Introduction To Drawing The Proportions of The Face

1. Introduction: Hi, I'm Emily Armstrong. I'm an artist and an art teacher from New Zealand. If you want to start drawing portraits in this class, is a good place to begin. It's a simple introduction to finding the proportions of the face. I'll introduce you to two different methods for drawing the layout or the structure of the face and the Eat. First, I'll take you through how to find the proportions of the face. Debt is looking straight ahead. And then I'll take you through a more complex 3D he'd technique based on the luminous method which you might have heard of. And you can use this to experiment with drawing faces from different angles. Before we draw each method together, I'll show you It's simple techniques for drawing basic head shapes like eggs in 3D circles. They are not as easy as they sound. This class is suitable for complete beginners or for people who are interested in learning more about the proportions of the face. It's not a full portrait drawing class and we won't be drawing the features of the face and detail. However, you can check out my other Skillshare classes if you are interested in taking your portrait drawing practice further, Let's get started. 2. Materials: You're going to need for this class as a pencil and some drawing paper. I'd recommend regular HBP and so or maybe it to HP. And so if you want to work over top of your drawings later after the class, you will also need an eraser and if you prefer, you could use a roll of straight lines. However, I think it's good practice to try and draw these free hand. You could also use a tablet in digital software like Procreate to take this class. 3. Exercise: Drawing An Egghead: For a warm-up for this exercise we're going to be practicing just drawing some simple shapes. The heat is shaped a little bit like an egg. And if you've ever tried to draw an egg, sometimes it's tricky to get it even on both sides. Or it might be too pointy or you might end up with more of an oval shape. This exercise is going to help simplify that process for you. Start by drawing some simple ellipses. We're working from the elbow so that the hand isn't resting, stuck down on the page, but it's moving with the pencil. You will see that you might not get it right the first time. But as you go over that ellipse, hopefully you can get a rhythm going and get something that's a little bit more round. Next we're going to draw ellipses again, but this time we're going to draw them with a little bit more control. So start off with a loose one. Start to sketch around that each evening it out as you go. If you see somewhere where it's a little bit uneven, use those short light marks to round it out a little bit. And we're gonna try that again. So to start off with something nice and loose, and then you have something to edit. What aiming for something that has the same width, in the same height. Keep your lines nice and light. Mine are a little bit dark. I'm using a pencil just so you can see what I'm doing, but I'd keep them as light as you can. Use maybe a to H pencil. Go through and check that your circles are in fact circles. Then if you wanted to, you could even go around those with a more solid line, especially if you're using very light lines to start with. Now that you've found the right path of the circle. If you think of the circle is the main part of the skull, the round part of your head. What we can then do is add on the lower part of the heat or the face and that's going to be the jaw shape. Find the halfway point of the circle and then draw a straight line. This is the central axis of the face and the chin is going to be the same length is one of these halves of the circle. Then we can draw the drawer with two lines or two angles. Go through that again. Scene two line seem to excess. Find the halfway point of the circle. Add on half of the circle link. And it's going to be where the chin is and you can make the chin is wide or as narrow as you like. And then two angles to create the jaw shape joins up with the circle on either side. Now that you have an idea of how to draw a basic shape with that round circle of the scale and in this jaw shape edit on, we're going to do those again, but quite quickly. Draw a circle. Add an a center line. Mark where the chin is gonna go. And remember the chin is going to be the same. Distance away from the circle is half of the circle. Effectively, we've got 123 equal parts and then add in the jaw shape. Then if you wanted to, you can round it all off until you have that shaped heat. See if you can work quite quickly. Sketching a new circle in the center line, finding the point of the chin, then rounding everything off if you want to try a few different versions. So this is quite a narrow chin and this has a wider chin. 4. Intro To The Central Axis Method: Let's take a look at the central excess technique first, I call it the central access technique because we start with the vertical line and the horizontal line of the face to form across. Watch the overview, but don't worry if you don't get it straight away because right after the overview, we'll draw a layout together so you can become more familiar with the technique. And then after that, I'll take you through a worksheet to practice applying this layout. Two different phases and viewpoints. This technique for finding the layout of the face is based on the central axis of the face. Let us the vertical axis and the horizontal axis. And it's most useful when you're drawing a subject that is looking straight ahead. But maybe the head is tilted to one side or tilted to the other side. The vertical axis is the line