would be almost imperceptibly softer. So let us take a b. 5. A human skull study. Front view part 2: Bottle download from yeah. It is a couple of shades software and finally sharpened an excellent pencil. Sharpen your pencil and my friends for pair well, before drawing, I sculpt the volume of the globe. Ella. Of course, I will eventually use crosshatching me, but it is yet too early for that. The lines become shorter. God, which I mean, the softer the pencil, the shorter r This drugs, the smaller is the area you shade. Dim inches on up. But if you are using a very soft pencil, you only emphasize a few things. If there is a dramatic difference between the cast shadows and the bright direct light. Beam wimps Vietnam. The lining here produces a sharp contrast with the more I work on the cast shadows and try to reach each little fragment of the drawing. Right now I sculpt the form of the bony tissue again and I keep the reflected light in mind. Go Snape guy. Yeah. I cross hatch and legal Abella, who global ADH that. Now reveal the tonal range of this form C, we need to take this hard pencil once again, it was like to go to them. This is something that happens quite often. You work with a soft pencil and then you realize you need a hard pencil to polish the shading. So I leave this area for now and move further aware I can still use a soft pencil. There are such areas around the temples. I shade the most contrasting area. Some will come to the US. Because now these parts have become Tony Lee very deep mu. I need to shade other parts in balance the light and shadow. So now I can pay more attention to the irregularities of the form. All the eminences are visible. As the skull is a very good one. Autofocus edge. And the plaster cast model is true to life on yet she knew. I shade with masses of strokes and I follow the direction of the planes. There is a suture here. I emphasize something here and there. I start doing finer things. Weighing every movie. Ids to bother shaky. The shadow cast by the super ciliary Arjun reaching inside the ice alcohol has of course a core shadow along the edge. Bright lines remains inside. Pay attention here the eye socket is wider than the cast shadow bothers shape. Do you need to show it carefully having first determined where it is darker and where it is lighter. Lighter inside the eye socket. And with it WIC, I need to use an eraser in this area, but for now I leave it and move to the frontal half Shadow of the cheekbone. Kenya NHS just Cooley. The orbital foramen is very contrasting. Whose job? It is involved in the twist of the substance, which then pours over towards the canine side. Of course, you should be careful not to get carried away and she'd too much. The bear shaped opening is of course completely filled with plaster. Commutator yellow mucosa. In reality, there is the nasal septum and devote her bone. But however, we shall draw, what do we see? We are now drawing a plaster cast model of the skull. To draw truthfully is an important skill as well. But good Washington media. The row of upper teeth will have a horizontal Shadow. Of course. We do. And the shadow will be where the teeth touch. Like this is how you draw the teeth, which I do not outline the teeth, do not attempt to define them. The only thing I do is emphasize if possible, the bids where the form is separated. Just do it. I always have to struggle with an excessive attention to the teeth, but because they are the first thing beginner artists notice on this skull. A skull is sort of a grinning form. When we draw a portrait today, the problem is we need to avoid looking into the eyes. In their portrait eyes tend to have too much weight. A SCO has no eyes, but it has teeth, and this is what everybody draws. The lower jaw is a very beautiful aerodynamic part. You'd also has a form shadow that should be carefully shown. Underneath there is some reflected light. So the form is virtually created by a small fragment of substance. I choose him off the corners of the lower jobs because it is too heavy. Snow. Again, I emphasize the cast shadow along the edges. And you can see that as soon as we do that bright white light appears. Yeah, to keep BLE. So yet these parts acquire bright light. The shadow is always Deep along the contours and there is reflected light inside. You can shade the teeth on both sides. The lower jaw has an area and shadow, some don't on the front DO part. There are also a few openings. There are six Freemans. The supra, orbital for humans, as well as some slightly narrower openings of the lower jaw. Add some shading below to connect the skull with the space around. You meet. On the left a little Deinonychus, Jeff. And this does raise to steer this industry still PST and nonetheless niche step and blows nationally and usually choose to do this gel nine East numinous gap. But a Loose GNU, usually chester. I add some tone on both sides to plunge into the atmosphere. So you need a city in the world that thorn, that phone book com someone for gluteal solar atmosphere at all. I also promised to draw this form Shadow of the lower jaw, but got distracted with other elements. Now I get back to this end carefully a work on this form shadow below me as well. At this stage I act according to the circumstances. Cyclist, nice thoughts at this yet, but I may check whether I need a massive lines here or not. I mean, my job is different now. I work more with patches of tone. Mentioned that abortion or voltage gotten them here. There is a narrow strip of Shanda will along the teeth. I returned to the upper part as I have not been there awhile. But we keep moving from one part of the drawing to the other. It is important to learn to sculpted the whole form at once rather than sort of develop one fragment at a time. However tempting it is to finish one element, however difficult to refrain from that. An artist never finishes one area, but works on various areas at the same time. Nobody, Mina. I carefully chisel the contour of the brain case, making a slight emphasis on the parietal lemon and says, God, okay, anybody who sent them? Give me, we'll go to the parietal eminences are the widest part of the skull. It didn't need to give this information and show how wide they are initialed. Okay? This is what the overall character of the head depends on. Now, this soft pencil starts to fail in certain areas. But just yet, I still can accumulate the tonal value in some common areas. By the way, it is time to work on the suture close to the nasal bones. The contours of the shadow cast by the element on the frontal part of the upper jaw. Look at how this goal instantly sort of clasps here in the middle of the form. It seems even that it starts to looking at comprehending way the load so we can now see the character that this person might have had. The good gimmicky. Now it is time to work with an eraser and return the lightest elements back to the drawing. I take away the excessive fragments of the cast shadow. The eye socket is very light inside. Now is the time when an eraser can sculpt the form and draw just like a pencil gotten dash. There is some light to give back on the canines. The light is right on the diagonals of the lower jaw. Yada QC up above the globe Ella, the upper part of the frontal sinus. The form is almost ready. And the frontal eminence is, of course. Right now, yes, I will leave the drawing without any lending or softening. I move on to other views. Later on, I may get back to emphasize a few things with the softer pencil. We shall also polish it with both soft and hard pencils. The soft pencil is good to put an emphasis, and the hard pencil will help to work on the details. Ok, now we leave the first view and move on to drawing the skull in the profile view. 6. A human skull study. Side view: Okay, let us continue. And usually in the bottom part I will draw the skull in the side view. I have sharpened pencils once more. If you remember, for this drawing that I have been using a hard end is soft pencil. At least so far. We start by establishing the dimensions of the form. Four with the brain case. I always tried to create this form separately. I mean, draw this egg of the brain case. I choose all the angles. When you draw a profile, the angles are very important. The angles of the frontal eminence is the angle of the nose, the angle of the teeth. I locate the line of the lower jaw. And the angle of the lower jaw is an extremely important reference point of the chin. I look at the weight all connects to the general tilt. Pretty good. So I add a bit more to the scales of the occipital bone and make the brain case a bit bigger. Doesn't mean you should know that this form is often underestimated. You always need to make sure you have not made this part of the head too small. The ear canal is another reference point. I didn't bother to draw a square. You can do it if you want to. Locate the cheekbone. Now, the angles again of the eye socket knows bones and of course, the pear shaped opening. This needs to be higher. The brow ridge. Now I can see that the frontal eminence is too low. I need to lift it yet. I locate the high point of the skull. The uneven contour of their pear shaped opening. The line where the teeth meet. I correct the lower jaw and usually you cheaters. I look for the diagonal line. The molars. Here I will sketch the block slightly above. It is a good reference point. I still need to add more volume to the brain case. I have been working on the periphery for quite a while. Now it is time to switch to drawing the zygomatic arch because this part is the closest to the viewer. I am of course interested in the temporal line two. I mean, this is one plane that includes the zygomatic arch, the temporal plane I located at once because I have not changed either the source or the direction of light. Maybe Michelle's fields. The lining is frontal, so the temporal