How to Draw a Skull - The Best Way

1. 1: Hi, guys. How's it going today? We're gonna go over how to draw the skull for beginners. I'm gonna make this as easy and as simple as possible. So the skull is probably one of the most popular images ever. It never gets old. It's throughout cultures right there, like Mayan aspect to renaissance through. It's just such a cool image. You see it from video games and movies. It just makes everything look meat. And not just that. It's actually one of the most important parts to learn when you're studying for treats. So when you're studying portrait, it's, you know, you can learn it without the skull. But it is extremely, extremely wise to learn the skull for a lot of reasons and actually improves your portrait every portrait. Our artist that was really famous and really good. They know the skull inside out. They know what really well, right here is Phil right here. So the reason for that is when you look at the skull, some of these formations will show on the outside and, uh, you know, it will come to the surface. So, for example, these air called landmarks. My brow is a landmark that means there is. You know, this is dictated by the shape of my bone. Not this. This is not that's, ah, like fatty pad that's not dictated at all. Bythe chin is right here. Ridges of the nose are basically any bony surfaces very close to the surface. Uh, you know, that's skeleton popping out. And that's why the skull is unbelievably important to learn for Portrait's have almost invaluable. So you have, like, a reason to learn it, for example, like a really valid reason to really learn the skull. And you also got the cool breeze because it looks great on tattoos. It looks great everywhere. So let's go over what's gonna be in this program right off the bat. I'm gonna go with supplies that you need on. We were the pencil paper and erasers that you need, especially as a beginner. It's incredibly important. This is what I recommend. You don't have to get all this stuff, but this is what I recommend. Then I'm gonna go over the kind of important measurements and structure of the skull that makes it very important for you to memorize. Simplify this whole process down so you can get it, then I'm gonna go through and point out parts of the skull, which are very important to know the description. So you know what I'm talking about. Then I am gonna go through a demonstration of the front view of the skull, and then I'm going to demonstrate the side view on and then lastly, I'm gonna give you some parting advice on just general drawing advice. The variant as an extra bonus. That's usually we love doing so It's just an amazing thing to know, and I'm gonna make it as easy as possible. So what I want to do is I kind of want you to follow along and kind of get started with me . Uh, and like I said, if you're a beginner, the better and you're gonna have a great time doing this and let's get started right now. 2. 2 supplies: Okay, let's go over the tools I'm gonna be using for this so you can use a couple of different things. Is that what I recommend? You don't have to. You can use every anything pretty much, but, uh, let's go with the pencils first. Pencil wise, I use a sometimes for mechanical pencil any kind. It doesn't really matter which kind of used, uh, you don't really have to use it. I like doing it for kind of lands sometimes and like regular sketching, just kind of sketching whether I want the reason I like doing this because I never have to sharpen this pencil is great. The other, uh you know the downside, of course. Is that really shading? It takes forever. You're gonna have to be pulling tons and tons of lines to shade. So I use is mostly as kind of a practice pencil eso when I'm like having my sketchbook when I want to get something into my mind when I really want Teoh. Like I said, learn something. I use tons of mechanical pencils. Eso I would recommend using something like that. You don't have to. It's just something I like doing because of that it can get kind of weird where you don't Sometimes it's just too small toe work with it, for example. So I mean, you can just use normal pencil, but any lead is completely fine. That's why used prima for disposable drawings in terms of like actual drugs that use drawing pencils that so real drawing pencil, for example. There's two different kinds. There's the hard and the soft. The hard is for becoming sets correct. So the heart is more for mechanical drawing for buildings, for architectures that usually they abbreviate them. You know, like to h or three h we're gonna since we're doing something a little bit more organic, we're doing, you know, skull or, you know, portrait or anything of that sort on. This is what most people tend to use that uses soft. The soft lead pencils and the soft lad come in ranges from, you know, to be to be three b four b five B. This is a five B six B. I think there's a seven. Maybe I'm not sure, but each one of those gets progressively darker. I like picking a five because the five b I think I could get a variety of values get like light if I really want and get really dark. That's why I like using a for B or five beef. If I'm gonna use one pencil, what people tend to do, I mean, the ideal way to use thes pencils. Uh, it's always get mixed up. The ideal way to use these pencils is Teoh kind of, you know, start with, like a to B, which is actually three exact same thing you use at school, right? The number the number two pencil you fill in test forth with, um but usually start low. And then you slightly darken