that goes straight through the middle of the head from the skull down to the chin. The horizontal axis is the line that goes across the face through the eyes. This cross-section, the eyes are usually halfway between the top and the bottom of the head. Just for fun, go ahead and tip this on your own face. Now, notice that the vertical axis and the horizontal axis are perpendicular. They're at right angles to each other. Once the central axis are established, the phases in divided up into thirds. The first step is to find the eyebrow line above the eyes and then divide the space between the eyebrows and the chin in half. This will give us the placement of the nose. We then add an extra space above the eyebrows that is the same distance as the other two to create three-thirds. This top space identifies the placement of the hairline. The bottom third between the nose and the chin can be divided into thirds. Again. This gives us the placement of the center line of the lips and the racist of the chin underneath the lower lip. Note how the ears fit within the middle third of the face. 5. Using The Central Axis Method: We'll start by placing markers on the page for the top and the bottom of the head. You can make the heat as big or small as you like, but I'd suggest making it about the size of your hand. Then draw an egg shape to represent the head. You can use that circle and draw method that we did in the previous exercise, if you like. The circle will take up about two-thirds of the space between the top and the bottom of the head. When you're done, you can erase any of your messy sketch lines, including the circle line, so that it doesn't get in our way. Now add a vertical line down the center of the face. You're welcome to use a ruler, but I think it's really good practice to try and sketch these lines freehand. It helps to make a mark at the top and the bottom first, so you have two points to join up. Use short, light overlapping lines to lightly sketch the center line and change it as you go. If it's not straight. Then find the halfway point and add a horizontal center line. You can use your pencil as a measuring tool to check where the halfway point is. This horizontal line is where the eyes will be. If you wanted to, you could sketch in the shape of the eyes. Now, just as a guide, keep an eye length space between the two eyes. We can use symbols for this exercise, so don't worry about it being realistic. Once we've got an idea of where the eyes are, we can add in a horizontal line above the eyes about where the eyebrows would set. This is the brow line. Once we have this line, we can then use it to break the face down into equal thirds. We have the eyeline and then the brow line. We don't really need the line anymore except to notice that the eyes are halfway between the top and the bottom of the head. Here's, this can be useful sometimes as well. Make a mark halfway between the brow line and the chin. This is where the nose will go. You can use part of your pencil to check that both sections of the same length. Then take that same length and add another third above the brow line. This gives us the position of the hairline. We should now have three even spaces between the hairline, the nose and the chin. Go ahead and lightly sketch in a general nose shape. Then create an imaginary hairline. Here could be coming down the sides of the face. Perhaps you can see a widow's peak and then bring the hair around the top of the head. The mark that we made for the top of the head before is representative of the skull. But if you think about it and maybe even touch your own head, the here usually comes a little bit above the top of the skull. I'm just adding a few symbols here to represent the eyebrows, the iris, and the pupil. We've gotten this bottom third between the nose and the chin. This third can now be divided up into foods again. For the sake of this exercise, we'll try and keep them equal. Pays to keep in mind that everybody's face is different in quite often these foods in the lower part of the face and not even. The first third gives us the center line of the mouth. Then the next MAC gives us the races or the tempo of the chin. What you'll often find is the space between the chin and the center line of the lips is a little bit less than the other two-thirds. But it's different on every person. We are creating a generic guide that we can compare two photographs of people and check whether it is accurate or you might find a bit the lower third of the face is greater than the upper third of the face. Perhaps I have quite a big forehead. So the upper third is greater than the other two. But this guide gives us something to check against. The ears will usually fit into the center third of the face. But that all depends on how big the Pearson's ESR, usually the bottom of the ear will line up with the bottom of the nose. And you could check this on your own face. Now if you like, all of the details I've added in here are just symbols. But if you wanted to, you could go ahead and play around a little bit more with this. Adding in those straight angles for the eyes, three for the top lid to, for the bottom lid. Just have a little bit of fun with it. It's a little bit like one of those police sketches. You can change the eyes or the nose and the mouth to create whatever kind of character you like. When you followed along with this first drawing and you've got something that's complete. Now HIPAA go at drawing the same thing, but imagine the person's head is tilted to one side. This means that the x's are, the face are going to be on an angle. For this drawing, start with the vertical center line that determines