plane is well lit. This does not help when you sculpt the volume, but there is the advantage of a good separation between the frontal part, the phase, and the sign of the head. I look for the point where the bear shaped opening is crossed with the eye socket. I tried to copy all the angles correctly. The belay is turned away from us, but I still can see the supraorbital orifice. I copy the contour of the cast shadow. You can see that I am drawing faster now. This is always the case. The second drawing is always quicker because the hand start working better. I locate the lower edge of the cheekbone and make it quite dark. I find the opening of the lower jaw to eat is completely in shadow, but it is still there. And give me a yeast. Of course, the cast shadow inside the eye socket to other shaky. I sketch the contour and shaded at once. Next, the mastoid process close to the ear can now the structural reinforcement of the occipital bone. I shade big planes at once. I am not planning on drawing this part of the skull in much detail because it is not that important. There is the face and it has some very contrasting areas. This is where we shall pay more attention, in which there is a cast shadow under the ear canal and the mastoid process I sketch it will just go. This side view is considered easier to draw, so it floatable. Fellowship. I agree with that. The only difficulty is the well-lit areas. You should sculpt the form carefully, otherwise you might damage the volume. V Peter Shane duck. The globalize and shadow. We can see a part of the pair shaved opening in the front. There is a shadow there. I have not drawn the canine Gleick. I need to do it now. Next, I sculpt the contour of the lower jaw and usually choose to leave the reflected light area too. I divide the angle of the lower jaw into two parts. This is where the chewing muscle is. There are two points here. I can see the thickness of the lower job. So I show it pictures. The cast shadow takes up a lot of space here. Of course, you need to pay attention and draw it carefully. It forms most of the parts here, which shows tool. As you can see, I make a strong emphasis on the cheekbone. I can see the inferior orbital orifice and I am not afraid to add tone there to hear is a good example of the way you can create color by adding an emphasis to the cast shadow. You see this part becomes white. I slightly shade the area beyond the canine and at one switch to the plane of the forehead, because these planes are very similar to the plane between the canines in the one between the frontal eminence is I create an emphasis under the frontal eminence, a bit lower. It is too high. The form of the forehead is a bit more complex, so I still need to search for the line. I do not want to draw the suture. We cannot see at 12 here anyway. I mean, the Sutra of the forehead. I will switch to the volume of the brain case. I am still using a hard pencil as it is well suited for the task. I gathered the tone, covering up big planes. Of course, I will need an eraser to sculpt the cheekbone. Some of the line must be brought back. It is very tempting to draw the temporary align here. However, there is no contrast, so we need to accept that the temporal line is very faint. The depression around the temple sculpts the volume of the temporal bone. This is where the temporal lobe of the brain is located. All the bones in their brain case are named after the parts of the brain that they cover. The skull appears gradually. Inside the plane that contains the chewing muscle. There is a slight indentation exactly needed to attach the muscle. So now I work on the cast shadow. It is one of the darkest parts. I need a softer pencil here, which is the shadow of the eye socket is also very dark. The ear can now, we need an emphasis here that we can not see it too well. It is an important part and we need to give information about it. As for the area around the mastoid process, we need to be careful here. Using only the hard pencil at this point. I mean, we keep a less important part, less perceptible. I tried to lose it in the hatching as if in a missed the 1-year. With big planes, these free, long strokes of the hatching look really beautiful and dynamic. See, the substance is curved here like Amy. But I first draw the general motion, then divide it into fragments. It is quicker and more convenient. However, you need to see the whole the complete form. I tried to notice all the bumps. The cheekbone must be drawn in detail because it is close to us. In this drawing, there are at least three visual planes in the cheekbones is in the foreground. As for the pear shaped opening, it is farther from us. So I might choose not to use a soft bends or when working on it. I will correct the form of the cast shadow slightly. It needs more space inside the eye socket. And now what is the time to use a soft pencil? A part of the shadow that is cast on the block by the lower jaw. I want the lower jaw or want to connect to the background. It wouldn't be very good to make all the distant areas merging the background in the aerial perspective. I sketch the teeth very generally and I want to form the chin. It is a very beautiful and very important part of the skull. You need to learn to sculpt it. I squint VI from time to time. It is important for me at this point to see the darkest Dan, the lightest areas. I still do not want to put down that hard pencil. I want to use it while I can go and do this. This is the structural reinforcement. The cheekbone moves in curves towards the back of the head. There is a connection to the back of the head, the occipital bone and the occipital protuberance, which is always, there are all the shades of light and shadow. Of course, we show less contrast in give less detail. The brain case is brightly lit. There is even a highlight on the top. So you can only use a hard pencil here. Okay, now we can take up a softer pencil. Like in the previous video, I will use a b. Of course, the first thing I shade is the pool of the cast shadow. I work on all areas. There is the occlusion shadow, the darkest part. It is a good excuse to give some more graphite and sculpt that cheekbones and I make an emphasis with some cross hatching. The cast shadow becomes deeper, at least at the edge. Looking at immediate book at IBM, unless that makes the area more visible, the cheekbone becomes more prominent. I need to achieve quite a strong contrast in the eye socket. The witness, you know, still need to be careful. I can easily make the area lesson formative. I do not need a plain dark spot, a black hole. If I carefully created points of emphasis along the contour, and I leave it slightly vary, slightly less dark on the inside. The lighting creates strong contrast. Of course, compared to the front view, when you draw the side, you do not have to work as much. Now is the time to sketch the sutures. I am being careful. Sutures are always very individual. This sphenoid is quite visible. The frontal from the high point of the scope, there is an almost invisible sutra that goes down here. And the temporal bone. I will use an eraser, of course, to help reveal this form. But at this point I sketch the map of the sutures with the pencil tool. If you have forgotten where each suture is found, then go through this topic again, by all means. The scale of the occipital bone has a suture to take up an eraser. I need to scope the brow ridge and bring it back to the line and plane. There is some volume of the plaster and I am honest enough to leave it as light as the laziest depressed areas can be lighter than protruding parts. And you've got the block slightly so that the line fragments that I have stressed would look brighter. I add some faint shading in all areas that are not directly lit. The details here are more about the individual form. You are free to create them as you feel best. I could out the contours of the temporal bone that has separated here. I make it thinner. Let's leave. It is not that important, but there is nothing really to draw on this view except a detailed temporal bone. A bit more general shading to the whole school, except the cheekbone to make it more salient in prominent equilibria. I make the brain gaze a bit shorter. Work on small details. There are some light areas that you can only create using shadows. You can actually completely sculpted them with shadows. The mastoid process here is such an area. It has its own shadow, of course, but I do not want to draw it in detail. Another emphasis on the zygomatic process. We have abandoned the lower jaw and the teeth. Of course, we need some general shadows here. I will not draw the teeth in detail. Or maybe just where they touch. Still. I do not draw. Simply put down some points of attention. You need to show that there is an opening and a slight emphasis on the drawing is almost done. I work on the small details now. I correct the diagonal line and immediately get an expressive structural reinforcement line. For now, I will leave this form. There is a lot of details that I still can work on. I have grown tired of this skull. I do not want to bother with little things. I will work on another view and then come back to this one and look at it afresh. That is all. 7. The skull in a three quarter view: Okay, I've sharpen pencils again, and now we're drawing a three-quarter view. In my drawing, the views will overlap dynamically. We might need that. I sketched the boundaries and the dimensions. I tried to immediately grasp the form of the brain case. This skull has a very high forehead. So you can draw a separate circle for the frontal bone and then attach to the occipital bone to it. I immediately look for the slant of the central party and draw their railway track going from the canines towards the frontal eminence. As I tried to find these points have reference. I sketch the brow ridge. The