Cómo dibujar la cabeza y cara / rostro / retrato con Steve Huston con subtítulos en español PARTE 1

hi I'm Steve Houston and I'm excited today to bring you a free headd drawing lessons over three hours of content and this is part of a much bigger series over 15 hours of content you can find the whole series at new Masters academy.org I hope you check that out but for now let's get to it and try and draw the head with basic instruction and good confidence this is my basic head structure class I'm going to show you the basic drawn structure for the head all the major planes uh the major shapes how the features set in terms of construction lines we'll get that basic information down we'll do some assignments with it where you'll draw a little bit with those ideas I'll draw a little bit with those ideas we'll look at the Old Masters and see how they did it and then we'll bring it all together at the end and hopefully have a good basic constructed understanding of the the head by the end of class so I hope you join me okay as we start with our head now I think of the head is the first gesture of the body we're going to talk about the gesture and structure here the heads the first gesture as we look at the art as you look at me you're going to look here first and then move down through so if this is a book chapter number one here we have to get this right and then everything follows from that in fact we can use the head as a yard stick to measure the rest of the the body make sure it follows so we want to get that head working and we're going to make it out of the anatomy here we've got two major anatomical uh elements we've got the skull the full round shape of the skull and then we've got the mask of the face that holds the features those two shapes have to work together and we flow off that all the detail we'll talk about are going to work on these great structures so we're going to start with these great structures so let me set this here and we'll get going let's talk about the proportions first if we look at the shape of the skull it's going to be an egg shape now as we go through different characters and we'll save that for a different chapter but if we go through characters we'll find that egg shape can change in proportion it can can be a little more spherical it can be a little more elongated we're just going to do a basic egg shape here it could be this it could be this anywhere in there that's going to be the skull from a profile like so it's going to be crucial to get that egg right I'll show you why in a moment because it's going to uh give us a good connection to our next problem but we're going to draw that egg now if we saw it from the front view or the back view that egg just like looking at a a a breakfast egg in Dawn would be a spherical shape and it will be masked behind the features I'll show you that in a moment or it will be the skull that we see and we'll see that also uh momentarily shape of the egg that's our first shape shape of the feature mask mask of the features now we can do all sorts of shapes let's do a different shape here for a second I'm going to do an egg and I'm going to do another egg now the advantage of doing another egg is it gives us kind of a roundness and everything on the body has a certain softness roundness maybe you're drawing a little child that's very round shape so that can be uh uh seductive to to choose that egg shape the problem is if we draw shapes that are too curval linear too rounded they start to get out of whack it start we start to have trouble getting their position so if we can feel notice coming back up here now we did the nice round egg because that was characteristic of what we saw we made the face shape I made the face shape a little square a little more boxy by making that second shape the mask shape different in character from the first it distinguishes them and also notice we have a sense of where one ends and the other begins so we can get a sense of where the face shape comes off the skull shape that's going to allow the position to be set more easily we'll get a quicker read of how that that position is now we know immediately that we're looking down slightly with that head whereas in here sometimes it can be a little bit out of whack what if we have a character with a really full nose and a receding chin you know we're not sure whether that would be right or that would be right it can throw us but if we're little square little flatter curve here rounder curve here it gives us a a good sense of positioning and that's what we want notice we can shortcut this I can also take this and kind of stylize it and simplify it and group the two shapes skull and face mask into one bigger shape of sailboat shape the advantage of this is it's much quicker much simpler the disadvantages then we have some work to do to get it back to that true skull shape but quite often we'll have a hairstyle say a a woman with a ponytail bun that'll cover that so we have choices there we can make it a little simpler we can make it a little more sophisticated we can keep it a little more open we can keep it much more completed and you can choose whichever you prefer what I want though is something that's simple enough for me that I can get it down quickly and effectively so that I can get it down have it work to build off of add other shapes to it or make it simple yet characteristic so it not only gets down quickly and fairly easily nothing's easy in art especially with the head but it's characteris ISC of what I see before me the character I want to draw the um thing I want to take simply and refine if it's still characteristic of what I see the refinement in this case shaving off a corner adding on some bumps and bulges that kind of stuff as we'll learn to do in a minute that's easier so whatever I choose in my construction I want to make sure it's simple simple enough that it's I I can get it down easily characteristic of what I what I see so it reads well right off the bat as a head that's looking down as