the angle that the head is going to be on. And sometimes this is the most useful thing to start with. Make a map for the top and the bottom of the head. And then find the halfway point for the horizontal axis. Remember this is a line that goes through the eyes. I'll speed this version up a little bit, see if you can remember the steps to finding the cross-section of the face in the foods of the face. Most important thing to note here is that the vertical and the horizontal axis perpendicular, even though the head is tilted to the side, they are always at right angles. Remember once you've found the eyebrow line, you're going to find the halfway point between the eyebrow line and the chin. That gives you the placement of the nose. Then you're going to take another segment, the same height is that space between the eyebrows and the nose, in the nose and the chin. And you can edit to the space above the eyebrows creates the hairline. The final measurement to make is to divide the lower third up into thirds, again, giving us the center line of the lips and the basis of the chin. It will be a good idea to repeat this process until you get really used to the formula. If you do anymore than remember, this is for a heated there is facing straight ahead, but it could be tilted to one side, so you could try different angles. The pros of using this method are, it's simple to use based on the central axis in the foods of the face. It's good for drawing. Subjects are looking directly heat, and it can be used for different viewpoints as well. The cons, it doesn't really account for the 3D form of the face. To avoid the face looking flat, the planes of the face needs to be shown clearly through your shading. 6. Exercise: Drawing A Sphere Head: I've got another quick exercise here for you in this one is to help you get an idea of how to draw the head is a 3D shape. Before we move on to the next method of finding the layout of the face, the 3D HD. We're going to start off just trying to draw a sphere or a circle is a three-dimensional shape. Start off by drawing a loose circle. Remember put something down first and then you can edit that. Rounded off. Take out any corners or bumps. Do a few of those just to warm up again. We've got four two-dimensional circles here. They have a height and width. What we want to create is something that feels three-dimensional on this two-dimensional surface. So we're going to think about the contour of the surface of a sphere. And we'll start with a center line, starting in the center at the top and the bottom, but we're going to curve it around the sphere. Then we can also do the same with a horizontal axis as well, starting at the center. Curving it around the sphere. You can choose the degree of that curve. It could be very shallow like this one here, or could be a little bit deeper like this one. We'll do one here that's quite deep. So I'm finding the center 0.1. And then following that curve around, imagining I'm going over the front or the front side of the circle and then do another one here. Try a few different variations each time. Start at the center. Imagine this as a ball and your cubing. A piece of string around it. You can go up, you can go down. You chose, but you're trying to get that sensation that it's curving all the way around. You should have four spheres now they feel more like they have three-dimensions, the rounded, you can pick them up and put them in your hand rather than just a flat circle or a whole. What we drew here is we drew a vertical axis curving around the sphere, and we drew a horizontal axis curving around the sphere. You saw that you could change the degree of those where those curves occurred, whether they were quite deep or quite shallow like this one here. Now, each of these x's is going to represent something when we come to draw the face. And we've got this one here, which is the vertical axis, and usually start with that one. This vertical axis. This is going to determine the tune of the head. The twist of the heat. I'll show you what I mean in a moment. And then there's this horizontal axis here and this is going to determine the brow line, the eyebrow line, and also the tilt of the head. So the tilt forward or backwards. We've got this one here which determines whether the head is turning from side to side. And then we've got this one here which determines whether the head is tilting backwards or forwards. And this is how this works. You might have already seen this before. You might get where this is going just from looking at it. If this is the skull, we've got s2 line always draw the vertical 1 first I find more useful. And then we've got the horizontal one. This is the eyebrow line. So we can just imagine there's some eyebrows there, draw them in, even draw an eye underneath if you want to. You can see you get the sense that if this was a persons here to get there we're looking downwards. Whereas if we do one with the opposite vertical, but we'll do the horizontal axis tilting upwards. Put the eyebrows along that line. And you get the sense that that person is looking upwards. You can even add a little nose in here if you want to. When we come to do the Loomis head exercise, we're gonna be adding the jaw on as well. But just to get used to this idea of the three-dimensional sphere, have a go at drawing four different faces like this. You can make them silly if you want to do whatever you want. It's really important to try and get used to this idea of the three-dimensions. Because I think this is why some people struggle with this particular method. For Loomis method is you do have to have an understanding first of how to draw something