lower edge. I divide the length down the middle to locate the cheekbones. I stick to a classical routine. The lower parties a bit longer than the upper part because the teeth in this module join in an irregular way. What I do next is I usually look at how the pear shaped opening is positioned in relation to the symmetry axis. I trying to grasp the angle of the opening within the boundaries. First located in sketch it lightly. Then I am interested in the most protruding bones. These are the zygomatic bones and arches, of course. Next, the brow ridge appears. I sketch the line under the frontal eminence is so I am being careful not to commit to anything I do. I use a hard pencil and touch the paper very lightly. The lower jaw and the teeth are very protruding. We could see it well, when drawing the profile, I tried to find the angle of the lower jaw I'd want as well as the edge of the lower jaw. You know that you only need to go down from the highest point is separate the face from the back of the head. And those little curve around the skull and you, but I moved slightly and pair it with the other half. Equal to plot in that establish the boundaries. As the brow ridge appears. The temporal line being a part of it, is easy to sketch. And it moves towards the chin. And the other one straight away. In this view it is as far as we can see on the left. I directed towards the chin to now it reminds us the mask of the Iron Man. The form. The eye socket is protruding here. I mean, it is concave and the cheekbone is protruding. Eye trying to find the height of the eye sockets. That keeping an eye on the bear shaved opening, looking at how and where it is crossed by the lowest level of the eye socket. I sketch the nose bones. Big angle. They move towards the globe Ella. They brought an end curve around the form of the globe Bella. Bella itself. I oppose this form to the brow ridge. The sinus of the frontal bone has this wedge like form here above the nose. Same as in the front view. I moved to the canines. Canines will play an important role here. The chewing complexes protruding in a very beautiful way. And there is substance around. The diagonal curve of the lower jaw divides and there are a few bumps here. A triangular muscle is attached. I break the angle of the lower John to two points. I sketch the mastoid process. Noticing where it crosses the jaw. A bit higher than the middle. We can see the skull up here. Gradually. I put down the reinforcement bar of the sixth to eighth. It is a very beautiful area where the light and shadow change. Continue the temporal line trying to follow its curve towards the cheekbone right here. And of course, I will draw the edge of the cheekbone tool as well as the edge of the brow ridge. There is some big contrast in this area. The boundary of the sign of the head is at the ridge. Two, in terms of the light and shadow, what else would other reference points are there? The infrared orbital for a pair of them. So I sketch the other one at once. I keep their perspective. As you might have noticed, there is a slight foreshortening to the left. We do not talk about this now. It is already something that goes without saying. We need to observe it, though. The perspective is at the basis of a truthful depiction of a form. I go to the center and correct their pear shaped opening. It is very uneven and broken. There is also a cast shadow inside. The form is asymmetrical. It is usually the case in all skulls. I sketch the line where the teeth touch between the canines. I show the dimensions of the teeth. Open up, which I use multiple lines. Now to develop the central part, I obviously need to find the cast shadow because this line forms the eye socket. So I draw the shadow cast by Bella and the brow ridge. Stepping over all the irregularities of the surface and sinking in the eye socket. It is this shadow that forms the contour of the eye socket. There is a suture here, the brow ridge. The substance rises above the supraorbital notch, the supraorbital foramen. The global of blends into a bigger shadow. But it remains divided into two segments to different segments. As I have already drawn the shadow cast inside the eye socket. I will draw another one here. It steps over the diagonal curve. You sketch the contour. I boldly cut off the zygomatic arch and die roughly shade the cast shadow. Separate the big light and a big shadow. Of course, I shade this eye socket at once. The shading I use is transparent, though sketchy. I do not live the tip of the pencil off the paper, but I do not make these areas completely dark. I leave spaces between the lines. Your shading should be breathing sort of the core shadows inside the eye sockets. I should finish it here too. Well, I promised I will get back to that. So not now. The globe Ella, I notice all the irregularities and end use heaps are lines to try and sculpt, deform. The shadow cast inside their pear shaped opening. Another emphasis on the canines. And of course, we need to draw the core shadow along the contour of the lower jaw. Liquid. This is a tricky area. The shadow is quite short, but you cannot do without it. The lower jaw has some volume here. It never has a sharp contour, always curving down. The mental protuberance is triangular with them when there is a shadow on it in this view. You can see it well, so sculpted. The line where the teeth touch. And we continue to develop all the details of the form. This reinforcement bar is very pronounced. You can use it to reveal the substance. As for the eye socket, it is very indistinct and faint. Especially the lower region, the infrared or be tillage is very bright till we do not draw it. But very lightly. When you sculpt it, you cannot create even the smallest contrast. There is an imperfect area in my drawing right here, where the lower jaw is too close to the profile. So I should better not emphasize it. I will use a uniform tone to unite the two forms and distract the attention away from this area. I draw the massive unblock of the base. As soon as this statuesque element is in place, the head looks like the terminators skull. We have not shaded the sign of the head at all. There is a very deep and contrasting shadow here in the temporal fossa. Vhs, did I have a feeling? I will have to work on this area. Scoped all the peculiarities because the light is harsh here, because my milk again and go see it. Now we get to this stage. Hard pencil can do no more. Give me still sculpt the temporal lobe. This area is farther from us. Good. We work on all the details of the form. They are familiar already. Given you. The Shanda was under the frontal prominences. I believe as you are drawing the third view already, you are speeding up too. So if not, then pause the video or you slow motion mode. Almost all the research and develop a very solid form. I emphasized the canines, both the upper and the lower incisors in the sixth or our reference point. I use multiple lines to create each plane. Always make pairs at a time, virtually throwing them on the paper to sculpt the form. This is a rare case when the occlusion shadow is in the eye socket and the reflected light becomes darker deep inside. But you must always look how the light and shadow are different in each particular case. You can, of course, guess what the light and shadow will be like. But here we have a rare situation. The eye socket is darker inside. Then along the edge, there is the terminator shadow along the contour. Then the reflected light and D occlusion shadow in the center. I take up a soft pencil. It is marked BY, of course, there is more contrast in the center of the drawing. Do not be afraid of that. You must be afraid of is a bright emphasis on the background or on a less important element. I use shorter hatching to tidy up and emphasize a few things to bring the forms forward. I have to move the dislocation. In this case, we can even stress the canine. Because this is virtually a corner of a cube. If we see the skull as a cubed, we need a strong emphasis here. There is an occlusion shadow inside the pear shaped opening too. There is a very contrasting area which is part of the temporal bone. As I have promised, we need to work in sculpt the form here. The bone is uneven here. On the other hand, the shadow has some reflected light inside. It can't use some of the light in the center. This is also where the x fully eating scale of the temporal bone shows. The scale comes off as an intricate form. I'm sculpting the form of the brain case. There is a beautiful detail of shadow cast on the narrow edge of the eye socket. I tried to cover more details when I draw this view as it is obviously unique in terms of composition. A three-quarter view is essentially different from simple views. It will of course dominate this drawing. So it has more rights and we must be more thorough. The pole needed to keep the dvd get VGS. This is why I have created so much contrast in terms of light and shadow. Look. It doesn't change the pool. It also means I will work more on the half-tones. Will get back to them later. Trying to show all the bumps on the bones, all the small things. By the way, look how much wider the close arise alkyd is compared to the farther one. Should just associate. A very common mistake is making the farther apart too wide in an attempt to draw both a front end, a three-quarter view. Time to correct a form with an eraser. The lightest elements, the frontal eminence is the nasal bones. Some light on the edges of the eye sockets. A very contrasting area close to the teeth. Still, I do not draw the teeth, do not trace their contours. Very contrasting as it is close to us. I only hint on the most important shadows between the teeth. Do not trace the teeth. This is how you should think that it's beneath the Tsar to draw the teeth. There is a lot of dynamics in the skull. I do the drawing without