a as a woman with a certain hairstyle and characteristics so I can refine it and turn it into a a advanced finish rendering if I so choose in other words I'm going to think like a sculptor I'm going to start out with something simple and then I'll refine it I will add to it take away from it build it and finish it now that's the structural idea and if you've uh have or plan to go to any of my basic drawing classes you'll you'll uh find that I have two ideas the structure and the gesture the gesture there's actually two gestures to the m to the head there the gesture of the skull going back this way let me switch colors so you can see that gesture of the skull going back and the gesture of the face going down if we draw it again you can see by drawing that simple sailboat shape it's one of the reasons I like it for quick sketches it's characteristic it's simple sure simple and but it still shows not just a characteristic shape that you useful but characteristic of the two gestures of the skull going back one of the big mistakes people make is they'll have the mask of the face pretty well set however they've chosen to do it but then they'll draw the skull this way they'll short give it short shrift it'll be the wrong proportion there's not not enough there to fit on a neck for example look how skinny the neck gets when you get that skull wrongly set but also we don't get that drift back we get a a rolling curve up off the uh face we don't feel that characteristic move back from face to skull and it starts to look a little alien oftentimes a hairstyle might be might fill out somehow and uh hide that drift back but we still want to feel it the other thing that we want here and notice I could make this much more boxy make much more Square choices rather than round choices so we have a Continuum of choices there notice what happens when I thrust that skull back with or without the hairstyle and I'm really conscious of that move back of the skull as opposed to that move down moving movement down for the face then I'm going to respect the fact that the skull skull sits up high at the top of our construction and that's going to give me a much better fit and we'll go through this idea of connecting fitting to the next thing the neck in more detail but notice that we come off the throat we come off the back of the neck we put in a little bit of shoulder line so you can get a sense of where we'd be going with that notice how high the skull and neck connect they connect very high in fact they connect let's do that so you can see what we're after visualize more clearly notice that the head and neck uh the skull and neck come together about at the ey line in other words if I check I'm always my own best model if I feel where the skull meets the meat of the the of the skull meets a meat of the neck look at where that is right there if I throw that skull off make an incorrect make it too much of a ball a little ball that looks alien or a really big ball like this notice what happens here the neck fits too low low now if you have a real heroic guy a Superman character you can kind of get away with that with the bull neck because the meat fills up and takes us up to that higher or at least close to that higher level there and we can get away away with that actually the books the very fine books by Andrew Lumis he uses this stylization but he's doing these heroic fashion models kind of fashion model meet Superman character and uh so he can get away with that cuz he's doing this heroic type but if you're doing the average person it's a quite different connection all right so again from the profile we keep that egg shape up high that gives us a sense of the movement going back we build the face down notice I could do this I can do this I can do this all those choices simply characteristic as long as it's that pick pick whichever you want or muriate others so gesture going back gesture going down this is the one that really counts if you goof this up we have the problems that I suggested but the the the reason I say this one really counts is this is the gesture that's going to then flow into the rest of the body as we move down so it's the face to the neck the neck to the Torso the Torso the hips legs all that good stuff so we want to make sure we're thinking of this movement down now let's look at the proportions here if I were to take this whole structure notice it's the mask of the face without the features without the nose sticking out without the eye sockets digging in it's the skull without the hairstyle but if I were to take that Bare Bones construction you'll notice that it creates a square that's just slightly longer in the face and slightly shorter in the skull okay so it's not a perfect square let's say this would be a perfect square it's a little longer if you're going to screw up a little longer yet and what that does is just give a heroic H chin and even if you're doing a woman it's it's uh it feels attractive if you get too long which can happen then that's a problem but just just a little extra going down and then notice once you add hairstyle and features nose pushing out haird pushing back that can reverse of course but that gives you a sense of the construction remember remember that well let's not remember let's just take this farther if we uh break this whole thing in half so equal part here there more or less again if I'm going to screw up always a little extra chin is the kind of the default ideal at least in Western Art in heroic art uh but if we get that half way point cut it in half that is basically the ey line here's the uh let me put a little bit of the eyebrow in there just so you can see it but notice the ey line where the upper lid meets the lower lid that's a halfway part point and again that's about about where the neck is neck meets skull somewhere in there if you ended up down here or up here you know anywhere in that range you're still good and more than likely the hairstyle is going to cover it anyway or the if it's a male with short