up the whole drawing. You bring it up by going over it with, ah, higher. You know, pencil, you know, Ah, higher number pencil. That makes it darker and darker to kind of bring the phone, bring the, you know, picture and delight. Very similar to the way a camera would you take a photo of like a Polaroid and it starts toe kind of materialize slowly. So that's kind of what you know the bees are for. And they're good for Bill. I guess that I like using four or five be personally um, yeah of graphite. By the way. Case I wasn't clear graphite. He never come with an eraser. I don't know why they do that. They just all come in. The race is because they don't want to race the racing pride go away before the entire pencil was done. So I use this, uh, eraser. It's called a kneaded eraser. The eraser is actually kind of amazing. And when I first discovered, I mean, you know, when they first taught it to me and the This is a very standard erasure, by the way. It's basically, like has a consistency of chewing gum. When I first discovered it, I thought it was like, the most amazing thing. I never really stopped. Kind of thinking that the this is so much more ideal than the, uh the pink one, the pink eraser that they have in different pencil leads. Or like the back of pencils. The pink can stay in the paper when you kind of rub too hard on it. So you'll have this like pink weird, you know, color and your black and white drawing and doesn't make any sense. So instead of that, I like using this There's actually another eraser called a gum eraser, which I might even have. You know, I don't have the Emirates, but there's another reason to come. Eraser. I don't like the coming razor personally. I like this one, Uh, which is I run. It looks more like, uh, it's called, like needed a k a N e a. D Uh, and the thing I love about it is you can shape it into, let's say, like a point and then, you know, erase strategically, a very small area. And that's great for highlights, shaping highlights. It's just so amazingly perfect even, you know, you kind of go at it to you. Don't just kind of use it as a block like this. You use it as you know, basically like you're playing Plato and use it like that. Eventually it will fill up with lead. You know you'll see it as you using your research. It'll get darker and darker and darker because it's taking on the graphite from the paper that you're racing with, and it will become almost solid black at one point at that, when you got a doorway. Uh, he's just full of wet and at one point, it will actually start putting lead back onto the paper when it's really nasty and stuff. Uh, wait, that's That's the eraser. I strongly recommend that you don't have it. They're very cheap, I would say in terms of prices, the I mean the mechanical pencil. I can, you know, like a couple dollars. Not much for the this particular pencils set. They usually come in sets. They do so want. You can go to the art store and get one, you know, at a time. But I would. I don't remember. It's been so long, I'm gonna guess its prey like $20.30 dollars for a full set of these. Like I said, you can buy them one at a time as well, and that's only like $3 each. But that's what a pencil and then the erasure itself. I think it was like a dollar for like, two of these, and they last so unbelievably long. These racers can go on and on about the research, So let's talk about paper really fast. So in terms of there's two kinds of papers to paper types of use, I use one for practice and same thing with the pencil, right? Uh, so with paper, I use one for practice and one for finished drawings. The one used for practice is computer paper. I used literally simple 8.5 by 11 computer paper, the same stuff, like you know, people to Iraq stuff with or, um, I use 11 by 17 computer paper, which is just a different size. The same paper, believe it called listens 11 by 17 to call a tabloid size paper. They literally shove this in Xerox machines, and what you can do is what I do is I use this kind of paper again for practices when I'm trying to memorize something and I'm doing it over and over and over again, getting into my kind of long term memory. I use this kind of paper because it's disposable and it's it's that stuck to anything, so I don't have to have a sketchbook full of terrible drawings. But you can also do that, too. It goes. Get a sketchbook into practice in that repeatedly, for For that reason I'll talk a little about that in a minute. But this is incredibly cheap paper, especially his tabloid sizes. Big one The big one Really last. I actually recommend the tabloid size the 11 by 17 because you have so much more space to work with if you just want to get something you know, in your mind, Uh, and so that comes in this huge ream they call it of like a huge stack, right? Call a ream of paper. And it's like $20 it lasts it literally last me. Ah, whole year one time and I was using it very consistently. It's a giant stack. This paper is a very cheap. That's why it's so good to use for practice. And I highly, highly recommended. Um, but a lot you can you can get that maybe at Office Depot, over in the States. If you're not. I'm not really sure to be honest. I'm sure they have in a line, but it's extremely inexpensive. Check that out. That's for practice. And then four finished drawings used Bristol Board or Bristol paper Crystal paper. I don't have it with me, but Bristol paper is essentially just like a harder, more high quality version papers. So if you want to do long drawing, we'll see one drop portrait of your grandmother, a