restraint. I am not afraid to experiment. There is some bright line here. It is. The diagonal curve is a very beautiful element. He's took them, I'm included. There is this phenomenon when you can see the teeth curve inside. Heat is also a very beautiful detail. Emphasis the ragged edge. And the other one, it should be a little lower. I move the foramen. I work on the forum with an eraser. Can you just know not to do? Of course, I use it to show the triangular protuberance of the lower jaw. And come add some light because there is a horizontal plane there. Taking use continuous hatching to show they're farther areas. And I will also show some light at the sutures on the thickness of the bone. We could use an electric eraser here, of course, but I do not have it close by. So I do it manually. The frontal m and n. Since n, the light above, of course, the surface inside the pear shaped opening is uneven and we must show it with an eraser. Same thing with the chewing complex on the reinforcement bars of the T. There is even some light where the teeth touch. You can go along the line slightly. The ear can now my friends, that is almost it can still work on some details of the form, especially everything related to the texture. So we have developed a general form. We have shown all the important parts of the anatomy. We have achieved the goal of the drawing. We have studied this goal and we can now practice using the experience. I take up a hard pencil to create some finer shades and polish the drawing. But we have essentially covered all of the details. You can also work more on your drawing. The closer at all the small things and complete the drawing. Not just finished, completed. All my friends. Good luck. We have studied the skull. And when we continue learning more about the anatomy of the head and move on to the muscles of the skull. Sec charitable was good luck. 8. The human skull. The lower jaw: Ok. My friends, the first area we're going to work on is the lower jaw. Somebody. So we need to understand its inner structure to be able to draw the skull and various views. I have a model that shows as much as it is possible with a plaster cast how the lower jaw is formed, even when we shall begin with the bottom because it is the foundation. Let us look at its structure. Here. Close to the edge, I will draw a truncated pyramid with the eminences of the chin At the top. We've got a dictionary we still play was the issue with omega u. And here in this area shaded and the distance between the protuberant says is usually about two centimeters. This is where the reinforcement bars of the canines reached, the ones that form the chewing system. There is a widening in this area. Right away that my meal, at some point we arrive at the base of the oblique line of the mandible. And usually shooters jump up. Then the direction is slightly changed, but the form keeps getting wider until we reach the angle of the mandible. What gets input? I mean these points. So the protuberances of the chin, the base of the oblique line in the angle of the lower jaw right here. If you want to be even more thorough, you can find two more eminence is here in this area where the depressor angularly Amarice muscle is attached, which was used. There are two tubercles, too little for tuber and says, they are easy to find on a male skull. But this one is female and the area is more even. Ok. We get this horseshoe shape. Now to construct a three-quarter view of the mandible, I will start with the base of the chip. Let us know why they're. As before I begin at the mental protuberant says, then the form becomes narrower. I should put us in. This area varies, but usually the form narrows and then closer to the teeth, it becomes wider again. I find the mental protuberance to construct this horseshoe shape of the bottom. I draw it in perspective. This is the angle of the lower jaw. This is the other one. This is where the teeth are constructed the plane. Next, I find the lowest point of the oblique line, ie. But then I draw the wall of the mandible with them. But I union, this is where the coronoid process is. You know, there are the notching that alloyed processes, also known as Kandula process. This is where the joint is. The coronoid process is a sharp wedge held by the temporal muscle, which is also attached to the braincase school. So the three big bands of muscles disappear under the zygomatic arch in clean to the coronoid process, which cool school away. So what happens is this reinforced structure does most of the job. I mean, when we close the mouth and clench the teeth, the powerful temporal muscle contracts and pulls up a jaw. Doc. Okay. Now the teeth go slightly upwards, then downwards. The jaw is pushed forward like this, which I will mark the point where the depressor angularly hour as muscle is attached. E. Now we shall look at the structure of the chin. The bottle with the mental protuberance has this wedge like triangular form and as it goes up, it merges into just one line. The video Skype comes through. So this is a strong structure with the top of this symmetry axis reaching between the incisors commit data. Being AC me, reveal the volume. I will draw the thickness of the temporal Lodge Research NINR. This is the area, pardon me, not the temporal, the oblique Klein of the mandible moving here. You can actually think of this movement as reaching to the mental protuberance with the lower edge of the jaw line across. Ship good direction those note that next, we need to tell more about the angle of the lower jaw. But as we have already learned, the masseter muscle is attached to this spade like area at a certain angle. This angle is similar to the angle of the cheekbone at the school away with them. But I, you, and you can find the reinforcement bars here. This line extended shows the angle of the masseter muscle and will not cool at each. Oh, I am now talking about the external part, the superficial head of the masseter. I mean, there is the deep head attached to the brain case and the superficial attached right to the zygomatic arch. I will also clarify the light and shadow to develop the planes. Hopeless gusto. I shade them following their directions. Do I add the thickness of the teeth while the chewing system? The teeth end here. And there is an incision. School. He used a boneless. Our model is not that detailed otherwise. Or if we could study a real skull, we would see empty space between the teeth and the Jew, between the oblique Klein and the molars may choose to use any changes to E. Now, the coronoid process, the con Deloitte process, which is part of the joint. This one is directly connected to the zygomatic arch. Dam changes when we lower the jaw, the coronoid process goes down. It's diesel stuff here though the joint goes down and out of the zygomatic arch, but to a lesser extent means VSD opinion. So this is mostly where the mouth opens. As for this area, we can see a hinge or getting the more joined here. This is where the mandible is connected to the rest of the skull. You can try opening the mouth wide and feeling with your fingers the free space under the zygomatic arches. But she was doing. As you close the mouth, the bone returns to its place and pushes the fingers out. My friend, I do feel we need to draw the lower jaw with color chalks. The reason is the dimensions of the mandible are very unstable. And for many artists, this is a terra incognita that needs to be clarified and explained. And we have already said that seen from below, the lower jaw looks like a pyramid that has a few basic points. This is, I mean, the direction is changed here. There is the chin with two protuberant says. When drawing the jaw in a three-quarter view, I do the same sketch and perspective and the basic point serve as a reference to locate the diagonal curve of the lower jaw. If you, let's say an intuitive MCI didn't really see any becasue, linear user-initiated step which had no via honest. But anyway, here is the coronoid process going upwards, meaning that hasta Mandibular condyle is news. Here. Pretty Milner stuck, something like that. And that shows you the mandibular protuberance is in the center and is usually triangular going up towards the teeth. But anyway, it's OK. There is also a small and beautiful incision. You can follow the relationship between the mandibular protuberance isn't but canines. The form narrows and reaches the canines. And here are the teeth. These are the reinforcement bars. They form the plane. And the most interesting part is created by the diagonal curve. Let's look. One of the lines goes down from the coronoid process towards the foundation of the lower jaw and crosses it here. He's like that. Next, you can look at how this substance divides. Producing the second line going towards the mandibular protuberance right here. And we can see a thicker bone structure in this area. It looks like this. If you are drawing the skull, this area is usually illuminated, same as in our drawing. This edge is convex as it goes across the chin. So we booklet gesture. So we can identify a separate volume produced by this edge. You'll like that. This is a thicker line, but it reaches as far as the chin and makes the structure more solid. Because there is the temporal muscle attached to the coronoid process and the temporal bone. But it can create some more school. So it is the inner layer of the muscles of mastication. As for the area beyond the diagonal curve, we can see the upper layer of the muscles of mastication here. Vignesh new chest. The form here divides like this. Same thing here. So in your view from below you can show to planes to dock. In male skulls, the form can even be slightly twisted out like a shovel blade. This is where one of the mastication muscles is attached going in this direction and attached to the zygomatic arch, the zygomatic bone. The zygomatic bone