that looks three-dimensional. If you haven't done that before, then if you put some of these curves and the wrong place, they're not going from the center or they're kind of wonky V and you'll end up with something that doesn't look correct. Try some really extreme ones as well. So this one's looking quite far out, this one's looking quite far down. You could do one that's really tuned to the side and really tilted upwards. Actually, this one doesn't look like it's tilted so far up and you can see what I did wrong there. I didn't make the horizontal access code from the center of the sphere. That's say, listen and what not to do. It was rushing heat a little bit here. I'm tilting it right up, but I'm coming back to the center of the circle here on the side. In this example, the Pearson's heat is tuned slightly to the side on a three-quarter angle, but the eyeline is fairly straight ahead. You don't see much of a curve here. They were looking straight at you then really all you'd see is you'd see pretty much this. You might see a slight curve where the eyes, because you're not getting any perspective from either side or from the top and from the bottom. This particular three-dimensional hidden method is most useful when you're dealing with a face, is looking to the side or looking up or looking down. Otherwise, we just use your standard central access method that we did in the previous lesson. 7. Intro To The 3D Head Method: This method is based on the luminous method, which is named after Andrew Loomis. He's an American illustrator who published a number of influential capstone and illustration box around the 1940s. This method is based on the scale as a sphere. It's a little more complicated than the previous method because we're now dealing with a 3D view. However, it does use the same foods at the base. So as you go along, you'll see that there's some crossover. Give it a go. And even if you prefer the other method, you may find aspects of this 3D head method come in handy in the future. The 3D head layout method, the scholar is seen as a sphere. It's a three-dimensional shape. We can draw it as a circle, but we recognize that any lines that we add to this, I'm going to curve around this circle. Vertical axis will show which direction the head is facing. The horizontal axis will show whether the head is tilted forward or backwards. In other words, whether the face is looking down or up. If you put your hands up on either side of your own face, at your temples, you feel that the sides of the face are quite flat. We account for these side planes by cutting off the side of the sphere. Because this plane is now flat, the line that wraps around the sphere will also flatten and we can add a cross-section to the side plane to find the line of the here and the position of the nose extend a line around the sphere from the top and bottom of the side plane. The 3D scale is now complete. From here we can add the jaw to find the base of the chin, add another vertical section the same size as the two existing sections. There are now three even third set show the position of the hairline, the eyebrows and the nose and the chin, the sides of the face and the jaw. The contour of the cheekbone can be added by extending a curve from the center of the side plane to the corner of the chin. Erase the unnecessary lines to leave the essential structure of the 3D head. 8. Using The 3D Head Method: Instead of taking you through drawing one 3D heat, I'm going to lead you through drawing each of the steps of the process. So by the end of the exercise, you have eight small Diagrams, each one showing a progressive step of the method. Through this repetition, I hope you'll gain a good understanding of the process to follow and be able to remember it more easily. Let's have a go at drawing out the basic layout of the 3D HD, which is based on the Loomis method. I'm going to talk you through it and what we're going to actually do is draw each step. So we're going to be working through the process, repeating each step several times. I'll show you what I mean. We start by drawing a basic circle. Keep it nice and light. This is the first step in drawing the 3D HD. We're gonna move on to the second step. We're going to draw the first step again and then we're gonna add on the second step and we're going to go all the way through until we get to the final step. Drawing another circle. We draw the second one. We're trying to keep it about the same size. So we're learning how to control our pencil and repeat the same actions. A little bit out. It doesn't matter. Now we're going to add in a vertical axis. And I'm thinking of this person is having turned the head slightly to the side. We're getting like a three-quarter view. If the person was looking straight ahead, we'd have central access directly through the center. But because they're looking slightly to the side, we're going to curve that vertical axis around the bowl. Let's step two. Let's move to steep three. We're going to have to repeat what we've done and stick to. I think this is a really good way to help you remember what the steps are by repeating it several times. Because the Loomis method is very dependent on getting things in the right place. It's important to remember what goes where. It's also a reason why sometimes it's not appropriate to use this method because it is quite static. Not a lot of room for changing things around and still having it work. Found the same to the circle at the top and the bottom. And then I'm gonna wrap the string around the ball trying to give the same angle as I did. And then step two. This time I'm gonna add the horizontal axis. Remember