hair you know the filling in of that more massive neck relatively ma more massive neck it's going to take care of it so we we without the hair skull to Chin cut it in half you have the ey line ey line to Chin cut it in half you've got the nose now it can be a little shorter a little longer but that's more or less the nose and when you say the nose not the tip of the nose but where the root of the Nose meets the mouth shap in there cut it in half again the edge of the lower lip on average and again if I have a little too much chin that's better than a little too much upper uh lip here upper plane and two little chins so I want to keep this a little shorter if I'm going to goof up that chin a little Fuller and bigger if I'm going to goof up it's always nice as an artist to know which way to screw up where to error so if we generally as we go down if we make each thing a little bigger than it should have been nose slightly longer chin slightly Fuller NE then the neck a little longer than it should have been the Torso the limbs the legs all the way down adding that length it just looks more statuesque or more heroic that's usually in Western Art especially in Western Art is kind of taking over the world aesthetically at this point um with lots of exceptions but just in general that's going to be more idealized that's why women wear the high heels longer finger fingernails low cut gown here to putting the hair up it creates that length that seems more beautiful more idealized let's look at the front view then let me go back here if we come across to the front now I'm just going to B do a sphere and notice that the ey line here let me switch here one more time notice that the ey line which was our halfway point wasn't the skull the skull could have been where the skull meets the the uh neck could have been at that point could have been lower could have been quite a bit lower could have been down here so it doesn't necessarily have any correspondence could even be higher in some cases so that skull is coming down and Crossing that eyeline point at whatever place it crosses it but the bottom of the egg is a little bit different the bottom of the egg we'll make that a little bit Fuller down here in general if we cut the egg in half of the ball in half I should say if we take that spherical and cut the ball in half one half two halves add another half if I'm going to screw up up make it a little too long a little more of a half half plus rather than less but we can use that as a construction of the head making it a little bit more heroic in the jaw or not either way notice then what we have we have a head without the ears without the hairstyle put those on a second we have a head that is one twoes wide two Hales wide we put it down here two Hales wide and we have a head that is one two three Hales long so this is almost a perfect square it's whatever by whatever this is a 2x3 proportion two across three down and that's because we we lose the drift of the skull going back it's now hiding behind the face we'll see it uh in a little bit hiding uh the face hiding behind the skull let's do this so there is half the skull there's the rest of that round Sphere for the skull there's adding onto it the rest of the Mask of the face which adds to the other half there's are two by 1 2 3 proportion in that middle proportion that middle half the ears will tend to sit in there they can drop down quite a bit lower they can every once in a while rise up a little bit higher although that looks a little wolfish when you do that little like an elf or something but the ears tend to sit somewhere in that middle third they tend to be symmetrical although you'll see a lot of people where one ear is actually lower than the other ear we'll talk about how to draw ear shapes later uh in detail but for now you can just do a little C shape a little egg shape a more chiseled boxy shape or any variation of that make it more rounded on the bottom Square on the top any of those you can curve these line anything like that is fine and we'll find that the cheek the side of our skull egg is overlapping that ear and hiding some of it and so we we want to have a sense of that idea overlapping it's behind and Below but the ear sits in there and then this same rule is true of course what it's going to be true from a profile will be true from the front view let's just switch back to this so if I went back to now my full shape and cut it in half let's say here this would be my eyeline in there that's where the upper lid and lower Lids if we just think of it as a real simple almond will have to be more sophisticated than that but the ey line where upper lid meets lower lid if it was a little Egyptian be where the makeup line is that's more or less our halfway point and it's better to make again our halfway a little more chin for Heroic reasons without the hairstyle and then if we cut that in half that's more or less the nose the root of the nose where it meets the mouse not mouth not the tip of the nose it might turn up or might hook down uh in relationship to that and then if we split that in half right in here then that would be where the uh lips set on that construction line that halfway point is where the lower lip rests the rest below that is chin in here okay now when you do this front view again it's not it's without the hairstyle but often times you'll lay this out and you go okay I did everything I was told to do it still feels funny sometimes you'll lay that out and you'll realize that you've drawn the whole face and you haven't really drawn the skull and sometimes you'll need to come back then and add a little bit more skull and maybe even add a little bit more skull up this way and once again if you added a little extra chin below than adding more skull above you're Bal you're balancing out it's not going to look funny it's not going to look like an alien with a little face down here squished or a little infant fetus kind of thing so um having that extra chin can help for that CU it's real