goes over the coronoid process and the Conda Lloyd process reaching the ear can now there is the eye socket a bit higher. So the inner layer goes under the zygomatic bone. And the outer layer is attached to it. Our main interest here is the diagonal curve of the mandible. You should understand it because students are often at a loss not knowing how to deal with this form. It has to reinforcement bars. One of the lines crosses the lower edge of the mandible and the other reaches the mental protuberance. If the skull you're drawing is a male skull with all irregularities obvious and easy to identify. Then there will be another triangular protuberance in this area. It is just a small bump that provides the canine with additional reinforcement. So this substances slightly thicker as we move from here towards the canine. The form is very flowing and expressive. Sometimes these volumes are so pronounced that they grow together into big forms and furrows reaching across the chin. That makes the chin very tight, sometimes wrinkled when it is heavy and utterly difficult to understand. I mean, it is really difficult to make out the structure of all this. But this simplified drawing is the basis of the form. That is all my friends. Let us take up the pencil again. Let us add detail to the shading. You can now use a softer pencil. So I want to emphasize the parts which are most important structure wise. There is the hinge joint. I will show the width of the little bone. You can do it to the axis. So beautiful mental eminence. You can draw it. We're going to do the same here. We shall create this form, sculpt it. The canines, they are important elements to leading me and I outline the reinforcement bar. Molar is also sustain a load of work. So I emphasize them. Try doing a similar schematic drawing and add a bit of light and shadow. By the way, on the inside There is a triangular structure with a pyramid in the center. I mean the list yet here in this area, same as on the mental eminence. It is a very convenient one. I guess the nature ruled this way, the form will be stronger here. Okay, now let us take this up as a basis for our mandible drawing. How to show it to us at the Monday idea. When you, unless you cheated them, you put upon which we shall use the eraser in hard pencil to put an emphasis here in their elastic comes, I sculpt the mental em and ends with the eraser. In both views. By the way, I want to move the mental foramen, the bid higher, w osha, the fermions conduct the nurse. This will enhance the perspective. I slightly emphasize the protuberance is in the plane of the chin. Like ELA bottled GGA. What happens is the chin turns up slightly up, unlike the toll of a boot. It'll pull it Nino so this reinforcement serves as a bumper protecting the face, its position shameless. Okay, photo chalcogen, It is very good to thoroughly sculpt the structure on your study. Chet didn't that seals Lee job really reveal all the key points, emphasize them. Same thing here for canine book. Oh, I separate the plane of the side. Just to clarify the form of the mental eminence and do my best to merge it with the canines in place. But look, I mean, it could go. As soon as I do, the form becomes transparent and strong and easy to perception goes Buddy. Okay, we shall polish the drawing a bit later. We can already see the main structure. Let us show. Now let us move to the next point. We shall look closer at the eye Zagat and learn to draw this seemingly sculptural, forget foldable. 9. The Eye Socket. A Schematic Drawing.: Okay, another form we need to study in more detail is the isochoric tech JD file. You must understand the the eye socket is not a simple outline of an empty space, but the eye socket does not actually exist as substance. It is only created by the bones around it. The top is formed by the brow ridge and the Google Bella. And the bottom consists of the frontal process of the maxilla and the zygomatic arch state. There's little mini chest you. As we study the peculiarities of these bones, we can develop the structure and locate the basic points that US into process. Upward layer, which is just the condition that I do. So I have often seen beginner artists draw something round or square to represent a nice socket. This is not, of course, the way it should be done. The bone of the lower edge is well-liked, so it gives us little information. And the upper edge is quite dark. These two areas are very different in terms of lighting, and we can now draw all the elements at once in a single outline. We need to concentrate on the shape of the bones. The eye socket is often shown as a truncated pyramid. You have probably noticed, I am now drawing the left eye socket. You have noticed that the form moves downwards towards the zygomatic arch area as if the gravity makes this substance flow signed ways. So I turn this truncated pyramid in such a way that the lower point would be at the outer edge because the outer edge is lower. Well, those Ebola, when you actually could, I could, I would, it's unusual that next, let us look closer. I cut off the top corner as this is where the global belay is, the frontal sinus. I will now show it to sketch it in as a separate form. And I meet you on the peat goes right across the brow ridge. Remember, the form here is directed downwards to divert sweat and protect the eyes clear of anything falling from above. The position goes up. The globally wraps around the brow ridge as if to sit astride it. Here it is supported by the so called frontal process of maxilla. So the area between the reinforcement bar of the K9 and as far as the nasal bones is one integral whole. But anyway, it's my E door. Show it the law of nature, which can be called upper jaw. And it goes as high as the eye socket. The zygomatic bone below also goes across the pyramid. Shape here or better, the tilt of the edge is similar to the tilt of the globe Bella, chest go low boiling. So the two elements are aligned and we can fit a rectangular form here. Anymore with Nuke. The most interesting thing is how the reinforcement bar of the zygomatic bone here, if you remember, the zygomatic bone goes at a certain angle, same as the masseter muscle as they are connected. How the form if extended, interacts with the globe Ella. And globally level Amy it, the GLA bella has two reference points. And one of them is above the super orbital foramen. There is an eminence that we use to construct the plane of the forehead. Another one is around the base of the Brown. Was in the wine. Yeah. Yesterday showed that. We can construct a triangle between the farther point of the zygomatic arch and the two points, which goes so when you draw the zygomatic arch here, when you shade it, you direct your hatching so that it connects to the globe Bella. This results in an isosceles triangle on the facial part of the skull. If extended, the lines will cross here at the base and you get a strong triangular structure. Triangle is a very stable form. In this case, it is a good reference. The connection between the cheekbones and the globe Bella. Like this. She had an axis goes through the supraorbital notch. Another one goes through the structural high points. Here you can identify the mass to eminences that comprise the GLA Bella motion that we did it. For my He's here. You shape the tilt of the edge. So good, I need one, not cool enough. So it turns out that the inner boundary of the belay is similar to the lower edge of the eye socket of a niche. Me, could I bungalows and H10. That helps us to sculpt this plane. Do not forget that we draw paired elements two at a time. I mean, when you draw one brow ridge, you draw the other one to one part of the globe Bhalla, the other 11 zygomatic arch, the other one at once. In this case, two, we have a pair of elements and we can find corresponding planes. As soon as these elements appear and start interacting the construction field secure and on the whole, the drawing improves. Okay, I use a soft pencil for the reinforcement bar of the cheekbone. The cheekbone is slightly unstable here. There is a high point that connects to the globe Ella. Here the globe Bailyn goes across the frontal process of the maxilla. Here it crosses the brow ridge, the supraorbital notch. She's at the point where they cross. Sometimes it is a super or Battelle foramen, But in most skulls there is no substance here and we can see a notch. This is also a point of reference. Here is an area where the planes run into each other. If you go beyond it, extending the lines, you reach the high points of the globe. Ella, This is the form you get. It can be seen as something close to a rectangle. Next, we go up and finish the inner edge of the eye socket. So the contour of the eye socket is smooth here, very beautiful. And of course, this is where the infrared orbitals skin fold is located. There. Scroll up guy. We have a nasal labial fold AND infrared or be dual fold. The brow ridge is protruding here. There is a suture full. The frontal bone ends here. There is a thin bone and the cheekbone turns into a movement toward the ear. School division. So don't show. This is the side plane, the hatch and can be directed down to that makes the cheekbone stand out. This protrusion is aligned with the center of the pear shaped opening. It is also usually a very light part of the face. So this is a reference point. Here too. If you draw a horizontal line, you can locate the high points. The base of the triangle. Of course, this is an approximation to the real shape of the eye socket. It is not strictly correct. Still, you can find these curves and the contour of the eye socket. It falls lower here. Also, as this is a schematic drawing and I am using a soft pencil, this lower edge is clear and distinct. However, when you draw a skull, though you can work in the same easy and free manner. You do not draw the inferior