portrait of your mom or portrait of whoever, and you want to save that drawing and you want to keep it throughout the years. Do it on Bristol board because that paper is good and will not yellow and weird over time, this paper over time and I mean years, it tends to get kind of weird looking. Sometimes it'll yellow. I don't know why that is so just kind of be aware of that. Some of the lead will be all nasty. I've had stuff like this safe for years sometimes, um, it's really not for storage the favor, but Bristol is so Bristol's good that you can frame it. It's perfect. Just don't if you do frame something this little side note. If you do frame like a finished drawing, do not leave it anywhere in direct sunlight. So if it's by a window and let's say a big chunk of the day sun is the sun is hitting it, the sun will kill that drawing and it will. Kill of the sun will kill anything. It will kill paintings as well, and I've had this happen over and over and over again, so for warning. If you're starting, be aware that do not hang that up next to direct sunlight. You know, obviously, general sun lights find, uh, and then, uh, what else starts? Okay, so, sketchbook. Another option you can do is you could get, uh, you know, a sketchbook on they sell those relatively cheap. That's great for practice as well. So you kind of look back on your progress. I do like that. Look, you have to like a scramble up papers to look back to your progress in the last couple of weeks. I usually get a good sketchbook pad sketch, but if you're starting, just get a sketchbook and kind of fill it up with that. He is there. There's more like an idea generation a little bit different with sketchbook. It's stuck together, and I for me personally, I at my advanced level. I have, ah, bad sketchbook in a good 11 I just mess around with I don't take that seriously, and I sketched kind of totally stuff, and it's a lot of trash. I wouldn't post any of that. I might do that one day just gonna show you guys the process which I probably will actually know. And then there's a good one that I do show people. Okay, those were the good drunk. So that's kind of almost everyone does that. That's a little secrets now that you know. But that's it. That's it for materials. Hopefully that help you out. Let's kind of move into the actual lesson. One more thing on supplies that only applies to this. Of course, I actually recommend this. This is Ah, skull replica. So what they do is they take a cadaver and they make a casting like a real skull. They make a casting mould of it and they create this plastic model. This is actually from a real anatomical doctors website. Uh, you can find it anywhere. Don't worry about it. Just google it find, you know, real anatomical skulls. Make sure it's really because there's a lot of skulls out there like, you know, the party skulls and, you know, Halloween outfits and they're drastically bad. They're they're really not good for for learning real in and the real anatomy of a skull. So I you have to go to kind of medical website or one that cast riel bones and that is perfect. So originally before this job moved, but it kept it was held up with springs. You can see it was held up with springs, but I ended up just gluing it there so that I could just draw from it a lot easier because the jaw just kept falling off. So that was a bit annoying by the highly recommended You can draw from it. And this is probably one of the biggest reasons I learned the skull so well. So I highly recommend in terms of price I paid. I believe it was $40 for this. So it's not very expensive, given what it is. And it's so unbelievably valuable is a tool. You lost a few teeth there. I can't find them anymore. Oh, well, uh, but yeah, definitely. Definitely. Get one of these if you don't have it. It's also kind of cool to have her in the house, but yet so anyways, let's want to the next part 3. 3: Okay, so let's go for some quick measurements and structure points to the skull wrapped the bat. The skull is, uh, you know, find a lot of these are very similar to portrait drawing. Uh, you know what? They will differ. But like I said, the skull is the kind of base to portrait drawing. The reason for that is because of the landmark, So landmarks are any bony protrusions, and I think I'm actually a little bit the intro, but I'll say more. Any bony protrusions you can see that are near the skin that So, for example, if you look at my hand right, the knuckles are landmarks because that's a skeleton that your it's dictating the outside very much so. But let's say this fleshy portion is just squishing flesh. It's not dictated by the skeleton at all, so that's kind of what that is. So, for example, parts of the nose, uh, what else? The brow, you know, especially brow that's dictated by the skeleton. Sometimes the cheekbones for some people. Not for me, because I'm a chubby face. But, you know, for some people, it could be dictated by that skeleton chin. Things of that sort. So have the bad. Remember that. So number one mistake and I've said this before in portrait drawing and in skull trying to , uh is the skull. People tend to shortcut that skull. The skull is a rounded form, and I'll show you that more in the side view. But for now, in front of you, wrap the bath. The skull we attended the same thing is important drawing. Let me let me give it a little edge Here, little chin, draw the line down here. It's that little bit. So the schools the same way we're going to start at the hairline, right? When I say hairline, I don't mean the actual hair. I