this is where the eyebrow line is. This horizontal axis curves around the ball as well. Is going to determine whether a person is looking up, looking down, if they're looking up, that excess is going to curve upwards. If they're looking down, it's going to curve downwards. We're going to do someone who's looking over to the side, but they're looking straight ahead. The direction that the head is turned, start at the center and wherever slight curve just to keep that 3D effect. So there might be looking downwards just very slightly. We're going to repeat the same thing again. Drawing the circle, adding the vertical axis. The horizontal axis. This time what we're going to do is we're going to imagine that we are cutting off the side of the circle, slicing through it on each side. And if you put your hands up to your face now, you'll feel that the sides of your face are quite flat. We have this rounded part of the skull, but either side is actually quite a flat plane or flat area. So we can draw in an oval shape here is if we have cut off the side of that sphere where that ball, it should follow the same curve is seen to access so it's parallel. Going to rub out a few of my excess lines there. So you've got Step 1234. We're going to move on to the next step. Put this down here. We're going to have to repeat what I did in steep for starting with a circle. Hopefully each time you do this, it's feeling a little bit more comfortable. And it becomes a little bit more natural. Don't worry if you've got messy lines, you'll see my lines are very messy. This is always just the beginning of portrait sketch. The lines that you're drawing here actually disappear once you've got everything else in My to center lines and I'm drawing a knit slice off area left over when there to show that we've cut off that side of the ball. If we've cut off this side, I'm also going to show that the other side has cutoff in sometimes this is neglected in other videos on the Loomis heat, but the theory here isn't completely round. It's going to match this one here. All I've done is just typing it off a little bit. So it's not quite so round. Sometimes it'll be more extreme than other times. You should get this feeling of a ball that is two sides cut-off it. What we can also do in this one here, we can add an axis, a vertical axis to that side plane of the head. This is step five. I'm gonna go into steep six. See if you can remember what needs to be done in what order. It doesn't matter if you draw them, draw the different steps out of order. But it can help to remember, it helped to make it a more natural process if you do them in the same order each time. Let me move on to cut off the other side of the ball just a little bit in excess of the side plane. And this is also going to show the tilt of the heat. So if, if this curve, the eyebrows camera right down low and around here in the vertical axis, which is always perpendicular to the horizontal axis, would be like this. Sort of showing how the heat is tilted forward or if it's the other way and the eyebrow line came up and over, the vertical axis would come through here. So it would be tilting backwards. Don't worry if you get a bit lost with these sorts of things, it does become a little bit easier and more familiar the more you practice this. What we're gonna do here in step six is we're going to look at this horizontal axis here and we're gonna draw another one along the top so that it meets the top of the oval of the side plane. And then we're going to draw one at the bottom. It should be parallel with this center line here. So here's the same slight curve to it. We're gonna move on to step seven. Remember the process during the circle. Center axis shows the tune of the heat, the vertical center axis. Are they turning to the left or they tuning to the right? Horizontal axis shows the two to the heat, whether it's tilting forwards, backwards. Remember the curve of this oval here, the side plane needs to follow the curve of the center line there. And then we've got this slightly cut off. But on the opposite side, we're going to mirror the curve of this horizontal. Seem to x's. And draw another one up here that joins to the top of the oval side plane and one at the bottom. This line here, if you remember from the previous exercise, we were drawing 3D spheres. This is the line of the brow, the eyebrows. They are going to occur along that line. This here is right between the eyebrows. If it helps, you could put a little cross there. If you have a look here and here, you should have two spaces that are pretty much the same minus slightly out. And I think it might just be that my curve at the bottom needs to be just a little bit more. One that joins up with this oval here. We've got one space, we've got another space which is about the same. Then we're going to add on a third space which is the same length as these two spaces. One, it's going to be the same length as this. The same length as this. We can make a little mark here. We've got that mark. We can make another mark here and then another one down here. That's going to be a chin. Go through that process again. Steve, we're getting near. We've only got a couple more steps to go. When you put this over here. It should be cut in half by that center line. Because this person isn't looking up or looking down, pretty much looking straight. A heat and net direction to the side. This should be cut in half by that line as well. Actually, I forgot to put the center axis in here. If you think about it, this side plane is flat. It's like the flat side of the head. So you can actually edit that a little bit as well. Rather than it being a curve