easy from these front views to draw in effect an egg that's a real quick version of this but notice when I do that it has a a certain character it's the width up here is equal to the width down here whereas here even with a strong jawed male we're going to have the shapes diminish down towards the chin and fill out towards the skull shape and so it's more of a true um you know chicken egg kind of thing where it's tapering down it's a trer egg rather than just an ellipse the other thing I'll do sometimes is notice how adding that square mask of the face that we talked about earlier squaring this out a little bit when I do that notice how this line and this line are now parallel to each other and in fact they're parallel to the center line we draw a imaginary Center Line so that we can space the features we have a little bit of nose on this side equal amount more or less on that side we have a little Gap here than the eye starts we have the same more or less little Gap here than that eye starts so we have that that symmetry the eyebrows arch up arch up and they're going to be symmetrical give or take an expression or such off that natural Center Line and as soon as we draw then rather than the a a pill shape a capsule shape notice when we're thinking that way then our Center Line tracks in these more difficult positions and then we have the tapering chin that is very square into the off the jaw or we have the rounder chin that rounds smoothly off the jaw whichever the character suggests younger feminine childlike be a little rounder Square more heroic more exaggerated superhero-ish more male little square take your pick and once again As We Lay this stuff in split it in half there's the eyes eyebrow line somewhere over there we'll look at that nose lips the rest is chin and you might say whoops I gave him too much chin or her her too much chin and you can trim it off before you move on to the next idea we'll figure out how to add that stuff on momentarily and then you say well I got to get my ears they somewhere between the eyebrow line and the ear incidentally come back here up to that third again and you can see the arch of the eyebrows just on a broad average you know the depending on the Expressions the character the arch of the eyebrows can be at that third line so notice that I can de design the proportions of this head based on halves cut it in half you have the ey line cut the lower half in half again you have the nose line cut that lower half in again you've got the lower lip lower edge of the lower lip line so having it down gives you your information or we can do it in thirds we can say from the top of the skull without the hair down oneir that's the eyebrow line down another third that's close to the nose line down another third you're at the chin the hairline would be inside that breaking that up so there's several ways to do it but in any case we'll go in between the eyebrow line and the nose line for those thirds one3 whop one3 2/3 3/3 so nose to Chin it's a 3/3 eyebrow to nose is the middle two3 the one the first third is the top there and then we add our ear somewhere in there symmetrically placed and then we realize whoops we need a little more skull maybe because we just drew a capsule that was perfectly symmetrical it showed the face shape didn't give us that Fuller skull shape then we build off there to build the uh the hairline and all that good stuff in the shape of the the uh styled hair and all that okay so that's our basic idea coming back now to this once I've got a good chin good back of the skull however I've done it good chin good back of the skull can be rather uh sophisticated very sophistic more so than we do here more like we'll do later or the simplest possible choice in either case there's simple relatively simple yet characteristic I can find now the neck right off this chin notice what happens here the chin goes back this way that's called the you get at some weird angle it looks like a cutout cardboard you know Halloween mask with your cutout features on there and it's not convincing so what we need to feel is that bottom plane to the face it gives it thickness that's called the digastric plane it gives thickness here from different angles as we'll see later uh we'll find that uh more clearly and it it will give us great volume it'll keep this from looking like it's flat and cut out because notice we're we're working on a flat page and yet we're trying to get the idea of volume that's always a hurdle for the artist to to jump so we go along that digastric plane and then we go right down the throat and if there's a big atoms Apple we ignore it and swing back and unless you're a ballet dancer or a soldier at ATT tension usually there's a little bit of sag I'll exaggerate it little bit of sag so that neck to Chin from the pit of the neck to the chin thrust forward and that gives us even in a fairly upright view there's a thrusting forward it has this beautiful movement forward and we'll find that that becomes a dance of forns so plays all the way through the body so chin through the simplified neck to the pit of the neck anywhere in here is fine you made it a little too long you made it a little a little too swinging back or a little too uh not quite thrusting forward enough anywhere in there you're probably going to be fine notice that making it too long is a b much better mistake than making it too short length for the next form form number one form number two construction number one construction number two each time the make it making the next structure all the way through the body a little longer is a better error better mistake to make usually than the reverse so but anywhere in there we're good so let's pick one now I'm going to come off the back of the skull coming off the back of the skull anywhere in here is good your only real guide will be not to make this too skinny or too thick make sure the neck it speaks to the character of the model is it a big bull neck guy or is it long and wh wispy neck make sure it