mean, at the point. When it comes from the forehead, it starts to turn slowly into the top of the head. In that mid section would be the hairline. So you get that hairline, little bit sliver of the top of the skull there, and you're gonna take the bottom of the chin and you're gonna divide into thirds and again . This is not the demo yet, so I'm just gonna go over demonstrations. You can divide that up into thirds it once you divide that thirds. This top third is going through the brow, and this bottom third is gonna be the bottom of the nasal cavity. So when I say it in portrait, I say where the nose connects to the face. But there it's going to the bottom of the nasal bone. Uh, that nasal cavity. Essentially. So what is that gonna look like? Let's just put in some placeholders for eye sockets. This present placeholders like that. There's no real measurements on the eye sockets you can kind of. So for the eye sockets themselves, let's just say this is this wide. You can kind of imagine one eye socket in the middle length about, but you don't really have to. This this measurement is different than then portrait drawing because there's no years on it. So it kind of uses. Was the five eyeballs wide? This is different, though, but I would say in terms of the middle space, try to put at least an eye sockets length between the middle. But let's go back that nasal bone, a simple shape for the nasal bone that's gonna be the base. So when that bases there, when the base is there, right that when the noses there, that's where the nose gonna connect to the face. So the bottom of this knows is that bottom third of 1/3 division, I'll go over the whole thing really quick at the very end. Uh, nothing that keep in mind the tooth cylinder, right? When you look at like, Cracker Jacks you look at, you know, just the teeth coming out. If you ever seen false teeth, there's a common mistake everyone makes on they think of it as a flat, you know? Let me go over here. The nose. Uh, look it over. So let me say that no. In the yes, with teeth, when you want to divide the teeth of people tend to draw the teeth like that. See how every tooth is even that is incorrect. You don't want to do that. The tooth cylinder. If you're a take out that two cylinder, so think of like you know, Grandma's false teeth or something. The entire tooth cylinder is shaped like that, like it's like straight of the front and rounds around the edge here, so teeth are wrapped around. If that makes sense, teeth are wrapped around So, for example, instead of drawing flat like that, you don't want to draw fat flat like that. You want it? It's gonna be flat on the front, for example, just in front and that is gonna tighten up on the edges here is gonna tighten up at the edge because it's gonna be going backwards in the space. You see, it's gonna be that front flat, and it's gonna be it's gonna go backwards. So because of perspective, once one tooth you're not gonna really see all the tea that wants, like, a flat board. And that this is what you do is a little kid you don't like a flat kind of picket fence thing It's not. It's kind of ah, almost like a fence that wraps around the edges. And you can't see them all equally and eventually really can't see the back teeth at all because the front teeth are blocking it teeth in front of that. Hopefully, that made sense, because that is a gigantic, gigantic mistake most people make, especially with skills. So just keep that in mind. Uh, zygomatic arch, What else? Measurement waas measurement wise. That's that's pretty good for the front I'll go over like little shapes and stuff like that in the demonstration. But right now, for your measurements, for just kind of really common mistakes. That is good enough. So let's go with that really quick so you could divide the front of the skull. Open the thirds skull is, you know, the head. Obviously, you divide up in the third. The bottom third is the bottom of the nasal cavity. And then the top, uh, you know, third here. I mean, the top is the hairline. Let's go one by one. Hairline brow, base of the nose chin. Okay, that's easier. Remember that the tooth cylinder. Like I said, it's like a cylinder like you're shoving a coke can into, uh, like a slot or something. And that's the way this is. It doesn't like a flat back. We just put that, um, But remember, think of it like a puzzle piece you can shove into someone's face is not just a flat flat to the face. Remember that The teeth are not gonna be completely flat all the way across. They're gonna squish at the end on the right because they're overlapping behind their wrapping around the mouth. All right, so that's quick on that. Let's go this side view really fast with measurements on those who is over here. So rough. The bat. Let's do circle. Whatever it circled. Perfect redress. Straight line downward and right off the bat here is a really common thing. You could divide the skull, this top portion of skull there's there's a brain in there. Okay, that's I've talked about this in portrait drawing. If you saw that, there's a brain in there and one of the most common mistakes and drawing is to make the back of the head too small. Just gonna throw some hair on to there, you know? And it looks weird. It was like half deflated basketball head. You don't want to do that same thing with skull that has a big kind of back parts. So you want the way you can divide it is you can divide this circle in half, you know, just started and you can connect the back of the jaw. That's the kind of the back of the job ends. Basically, Thio