orbital a ij. You can only give a hint that it is there, but makes sure it remains very light. Otherwise, you risk making the skull look flat in this area. So we find here the globe ala joins the nasal bones. The nasal bones are paired. They are divided with a beautiful suture. The form is symmetrical and reaches as high as the bridge of a knows. This is where the pear shaped opening begins. Here above that brow ridge, the temporal line curves reaching the pariah to lemon ends and going down and back towards the zygomatic arch. So it's actually the temporary align in its higher region is usually directed towards the mental eminence. So while drawing here, we keep in mind the base of the K9, the reinforcement bar. This is another useful relationship. We mentioned it when we started the drawing. Same here. Oh, yes, but there is another little curve that moves in a different direction. Still on the whole, the temporal line as a reinforcement invisibly connected to the mental eminence. So as you split about additional ways to fall, I have put a slight emphasis on this structural relationship. Okay, the cheekbone is slightly bigger, but this goal drawing below gets in the way, so I have to keep it compact. It will. Remember the cheekbone goes as low as the bottom of the pear shaped opening. So much for this schematic drawing. Ok. To construct this element, you need a clear understanding of the shape of the bones that formed the eye socket, then you are sure to succeed. So I can go by the way, let me show you the GLA bella has another reinforcement that moves slightly inside. So the form develops from here till it disappears inside the eye socket. Like this. It grabs the brow ridge as well as the frontal process of the maxilla. Yeah, what do it? We've got a very strong naught is created. That is all my friends. We move to the next view. We shall choose something useful again. Now, I will use this schematic drawing to correct the eye sockets that we have left somewhat rough and unfinished level with them. But I will extend the reinforcement lines. I will separate the sign of the cheekbone with a hard pencil. Gym so that makes it formed more developed. I will put an emphasis here and there. I am now drawing quite freely without consulting with the plaster cast. But I already have the form in mind. I have studied it and understand it well. This is what you need to create a legitimate structure. So in fact, when you draw a portrait, there's a certain stage when, after having already drawn the module, you forget about the module. But bull or the reference to correct this structure according to what you know about it. You can do that. Sometimes the method works as you finish your drawing according to the rules you keep in mind. But I will. Because there are cases when the reference, the photograph or even alive mono can delude the artists and give one fonts reference points. I shade the plane under the orbital eminence because I want the eminent slider. I also sculpt Some of the inside form that you can use a soft pencil for an emphasis. And like this one, there is a lot of reflected light here. You can mute some of it. More on this structure, Bigelow Bella. We locate the frontal eminence is they are slightly wider, established the blaming of the forehead. Blue plane is usually brighter in terms of light, then the side planes. Shivani, HM, book OHs. Okay, well, we shall polish the drawing a bit later and we do treat I did just now let us draw the back of the skull of this that only, it is interesting to find out how the back of the head looks. Luca. 10. The Eye Socket. A Permanent drawing.: My friends, I want to teach you a permanent drawing of the eye socket because it explains the very essence of a topic. You might ask what permanent stands for. That means we shall not be using reference points in this drawing, but we'll employ another method that concentrates on the general movement. We know that the eye has a spherical form. Sphere is the basic form we use to draw it. While drawing the eye, we tried to make the substance joining this rotation movement. As for the eye socket, it wraps around. If we stopped thinking about the control points, we can identify several orbits of this rotation movement. The first one is the infrared or B do ledger of the socket. Next, like this, there is the glow Bella, globular E. And finally the super ciliary arch. Look, what happens is the eye submits to the spiral movement. Let me explain this. Here we have the nasal bones into bear shaped opening with I'm going to union that question. What this area is called the frontal process of the mandible. The GLA Bella lies across the brow ridge. As you already know, we have discussed that. As for the brow ridge, it moves sideways and diverts the drops of sweat. So to add some detail, here is the ridge. As we move lower, it meets the cheekbone that curves towards the ear can now here we have the infrared or B do foramen. The Substance moves towards the canine. In short, we can see the form rotating. Anything else you should know. You can draw an axis through the supraorbital notch area. This is where the glow Bella and the brow ridge meat and through the cheekbone studies more than the changes that will help you see the movement of the substance towards the outer edge. The eye socket hangs low here. You can even see folds on the cheekbone as if it were wrinkled. School. With them. You get something like a drop shape. The eye socket tends to move towards the outer edge. I have got a very clear drawing to go with this scheme where I have used the method and have drawn the I engaged in this rotation movement like last night. You can study it as well. As for this sketch. It will help you later on. You will be better at drawing eyes if apart from identifying the reference points, you will also take into account this spiral form. By the way, one last detail here on the infrared orbit allege there is the lacrimal sac area. So this is the lacrimal occur uncle. This is the I that is the vacuum bag connected to the nasa lacrimal duct that pumps the liquid and carries it out through the nose. So you can see the infrared or be delayed edge has a comma shape. The form curves as if to provide some empty space. This is also useful to know. That is all. So much for this sketch. Simply keep it in mind and carry on with your life. Ok, good luck withdrawing. 11. The human skull. The back of the skull.: Now my friend, to have a better understanding of the structure of the skull. Let us look at it from the back. With the chest, you let us move them cheaper subcooled, which they suddenly, we shall study the main planes and reinforcements that we can see at the back of the head. Because staccato nobly die. Am. I sketch the braincase and add the weight of the mandibles? Can you must so, and usually you choose chimp. There is a schematic drawing that I can use to locate the angles of the mandible. Usually choose J. I determined the width of the chin, shaded unopened bottle additional we still buy. So from the back of the lower jaw looks like this. You have to do so. I will keep my drawing simplified so that the main idea of this structure as easy to grasp. The next, the bottom of the brain case around the scale of the occipital bone looks slightly flat. Issues of which Nicholas de, via the top is mostly formed by three bones. Do was level. There is the frontal suture between the two frontal bones. In there is the suture of the occipital bone and putting it in and then we divide the brain case roughly into three parts. This is where they meet. Yeah, I will take a softer pencil so that you can see better what I'm doing. And then there is an eminence on the top of the head, so called corn eliminates. Wit. They chose the bones grow together so much that they force this substance slightly upwards. And IVR. Do not mistake this top eminence for the high point of the skull where the fontanelle used to be. The high point of the skull is where the frontal bone meets the parietal bones, where the Cornel suture is. So it's also good to which could cheat. It really came here. As for the core and eliminates, it is common in men and is nothing but the small lemon ends on the parietal bones. If you see a bold man with a cone-shaped head, it is the core in a lemonades that creates the effect. Lecture next. So we located the parietal lemon interests on both sides. This is the widest part of the human head. Below it. Here we can cut the form going down like this. Because this is where the temporal line crosses the parietal eminences. And here are the temporal Fauci, issue socially. If by doing so, the form of the head changes from the temporary lemonades his down here and reaches the mastoid processes. Just distributed. The two mastoid processes having slightly lower than the occipital bone. The water, just so they are big and men skulls and smaller in women's skulls. This is where the sternocleidomastoid muscles are attached. They form what appears the actual thickness of the neck when you look at it from the front. There's no price what happens here at the back of the head? But be, uh, first of all, there are two occipital em, and it says where the trapezius Laura attached itself. You can see the spine between them. They are two bumps. We can actually sketch them here. What do you mean? There are reinforcement bars going down from the parietal lemon and says, the braincase has around form, of course, but still in any rounded form of the skeleton, you can see a cube. The cubical form is created by the reinforcement bars above the occipital em. And it says there are two other bumps. And together they form a sort of a square or a rectangle. The lower ones are called the lower occipital eminence is the top ones. The upper occipital eminence is the form you get looks in a way like a soccer ball wouldn't image. You can find reinforcement bars, bands