here, It's gonna be a straight line. You see on this one I've got to even spaces here. Something was not quite right here. I think maybe my circle is not round enough. Was a little bit squat. If you remember, this is a space between the eyebrows. We've got skip here and then this gap here. And then from here, from the center of the eyebrows, we're going to go straight down. We're going to find the chin. It's going to be the same. Distance from this line is the sign is from that line. Effectively we've got three thirds again, kind of like in our other method 123. This one is the chin. We can add in the jaw line now, going to come up to this line here. The jaw line on the other side. This line here we already know is the eyebrow line. So if you want to, you could put in some eyebrows. There may be even some eyes. Just drawing little silly ones. They don't need to be realistic. This Mac here, this is the line that matches, meets up with the bottom of the oval, that is the nose and it's the base of the nose. If you think about people's noses, sometimes they are much bigger. They can be quite long, narrow, they can be wide. This is sort of the base of the nose where your nose joins your face. And then the nose is going to come out from here. You can see it might be a person that has an overhanging nose. That Mac there is always the very base of the nose with a nose goes in and meet the face. You can feel it on your own face. This is a chin. What we do here is the same as we did with our other method. We divide it into thirds. We've got the mouth. Then hit tempo of the chin there. This third here is the hairline. The top of the skull. Here is going to come down to this point usually again, depends on whether they have a receding hairline or bangs. But this third here forms the forehead. Let's go ahead and just put in some here. Here is going to go up above the skull. The ear is going to go this quarter of the side over. 9. Using The 3D Head Method Pt 2: We're gonna do one more down here. And this is going to complete it. This just one more step we're going to add in. We can draw the face and a little bit more detail if you want to. So I'm going to draw this one a little bit bigger. If you are going to add in some more detail to the face, then keep it nice and light at this stage. Okay, so we've got our circle, we're going to add in the vertical axis curving around the ball because this person is looking off slightly to the side in a three-quarter view. Horizontal axis. We're doing this in quite a generic way if you really thought about it, the center point of the sphere might be a little bit higher because it's, it's around the other side of the ball. So there could be a bit more of a curve here that we're trying to keep things simple at this stage. What next we need to add in side plane? This is an oval at the moment because we can still see part of the front of the face. But if this person turn directly to the side, this cutoff area, if you imagine a ball that's head, the side cutoff would be a circle. If the face was turned more towards us, it would be a narrower oval because we can't see as much of the side of the face. So we're up to step four. We're going to add in the cutoff part of the opposite side of the face. It's not a totally vital step at this stage, you might find that it works to having it as a circle. But when you come to draw the full face, you might end up with a little bit jutting out. And we're going to draw in the axis of the side plane. Then we're going to add in how forehead line, which joins up with the top of the oval of the side plane. And we're going to add in our nose line which joins up with the bottom. We should have two spaces that are pretty much the same. I think mine's a little bit out again. We've got forehead, we've got eyebrow. We've got nose, is going to be here and we're going to draw a line straight down. So remember not to move it all the way around. Sometimes it's a bit of a curve to the front of the face, but it's fairly, fairly flat. If you put your hand up against the front of your face, excluding your nose like to either side of your nose, you'll feel that it's quite flat. Remember the distance between the nose and the chin is the same as the distance between the nose and the eyebrows. Maybe a little bit lower you can add and the jaw. And the type of joy you have, whether it's going to change person to person. If you wanted to, make it quite angular. You could, or you could make it softer. That might depend on with your drawing a male or a female as well. Also going to draw the other side of the face. A little bit of a bump here, which might be with the cheek bonus coming down and then coming inwards. And we've got the nose, we could put in a line for where the mouth is going to be in with a dimple of the chin is going to be, remember the ear goes in this bottom quarter. The side plane. There's one more thing we're going to add in net is a line that curves from the center of the oval of the side plane, curves down and meets the chin. And it just helps to define more of the side plane of the face and the area of the jaw. And it usually also meets up with the cheekbone might be as well in here. Once you have this, you can go ahead and add in some of the details of the face here. Maybe the neck if you want to. Before I do that, I'm just going to rub out some of these lines a little bit so that you'll be able to see what it looks like when I go over top with the details. And I'm not drawing from a photograph for anything. I'm just making it up in my head. So it's not going to be super realistic, but just so you can see how the proportions fit. And you have a go as