chin back a job. So the back of the job ends about half way between the front of the skull in the back of the skull, and that's gonna be really out of the ordinary for a lot of people like, Whoa, you like force it. But that's really what's going on. So that's a good general. So half way is where the back of John will hit back the mandible over the parts. Uh, so same thing. Rule of thirds. Say this top third. I see this do this same thing, little thirds needle cavity will come out a little bit and then pull back. Right. Uh, also the orbital bone orbits. It'll be more shaped like that. It's going to be facing that direction. Obviously, it's gonna be like a square on its side because of perspective, Um, in terms of measurements carried, told you about the two cylinder. But remember, this is really, really huge. The, uh that's, like the biggest mistake of all time. If I had to think of one Mistake of all time for skulls, That's it. Don't short cut this back of the skull. Okay, so that's it for measurements. Quick, Run through one more time. Just I haven't really, really solid in your mind. Okay? So, front view, divide the head of the thirds. You could divide the front face in thirds in both views. You have the hairline top top right here. Then you have the brow. Then you have the bottom of the nose bottom, the nasal cavity. And then you have the chin. Same thing over here. You could have one space. One orbit distance between the eye sockets you know about this is a little bit smaller, but you can make it bigger if you want, but I would say about one eye sockets length in the middle. Um, what else to saunter is round round as well. It's like you're shoving a coke. Let's a coke can or something into a slot. So you're you're shoving. That's the way the shape reminds me of your putting that shaped like again. Think of false teeth. Think of old people teeth. If you were seeing them, they're shaped like this. If you look at it from you, look at old people. Teeth from the top view completely top. Even like that, they're not flat. So do not draw your teeth 100% flat. You can join them flat from the front. But then at the back sides. They start toe like again, go back into the distance. That's pretty much it. That's a quick overview of some very, very, you know, easy things to remember. And they're gonna help you infinitely in pretty much any time you draw the skull. From now on, you will remember that and drop that way. So let's move on to the next part. 4. 4 parts: Okay, so let's go over the part of the skull. They were just going over some general parts so that, you know, when I point at something and I say the name, you know what I'm talking about? Uh, right off the bat, Let's go. The frontal bone. That's right. Here. Basically the forehead. That is the frontal bone. People can head butt with it. And I believe this is like the hardest party of your skull. And then, um right here, the eye sockets, we call them orbits. But a little line aiming at those orbits Or, I mean, really called the orbital bone big and just call it orbits. Orbit the eye socket right here. The nasal bone that's the top part of the nose. Remember, the rest of the nose is actually cartilage. So when you die, that stuff kind of falls off first on the skull kind of stays there, but this top part, you know his bone. So when you tend to break your nose, usually what happens is that that cartilage comes off from the bone. Actually, it's usually not a total break like in the cartilage itself. Then we are going to go through the zygomatic bone. And that's the cheekbones. Essentially, Zygomatic arch. You could just put on the line here you call the zygomatic arch zygomatic Or just call it zygomatic bone with zygomatic the Max illa. That's the top part of the mandible here. That kind of top here, Max Cilla. There were going to the mandible, which is lower part of the jaw, a mandible kind, dangling part. Then, uh, for the temporal bone. The temporal bone is on the side of the head like temple, right, The temple of temporal bone. And then there's the Mastoi process, which is actually little bump back. Your input. The master eight process where a lot of nerves and come together. It's actually this portion. Excuse me. Let me draw the line on here. It's gonna be a little dangling area. You see it on a lot of skulls to It's almost always there. It's called, um, asteroid process and Wales Good to learn. Obviously, the teeth, the teeth, we just call teeth. Um, and that's kind of it. That's kind of the main things you need to know. You don't really need to Nome or, uh, that you can live a parietal bone, which is actually kind of back of the head right here. The top portion. That's a parietal bone. Pearle Lyttle. Make sure I spell that. Correct? Yeah, that's the parietal bone. And that's kind of it, Really. The main roads are gonna be saying over and over and over would be the mandible, The zygomatic arch Right here. It's kind of an art shape. If you see it on a kind of a skull and orbits frontal, nasal bone, those ones we constantly referred to in, you know, like like head drawing, but also obviously with this. But this is a kind of front parts apart. It looks cool. There is like it's in the back about the front. Really looks cool. That's pretty much it goes of the parts. Very broad, very general. That's just gonna give you an idea of what stuff is there. You can go into more depth on your own, but it's not really necessary. Honestly, that's why didn't put it in here. I just put the bare essentials. All right, let's move on to the next part 5. 