rings true for that and if you're a little off it should have made a little chubbier should have made a little skinnier you can always add more on later as you uh come to that realization so as long as you're in the ballpark you're good and notice this great change here notice how low the chin starts I'm sorry the neck starts in the front and notice how high and it may not be that high it could be you know anywh in here again you have room for error but notice how high let's just pick this one let's say in the middle notice how much higher the neck connects to the Head structure in the back okay connects very high in the back connects very low in front and getting that high low is going to be what gives it credibility and notice when we put on our costumes here let me button this notice how my shirt tracks that same high low notice how the collar sits up high in back and sits down low in front following that same torquing Dynamic of the neck that's going to lead us in a very interesting way into the body we'll see that a little bit later again tease tease tease on that if it should be a little bit fatter it's out here anywhere in there is good as long as this is Ballpark and as long as that sits up high so my two parameters are to make the thi the neck in the ball park of the correct thickness don't make it super skinny don't make it super fat if it's way out here it's a problem if it's way in here it's a problem somewhere in that midrange of thickness and make sure the neck connects into the skull or underneath the hairstyle maybe the hairstyle does this make sure the neck feels like it connects to that skull up high in back and make sure that it feels like it connects to the face down low in front and you're good now if we go to a front view we will find on a younger model child young adult you'll often times get a thinner neck not every time but just on average so if you make it thinner it's going to look younger and or more feminine if you make it thicker it'll look more male little older mature and more heroic in here all those and if you then get very aged model it can thin out again on you but if you want to do a heroic mail as Lumis did as I mentioned before you'll make the neck almost as wide or as wide just depending as the jawline on the male if you want it to be more feminine or younger you'll make the neck a little more narrow than the fattest part of the jawline somewhere around that nose line basically where the nose line is that's the widest part of the jaw because it's coming off that big ball of the head the skull before it tapers to the skinny narrow chin so anywhere in here is good the only time you're going to make it much bigger is if you got some lineman for the 49ers you know some football team some big massive uh um athlete type bodybuilder you know all that kind of stuff or you're drawing a superhero a character that's hyper heroic you know comic book uh Captain America The Hulk that kind of stuff but with the normal average person average uh mature athletic male you're not going to get any wider than that so notice when we add let's do it again down here when we go down low in front high in back pay special attention to the thickness of the neck and correct accordingly we're doing an hourglass kind of shape now the head can really articulate on the Torso and twist that neck into all sorts of stuff back and forth you can pinch it like an accordion stretch and pinch like an accordion but in general most of the time you're going to feel that hourglass idea that kind of thing going on so when it's more profile think of The Hourglass when it's more front or back view think of the tube just a simple tube and it's a tube that stiff and straight if it's a guarded attention or it's a tube that is curved if if the head's in some in some dynamic position in relationship to the body so it can curve off like so all right so now let's start looking at other positions here we've got the basics what happens if we get behind well from the front The Mask shape with all the features dominates the skull You Don't See Much skull in fact drawing that capsule or that tube idea shows you you can do a pretty good head and then you just fill in with a little bit of skull you missed but on the back view it's all skull and the face is hidden and that creates a different set of problems so what we're going to find and again we are our own best models so we'll notice that the skull is now facing you guys facing the camera facing the viewer in our artwork and I notice it goes down into the neck of course whatever hairstyle in there is is in there but headed uh skull and neck flow together and the face is around the front hidden so that's as I said it's going to create its own set of problems the big simple shape is easier we don't have all those pesky features to plot out carefully in proportions halves and thirds and all of our choices and proportion but it's going to be harder to place this thing in space and be effective with it because it's going to be real easy to make it look like a lollipop just a ball on a stick and it's not going to be very satisfying so what I'm going to do is I'm going to take special attention to how the neck fits and let's go back to the front view again and do a quick version of our face and we've got room for air on all this kind of stuff do that just do that much so you get the the sense of things and then we had that tube of the neck from a front view we said and we just kind of stopped it there it was curved or it was straight but it was just a tube the fact is when I'm learning any particular body part the head the hands the rib cage whatever it is I want to pay some attention in fact I want to pay special attention to how it connects to the other or others the other body parts so I want to know how the rib cage connects into the shoulder girdle and into the head and neck and definitely how it connects down into the pelvis I want to know how the thigh connects to the hips and down into the lower leg in this case I want