well. And could draw another one next to it if you want a bit more practice. We're now drawing the nose. I'm just using a circle for the ball of the nose and then an oval for the side of nodes, the side of the nose, that wing of the nose. For the eyes. I'm thinking about two or three straight lines on the top and then two on the bottom. This one here will be hidden a little bit by the nose. And it might be a continuous line that comes down from the eyebrow. Those are all things that will come with practice. It's a really useful technique to know about. And especially if you're having trouble with getting the head to look like it's three-dimensional. This can really help you suss out where's the side plane of the face and which direction are they facing? Are they tilted up or tilted down? And I tend to use a mixture of the first method that we did, the central access method. In this method, the luminous method. If you have probably underused this when I need to check something or I need to figure something out and I'll just be thinking about this method. I won't actually be applying it and drawing and all these lines. But it helps you to identify the side plane or other areas. The tilt of the face in the head. The thing this is going to be a male. I could make it a female. Maybe soften off the door a little bit in the nick here. And then I can add in some here. So remember this is the hairline, but the here will come up above the skull. And I mean, it depends on what kind of here cut the HIV as to how high up it will come. It will come up a little bit, at least if they have here that is. And it's going to come down here towards the ear. She looks a little bit, little bit angry. Then this part here is gonna be usually with a cheap bonus. There. I've got a little bit too much of a chin on the side. It's making it look masculine. So you can play around with those things as well. It's kinda fun to come up with urine faces. You put a cheekbone on the side as well. 10. Next Steps: If you enjoyed this class, you might like to take my other classes on drawing realistic eyes, drawing realistic noses, and drawing realistic mouth's to take your portrait drawing to the next level. Thanks so much for joining me and happy drawing. 11. Bonus: About The Planes Of The Face: What is a plane? A plane is simply a surface that faces a particular direction. For example, if you think of a cube, It has a top surface or plane, a bottom plane, two side planes, a back plane and front plane. In its most simple form, the face has four planes, front plane, two side planes, and a bottom plane. Why do we need to be aware of the planes of the face? As light hits a surface, it reflects back off it. And that results in a light tonal value. A plane on a three D form that is not facing the light source will not be lit. It will be a darker tonal value. The position of the light source will determine how much light will reach the different planes. For example, if the light source is coming from the right, say from a window, then the right side of the face will be fully lit. The front of the face may receive some light, and the left side of the face will be in shadow. We need to be aware of the planes of the face so that we can more easily identify which surfaces are light and which surfaces are dark, so that we can get a realistic sense of form. In its most simple form, the face has four planes, the front plane, two side planes, and then a bottom plane underneath the chin. When we bring in the other features of the face, the number of planes is going to increase. We have the four planes of the nose. Then it's going to become even more complex when we add in the planes of the lips and the planes around the eyes. As light hits the surface, it reflects back off it. And that results in a lighter tonal value. In this simple representation, the light source is coming from above. You can see underneath the eyes and some parts of the lips underneath the nose and underneath the chin are all in shadow. The position of the light source will determine how much light will reach the different planes and how light or dark they are. For example, if the light source is coming from the right, say from a window, the right side of the face will be fully lit. The front of the face may receive some light, and the left side of the face will be in shadow, and vice versa, if the light is coming from the opposite direction. Now, this representation is actually quite simplified, and if you look at a face carefully, you'll see that there are a large number of different planes. When you consider the surfaces of the eyes and nose and mouth, the cheek bones, the forehead, the chin, and each individual plane will be facing a different angle. No matter how small the difference in drawing terms, each of these planes will most likely have a different tone or value. However, don't get overwhelmed just yet. We can simplify matters by focusing on where the light source is coming from. Have a look at this face and see if you can figure out where the light is coming from. Look for the parts of the face that are the lightest and look for the parts that are the darkest. Are those planes that are the lightest? Are they upward facing surfaces or downward facing surfaces? This photograph is not high contrast, so it can be difficult to see but have a go. Where do you think the light is coming from? If we exaggerate the contrast, then it's much easier to see that the light is hitting the cheekbones. And so it's coming from up above. And also the right side of the face is a little bit lighter, so we can assume that the light source is coming from above and slightly to the person's right.