5 demo: All right, So this is the demonstration. Let's get into its way to the front view of the skull. So they start with a circle and that circles really there. Like I said to kind of get that brain case in that top part, And I'm gonna extend it downward and give you besides the sides of your head here inside this girl down we're down another angle again for the you know, side of the jaw. And we have the chin right now. Just getting some vague idea. I'm not gonna put anything down Super permanent. That's why I'm trying not super dark either. Uh, put the center line, Centaline hit. Gonna find my ther It's like we did before. So our like, I talked about the race that a little bit Gonna find the top of the hairline and put about so like, says messages, You leave a little crevice, little crest there of top ahead. And then from this, I'm gonna divide this at the front of the skull into thirds, and you don't have to measure. You could measure with your pencil if you really want, But you don't have to be. I exact. Just get some, you know, ballpark kind of Just get get in here. Go in here and that. What kind of placeholders? Somewhere put triangle for the nasal cavity. Going to put, uh, like, squared shapes for the eyes. I'm just gonna raise it above. Well, Elliott, their stewardship for the eyes and then, um, continued downward. And I'm going Teoh kind of go down here into the kind of the muzzle of the mouth attitude cylinder. I'm gonna actually draw this in. I'm trying to right now. The drunk. Very vague. Uh, don't very vague kind of outline. And then I'm gonna dig into that later on, got down the final pieces, and you're adjusting this the whole time. I'm going right here of fighting all my kind of corners, my main points. Zygomatic arch talked about the zygomatic a zygomatic bone, and so, as this is kind of materializing like the positions of, you know, where features of skull, I guess they're gonna be I'm gonna erase this initial circle right here. So, like I said, these air frameworks until I don't need them anymore, and then I could just ditch them going down here. Putting in goes straight in that top of the of the nasal cavity a little bit By flattening it out, I'm gonna put a placeholder right here for the teeth. Just put in place older there, and I'm gonna find a sign of the temple, the temporal temporal, and then pulling downwards right here on the I. And like, so that pulls into the zygomatic arch on the left and the right. I'm gonna find where I want my teeth about pulling in the sides of the jaw. The mandible here, lower jaw are, uh yeah, kind of pulling in the side of the mandible, pulling it in because the zygomatic arch actually sticks out further than that, because it's like no meat on the bone. Right. Uh, gonna find the bottom of teeth is gonna put a line over here. Kind of find it. I'm gonna extend a chance. A tiny a tiny, tiny bit. I just didn't think it looks more attractive. All right, well, we have a pretty good place holders. Now. What I think I might do is actually might, uh, I might actually just start going in a little bit darker. So what we do is go in the left eye first, Uh, right there. There has to be this keystone shape at the top of the kind of top of the bone area on top of the eye with a toward the center of the ice. Put that down, pulling inward, And I am going to go across the top here, find that eye socket. That horrible orbit orbit, orbital bone falling in, solidifying this shape a little bit more. I like to think it was a squared out cube, and I'm gonna fill this in, going over here to the nasal cavity first. And I'm gonna pull that in a little bit. Round out the bottom of the nasal cavity. A little bit of shape here. It looks like a spade. It would be a small bone in the center, going inward. I'm gonna coffee. This shape over now on this side does not to be exact, because our faces, they're not exact. I mean, uh, don't worry about it being like dead on exact If anything, it's kind of nice when it's not 100% exact. It looks a little bit more natural on a little bit more real feeling that end could have put a line right here. That tends to be kind of a small our king, where the actual, uh, kind of brow goes downward. Get rid of the center line. I don't think the center line serves me anymore. Going along. The temporal is here. Temple pulling down. Kind of making a little bit more of a solid shape. Now, making the sign of, ah, skull here a little bit sharper, a little bit darker from your top and take out that hairline line. Remember, the hairline doesn't mean the literal hairline. It means changing in plain from one to the other. Like from the front of the head to the top of the head. Temporal is on this side on, uh, going downward, copping over the other zygomatic shape zygomatic shape. Now we're gonna go down right here in the race. Some of these construction lines go down and going to the front part of the tooth cylinder . All right? It is a small dimple on both side of the skull. Over here. Forgot. Name off hand. I forget the name of hand, but they're very important There. Always kind of bunching of nerves that goes in that area. But that That is a very big things in skulls to have these pinched areas pull downward. Okay, so in the teeth, or I set of teeth to get smaller on the side here, they're going back. Then the front are are, you know, less. Uh, you know, they're more side by side. Draw the center point of that to just kind of get that down. Kind of with teeth part pulling down over here, finding the mandible, and you can fill up this whole area and