of thicker bone structure between the eminent says, okay, equals E. There are also reinforcements coming from the mastoid processes. They are formed by the temporal line curving and going towards the mastoid process right here in this area. This is where the parietal eminence is. As the temporal line reaches the parietal eminence, it starts curving down towards the mastoid process. I have a female skull here. We can see it is a woman's skull as the forehead is high in the facial part is small and compact. If you look from behind, you can see the sutures, the mastoid processes, and the temporal line. You can touch it and follow the substance, move towards here. But I'll show you what these bumps are, the lower occipital eminence is. And up here you can see thicker bone structure and reinforcement bars moving towards the pariah to Lemon it says. Well, most of them on the skull. I have just shown you what the bumps might be slightly lower around the suture area, but they are still in place behind the mastoid processes. I emphasize them Now, you can usually see the zygomatic arches. School of Law. We can see them here. The zygomatic arches, almost on the same level you can find the occipital protuberance, small spur like prominence of the occipital bone. You can feel with your fingers and find it on your own head. It is usually pronounced and serves as a reference point. So it is aligned with the zygomatic arches. In assigned view, you can draw a horizontal line from the bottom of the nasal opening through the zygomatic arches. And over here, then you can find the reinforced substance going towards this prominence. You should dominate. My key idea. To get them all. I slightly emphasize the mandible. Next, we should, of course, see the spine here. There is an opening where the atlas goes to the upper end of the vertebral column. Am I heal? Obviously, we cannot see it in this view, but it is located here. What are you and you used? The scale of the occipital bone has an uneven, bumpy surface this year. I heard there is even a belief that the surface of the back of the head can tell you something about the character of the person or even predict future. Or I'm also goodness Jeff, which in fact, there is a lot of various little bumps. Sometimes they are asymmetrical. So there is a cairo Mansi of the back of the head, if you can call it that way. This is nearly all we need to know about this form. They're still has emotional someday you might be drawing a bold person from behind and then it is good to know how to shade these planes. But you must understand there are reinforced areas and planes tilted at various angles. I will shade the sides. I shade lateral planes darker around the temporary align areas that we've had is not exactly a sphere. You can see a cubic form and it, let us also mu the mandible. I want to keep it as simplified drawing here. I recommend you do this, draw this, it will do good. N will remain in your memory. You feel issue was just the mastoid processes are directed slightly inwards because the muscle, the main bands of muscle are directed towards the breastbone. So here is the connection to the zygomatic arches. This is what the back of the skull looks like. Cheapo. Since it is crucial to locate the mastoid processes, because when you draw the pillar of the neck, you need these eminences as a reference. If the head is turned and you can see the neck beginning somewhere near this contour, IE the muscle gets close to the mastoid process, then you must be able to locate the other one to see through the skull. So find the contrary Vanek and determine the width of the neck correctly. Ok, my friends, let us recreate this schematic drawing on a sheet of paper and keep it in mind. And let us continue our drawing. Next, I will use these structural parts, emphasize them in my finished works. Sequentially. Sequentially. I mean, not exactly finished, but to build in terms of light and shadow, I will correct the drawing and polish it with a hard pencil. Sometimes I will use a soft pencil to put an emphasis here and there and correct the form which you can work with me. 12. Polishing the drawing: Okay, my friends, this is the final stage of this work. Unless I am about to polish the drawing. So I take up a hard pencil into tissue. Usually there are two principal stages. First you draw, then you put it assigned for some time so you can digest the information. Next, you polish the drawing, refine and improve it. It is a rare case when you complete a drawing at a first date. If you want high quality, if you want your drawing to stand out, you need the two steps. First you draw the new, improve the drawing. I will work and comment. I mean, I am going to cover the whole study, improve this and that. I hope this will be useful for you. We'll just speed up the video whenever I do something tediously technical and if a lesser importance, but we shall keep all the key steps. Okay, I take up a tissue and make the shading slightly less distinct. I soften the drawing a bit. In no case should you press it to the paper. You know that already. You never mix the shading, otherwise you might get a smudge, a bruise. What you do is you only slightly soften the light and shadow to bring out the most important thing to drawing, the main idea. You can, of course, go on working on your drawing using small strokes, which takes you a long time. On the other hand, using a tissue to polish and soften a drawing is quite a common practice. At ones that drawing gets easier to perceive. We have only slightly touched it. Now all excessive, unnecessary strokes, all the noise that was too bold or harsh becomes less evident and it is more pleasant for the eye to look at the paper. I think you can see it even in this video. I mean, the drawing looks different now. By the way, if you use an eraser, if you have already used an eraser to create a few highlights, then the tissue will make these spots slightly darker because an eraser leaves a trace, some substance that graphite sticks to. What do you think? This should decrease? So we see it. As I made a big break between the steps, the thing evaporated and the tissue leaves no trace. So now I take up a hard pencil and we'll try to make out the angles of the plains and gradually correct the form. In my point of view, the least developed part of the drawing is the profile. The brain case is the incomplete. Whereas you could add a very interesting and informative element here. The thing is, the bones of the brain case, when seen an assigned view show a spiral movement. The movement is around the ear canal or the temple, the temporal lobe behind the temporal fossa. And you can see the form unwind to making the skull look like a shell, especially if plugin that it wasn't opposed to eat. This is a very beautiful movement. And when we strive to make our drawing a work of art, we need to highlight and show details like this one. We only have that much artistic freedom when doing an academic drawing. So by all means, I am going to use this opportunity and show the curve. Yes, I will first reinforce the temporal line. I mean, I make the whole temporal fossa slightly darker. The new shading looks great against a slightly muted previous layer and corrects it. Now when working on shading, I am trying to stick to this radial symmetry, this spiral. As I am shading the skull, I keep in mind that the spiral and wind moving along the outer curve and the shell finishes somewhere here. So a human is somewhat like a shell. I will draw this m and then separately, we'll start unwinding it like this, completing the form and the brow ridge area. I get a beautiful shell. The face looks like the shellfish here. Who knows? Maybe a very long time ago humans had something in common with the chambered nautilus. I am going to try and develop this artistic element. I think that the shadows we can see here go well with this idea is not that you have to literally show it, but it is still interesting to reveal the analogy. Let us go to a one-year-old. I use shading to develop it. At the same time, I separate the plane slightly and find the reinforcement bar of the cheekbones. Those questions. I separate the plane of the forehead, canines, teeth a bit. Sure. I do my best to strengthen every point that it gives information that I see xij. But what addition to the mental protuberance we have already talked about, it is also reinforced. Once I look for the format the canines and go up towards the frontal protuberance in the plane of the forehead. I work more on the cast shadow stress. They're reinforced structure. By the way, close to this suture, the structural reinforcement moves downwards below the brow ridge. On this sketch here I only separated the bones nothing more. But of course, you can show how they form, flows downwards, rising slightly. I mean, the bones are separated a bit higher and there is usually an eminence of the temple. Right here. It goes like this. You can also reveal a bit more of the texture of the cheekbone. Hello. Now I might need a soft pencil to emphasize a couple of things because the tissue has slightly diffused, the shadows above. The occlusion shadow has disappeared here. I want it back. This is normal and happens all the time. The temporary line is protruding around the ridge. Vocalist becomes wider here. This is a very strong part of the eye socket, a structural reinforcement. The uneven surface of the occipital bone. Drawing all kinds of bumps is very rewarding. As soon as you learn them, even if you make a mistake, the form saves you. We make the sign of the mandible slightly darker so that the plane of the oblique line turns out lighter. And usually choose j. So I separate vertical and horizontal planes as the horizontal ones are better illuminated. Now, as I get to the occlusion, I take a soft pencil and carefully work on a few dark spots under the