negative space. I did that just for the mandible, but I'm gonna kind of fill it in. I think it looks better. Try and get rid of some of the other construction lines down here, and I'm throwing a little bit of value on the side over here. I don't talk about this more, but a little bit of value. The lights cut of sorts coming from above has do with the pits of yet pits of the eyes as well. It would actually be kind of a dark value, of course. Then I'm pulling downward right here on the side of the mandible, uh, pulling in the teeth and I'm gonna put in the teeth have to be very, very careful about putting a teeth. You don't want to go to dark of anything that he was a thinner line and find where I parted those those teeth there. So I'm kind of putting the parts in between the teeth. And then I'm gonna find the top where they connect right into the up for job there, the maxillary and then with the same for the bottom find with a part any other little you shapes to show they're actually digging into the actual mandible and kind of going in here. Like I said, remember, it kind of juts out. It kind of a little bit value right here because, like I said to Saunders, like shoving a Coke can right into a slot. It's like a ball. It's actually kind of coming out word, so that's gonna cause a little bit value down here below. The bonds will change shape, and it's pretty. You could. That's pretty much it for the demonstration. Honestly, I could throw a little fancier light on it, but I think for appear, you know, just kind of, uh, just pure, purely just drawing his goal in general, this is good enough, I think. Thank you so much. I appreciate you watching other a little bit of value in here into these pinches, and you could do the same above. By the way, just at on this. The same above. Because I'm not totally done yet. Below, Don't fill them up. And I could really dark in the eyes. That's kind of a big thing, Aziz. Well, if you really want to get dark in the pit of the eyes, you could make a little small shape here. Um, kind of here and here, maybe. And then because a pit of the ice extremely dark and then make that darker than the shadow around it that could really give it an extra layer of death that you want to do the same over here as well. Make a little bit darker in the dark value. There. Anyways, that's it for the front view. Let's go over the actual side view, actually. Right. That's it for the front view. Let's go over the side view down. So you got that down. So let's get going 6. 6 side: Okay, so let's get into drawing the side, view the profile for profile views. You go it starting with a circle, and then I'm gonna extend over here the front of the face, and I'm gonna pull up right here. Remember, halfway in that circle is gonna give me the back of the jaw roughly. I am going. Teoh kind of split the front of the head and the third's from bottom of the chin so that that points the hairline. The imaginary airline here split that into thirds. Bottom third is gonna be the base of the nose, But you're not really gonna see much from profile. And the side view. The brow would be here drawn, a kind using the side eye pencil to draw a small shape. The other the front of the scholar drew very linearly. So I'm gonna try to draw this in a slightly different fashion. Um, gonna find side right here. It's gonna pull up right there for the nasal cavity. Little downward again, as it kind of chops off. People in here based on those will be around here so much. Uh, but what I'm gonna really do is I'm gonna extend that tooth cylinder because that to someone's gonna be a little bit forward. It's the end of the nasal cavity down here. Creates a little bit of bump two cylinder, and then I have the chin coming out the front here, pulling back the back of the mandible. Excuse me? Resettled with back. Back of the jaw, Actually, pull that head down a little bit. I'm gonna pull the skull down right here. We'll bump on the back and then down the back of the skull here that's gonna connect to the bottom. There's no real rule for the bottom of skull. You could kind of maybe make it around with two similar starts. That's possible. There's no hard fast rule for that or even a general ballpark measurement. Find the temporal Alice with a couple of lines here, marking it off and find the zygomatic arch zygomatic here. It's people across. It could be a negative space right here with the jaw. Opens up well, that I'm gonna pull the edge of the job here a little bit like so. Even though the jaw connects back there, I would like Thea. I just want to be a little bit lower. So let me clear out some lines. And now that I don't need them clearing out some construction lines here pulling that, uh, it's a little bit down here. Excuse me. You ready this construction line here Getting rid of as many as I can. So what I'm gonna do is I'm gonna fill in. It makes this kind of triangular shape the the, uh, eye socket kind of triangular. But then it kind of flares out into the I'm gonna show us up, uh, gonna shade the standard kind of show you much stronger. So very some one of the side view of the regular portrait. There will be kind of a change in that. That trend will be angled and kind of squishier. But that's kind of what you start with. You start with maybe a triangular shape, but you can change it into kind of whatever form that becomes of the skulls. Skulls? Very as well, by the way, because we all vary as people. Skills will vary a little bit as well, in small ways. Going over here, nasal cavity downward. Go over here. Going back. Um, again, that arch, it's basically an arch shape if you see it on the skull. Pulling back here and kind of attach is not even really unattached, But it kind of comes out a little bit. So really, what's going on here? And I could show you on the regular skull. Hopefully, this will come out of camera for a moment. Heres a skull model. It's a little bit high. So when you look at it for a bum were drawing. This is the arch. Move this pencil. So this is the arch we have right here. And as you can tell, there is a huge gap right here. And what that gap as he Comptel is four. It is for the muscles that that's basically for the massacre that straps in from the back of the jaw. It goes all the way up through this arch and it straps the side of the temporal is here attempt temporal bone. So that's why this such a big gap here because you can simply show my pencil through it because those muscles strap up through there like kinda. When you chew when you chew, you can feel like you're temple Levi tray right now, like grit your teeth, your Temple is gonna flex up here. And that's why because this attacks through here. That's why it's such a big gap. Um, but that's just to know at the show in the model. So just kind of look at this the same way. Um, that's going away because it kind of comes back to the main portion of skull has a big gap here, a big portion of skull. And that's why you have this line here. If you want, you can throw some dark right here to show that there's some sort of gap going on something right here. There is a negative space in the jaw, which you can also Countess fill in, pulling back kind of the part with the teeth meet. And I'm gonna divide up the teeth, the side view very similar till I said the t there flat on the front, on the front, you know, from the front view. And then they got squished together because one is overlapping, the other very similar to on the front. You know, maybe a couple right here will overlap because we're looking at from side view, and then we're gonna throw kind over the teeth attached into jaw and mandible or Mexico Lamell Middle, uh, throw smaller lines. Kind of showing that it's kind of gripping the bonus gripping around it for bonus dripping around the actual, uh, teeth and e. I don't know what that was. Alexa, stop understanding. Alexa, stop. Alexa. Shut up. Sorry about that. That was insane. All right, let's straighten out the bottom of the jaw here. And the jaw attach is in that that direction. That way. All right, let's kind of strengthen the lines here to the skull. You feeling this back? Bottom bottom as well. You can also throw in a little bit of value here at the bottom, and and that's pretty much it. I'm gonna raise some more construction lines. This isn't mood lighting. I'm just going over just general. How did high draw the skull in the profile? View skulls like it's one of the most important things you could do. Uh, toe learn. And you can always throw in a little pizazz after that. A little bit cool effects and lighting or whatever is that you want to do. Uh, that's it for the profile view. Let's kind of keep moving 7. 7: So that is the program. If you made it to this point, thank you very much for watching I fully appreciate it. This is like a little bonus segment where give you some advice for some you know, general art advice about your practice. So a lot of people will ask, How do you stay motivated? I'm gonna give you just one thing that really motivates me, and that is getting started. This stuff is not about motivation. This stuff is about actually getting up and just doing it. And ah, lot of that. Once you you'll find that once you start a project, you start a drawing. You start something that you're gonna enjoy it and your minds to start clicking into that mode just by starting it. So initially, you might have to push push yourself a tiny bit to start. But once you do it, it's like it'll snowball and kind of just increase, increase, increase. And you will, you know, really, really get a lot of value out of it. And you're going away more drawing than when you do that. Uh, that is something that's helped me incredibly on that separates people from not getting better and from getting better in some cases in many cases, because what I hear all the time is they hear people that don't want to practice for are not in the mood to practice or who that want to that just don't. It's not about wanting to. It's about just like giving yourself a little nudge in that direction. And that's kind of like discipline. You know, the push yourself the whole way. Uh, we just put yourself into it and then you start, Really, your your intuition starts taking over and your you really see it loving it. Eso That's just my quick last parting words. Last little tip in terms of like projects. Do it, you know, actually do a skull and posted here, and I'll reply to every single one. Ah, big part of this is actually doing it. And that's what separates people from, let's say, watching weightlifting videos to actually weightlifting, for example. So it's very like the similar like that aren't you can watch people do it, but you're really, really gonna learn through action and doing it, So prove it to yourself. Post something here post Just one skull that be fine uh, any direction that you want and I'll go over it if you want to compose many skulls If you want to challenge, I would say a standard post five different skulls on here, and I'm gonna reply with feedback on each one. So thanks for watching. And I hope you check out my other programs and I hope to see you again.