cheekbone. Once more, I need to show the ear canal in this area. What do you do here is entirely within your artistic freedom. You might think of another way to solve this puzzle. Maybe you will use a different model with its own irregularities, or you might use my model and interpret it in your unique way. This is the notch we worked on in the sketch. I will work just a little more on the teeth. Drawing moves forward and improves, so we can afford a bit more. Now. By the way, there is a small protrusion here where the vomer is attached to the bone that defines the pear shaped opening. Look, I even worked on the edge of the profile. When the line goes up, I emphasize it. When it goes down, I skip it. It goes up again. I put another stress that makes the line quiver. It becomes more articulates end informative, the key fragments start vibrating. It is a very good thing to do when you draw a figure. So I knew him older. Emphasize a few fragments in this way, the figure looks more alive, more natural. It's bourgeois Boolean. Again, I touched the lightest light and the closest areas with an eraser. Interesting in plaster casts modules, the light is found in the deepest places because the light reflected by the plains. Those via that of course, horizontal planes are illuminated very well. You can create a kind of shading with an eraser. I use directed strokes. Eraser is just another tool that helps really well with light and shadow. So you are welcome to use it for results. As the cheekbone is closest to us, I create more contrast to set it off against the background. Yet you'll, you'll conversely, people on the list. Soften any remote parts that are too bold, just go even slightly muted. The light on the nasal bones. I use shading to reveal the direction. I show the main idea how the viewer should read the plane. We have completed the side view of the skull. I have shown everything I wanted. The remaining details are a bit to individual. Obviously, you can endlessly work on the drawing, improving it, finding new bumps, looking for that flexible likeness is especially true with the back of the head. There are contrasting dark spots as well as live bumps. You can use an eraser to sculpt to them. It looks like we can move to the other parts of the drawing. I'm going to give you, I will work more on the frontal view of the skull. I take up a hard pencil and concentrate on the upper part. In my opinion, the form of the glabella is not quite finished yet. I want to correct it and work on the symmetry. Deepen the cast shadows of the eye sockets. I separate them brow ridge from the glabella. Locate the temporal line. This element is called the ridge. I return the bright light here. One of the best parts. There will be bright light on the glabella. To do next, we can go up towards the frontal eminence is emphasizing them slightly. Because we have left the forehead quite empty. We shall now reveal its form. These are the frontal eminence is, I use shadows to reveal them. When I draw the frontal eminence is I always feel the urge to take care of the glabella and work on it even more. Because we locate the plane of the forehead between the glabella and the frontal eminence is. So we can shade it a bit darker here to angle the planes. Good when you can draw multiple views of a skull at a time. You can see how the form looks at a different angle and fix it for you. My work on the eye socket, it should be darker here and lighter. Country. Just to make these little things readable, I will of course, need to deepen the cast shadows inside the eye sockets. It used to be happening over here. So I bring it back with the eraser Up to emphasize the cheekbones. And you want to move the foramen slightly lower. And I use a soft pencil to work on the horizontal overhanging planes. Machine you like video notable duties on button which is the glabella. I am now interested in the core shadow. Brow ridge. Millenia, There's a MOOC. Dice. Thank you. Now the next one, the three-quarter view. I work on the nuances of light and shadow. The first thing that catches my eye is the temporal line. Now it has been almost launched into drawing. I mean, the two planes must be separated with the temporal line and we have not developed the parietal protuberance. We need to move it up and make it more noticeable. We might need to sculpt the form with the eraser. And I slightly shade the farther part of the parietal bone did plunged it into the depth of the picture. The whole sign of the skull can be darker, so I shade it to achieve the contrast between the planes. As I polish the picture and the crude soft pencil strokes gradually disappear under the multiple codes and the hard pencil shading. There are eminence is that we have shown here and here in the other views. This substance is usually somewhat wrinkled along the temporal line. As this part is close to us. If we look at the skull as a cube, this would be the closer edge of the cube. Of course, I need to be thorough and try to include all the nuances of light and shadow. The cheekbone is also close to our eyes. So I wanted to stand out a bit more. I want the ridge of the canine a bit lighter as it turned out too dark. The vertical plane of the teeth is slightly darker than the plane of the roots, because the latter is turned slightly more towards the light. I work with the eraser and take away the excess with a tissue. Excessive light hopefully will just why trying to reveal as many details as possible in the zygomatic arch. I wanted to bring it out to separate it from this goal and bring it closer to us. Hey buddy. Buddy. The eye socket is far away, so I am careful when I shade it to avoid making it too dark, we need the uneven surface inside the pear shaped opening. We have not at all worked on the bottom of the mandible. We need to shade all unfinished parts as soon as possible. We always work on the areas where we have little material, graphite. Let us take up a soft pencil. The mandible is close to us, so we need to correct all the contrasting elements. The mastoid process has completely disappeared. That often happens when you shade and work on the details. The form you have already drawn gets lost somewhere under the codes of graphite and you need to bring it back. But of course, we need to remember that this element is very far away and we must not make it to bold. The same is true for the back of the skull. I am very careful. I only direct the form. I show how it moves Corbyn back here. But it is very important to observe the differences between the foreground, the middle ground, and the background of the picture. There is a dark cast shadow next to a bright light shaky. It is good to show the light. The uneven surface, they'll Beautiful wrinkles of the bony tissue. Skull gradually acquires more volume. I need to soften this harsh, crude shading. Little really. I will also show some reflected light with the eraser. I only slightly touch the paper. This is the case when the glabella reaches inside the eye socket. The Google isn't. The other side. The same merrier looks darker, just a few menu. The curves have been a very beautiful way. Here you can separate the planes. Now we get to the individual nuances. The core shadows, everything that can improve the drawing and make it more detailed. There is a shadow close to the notch. I correct the shape of the cast shadow is too big. I wanted to step back and show the plane inside the eye socket. The nasal bones also have a certain volume. And by the way, we can show it here to here. The little m and ends on the eye socket. So I put a slight emphasis here is very contrasting. Of course, we need to show it both with shadow and light. Goes through the construction, drawing slowly disappears under the light and shadow we have developed. Any fragments that have remained. Do the picture good. I want to diffuse the light slightly. There is a trick you can use in this area. You can see the background. On the one hand, you plunge the front view into the aerial perspective. On the other hand, you get close to the line and part of the skull and a three-quarter view, and that makes the light of the forehead look brighter and a bit more concentrated. I will do this. We'll use this transition as a rule. The background, especially when it is only a part of the background, is used for that purpose. I mean, we use it to either strengthen the light or the opposite to mute a distinct element and improve the aerial perspective. It also makes the drawing full and more beautiful, as well as add some depth, if you will. Double need you to know. And yes, be careful with the contour. Should not trace it because the area is far and away. The most fit each and Yoko dotting and we'll just go touch the contour. I need to cover the background that I used to be on the full fish that eat. I keep on shading, but I'm gonna do a well more than that. You can develop this tactic of each video. When we add effects like this one, this study really acquires space. The motive to key. If you look, the volume is more obvious and easier to read. This is it my friends? If there is something that catches my eye, I will of course, work on it. But on the whole, I am quite satisfied with the form I have sculpted. We have discussed a lot. This was a good experience. If anything is still not clear, try searching for more information from other sources. Look it up and then books on anatomy. Nowadays there are a lot of apps that show three D molecules of the skull. Use them and do a few more drawings and other views. You should of course, learn and know the skull as well as possible, just like the cube. And when you draw a portrait, you should be able to see it from this point of view. I mean, see the skull because it lies at the basis of any portrait. That is all practice and good luck. Our next topic is the anatomy of the head. We shall be studying the muscles.