to know how the head and neck Connect into the shoulder line and then into the rib cage so we're going to talk about that a little bit we're going to depart from our subject so that when we get a Mastery control of our subject get confidence in our subject then we can integrate that into the whole figure that's probably our goal and even if we're doing a portrait a bus shot you or portrait commissions is our our bed bread and butter then we still need to show that connectivity very seldom or we're going to have a floating head without anything to it so always pay attention to the connections and when I'm drawing from life or drawing from reference I'll spend several drawings maybe every fifth drawing working on the connections or if I have more time I lay in a good head then I'll go ahead and lay in some of the connective tissue the connective shapes for the shoulder line say so I can feel how it moves into that New Hole so if I was drawing these two together and I had more time I'd go to the connection at the elbow spend more time drawing and analyzing that so I feel a more uh confident and a truer connection there for my audience and better understanding for me so the connection the joints uh are key the transition points where you go from one part to the next are key in our understanding so we need a little bit of information so head and neck now pit of the neck will be somewhere down here again another third of a head so you can use a skull or hairline with a heroic pose and with a fuller skull notice how actually the hairline is a good place to pick a third one3 2/3 down to the nose 3/3 down to the chin notice I didn't do all that great a job in doing my thirds this is too much this is too little maybe this is just right and it's still forgiving isn't it it still feels good good enough and if it doesn't feel like a likeness of our model because we're drawing some big chin fellow we can always add a little bit more if we need it so we've got room for air we don't have to nail exactly if we're sculpts we can always add a little extra clay later or take a little clay away as we need this goes down the neck will end at the pit of the neck in front as I said it's another third equal to these more or less if I'm going to screw up better to make it too long and make it more of a half often times if you're doing a statuesque woman you'll give her a longer neck it's more attractive it seems to be more in terms of the uh the GRE or Roman classical sense that longer necks more attractive uh the male bull neck a little shorter is fine so anywhere from that third to half range gets us to the pit of neck let's stay with the third which is usually more accurate on average now what I'm going to find is I'm going to have a shoulder line and the shoulder line can be you can pick out any of a number of anatomical points and I won't go through the minutia of that but anywhere in here is fine anywhere where you go from top to side that shoulder line into the arm transition here here here we've got room for error doesn't matter pick a spot you can pick it right at the collar bone or I'm sorry right at the pit of the neck or it can be a little bit above uh anywhere in there usually it's a little bit above is usually more accurate because we have that slightly hunching posture that I talked about and that drops the pit of the neck if you come up like this at attention then it get up closer to the shoulder line but anywhere in there is great shoulder line and then we're going to have the shrugging muscles the trapezius and they're going to take us they're going to be the transition shape to take us from the tubular neck out to that shoulder line and it's just a sagging triangle but it's a triangle it feels good to do that so sometimes I'll take extra time just to squeeze it but basically what I'm looking for is that goes right behind my neck where is it going behind the tube of the neck here's the tube this is a top and back muscle it goes down all the way to the midback trapezius and it's a shrugging muscle it does this basically so all I'm going to do is do a sagging triangle the skinnier I make the neck the more I sag it the younger and the more feminine it will seem the thicker I make make the neck and the Fuller fact it can bulge over this way even if you're doing a heroic character the Fuller I make that triangle it's going to look more uh more mature not old as an elderly but more mature and more male and also more heroic goes with that of course so Superman might be here star football player might be here the average guy on the street might be there an old man or woman might be way down here but anywhere in there is good as long as it's similar to what we see characteristic of what we see typically it's a sagging triangle as I said and so notice that we have we'll just default to one type now the the more heroic male this is the neck coming from behind the face coming down and it just Fades away actually in subtle ways it will deal with at in another lecture group not in the head group and then this is the shrugging muscle going behind it so you can imagine it going way up and attaching to the skull and back we'll see that in a moment and then we have the neck in front of that sagging triangle the tube is in front of the T triangle the neck is in front of the trapezius and so if we were to draw this as just a really simple tube that we slightly underneath we'd feel that that's behind so now when we come here I'm going to do the same thing I don't have the mask of the face though I'm going to draw the tube of the triangle and I'll make it nice and fat and wide or nice and skinny however it seems appropriate I'll do that let's color code it it'll actually attach up here because there is the neck of our heroic male let's say right there attaches up here even though the egg sits much lower and it doesn't come to a point and if you felt back there you could feel that it's two cables basically that split around the spine and they have thickness so comes up like this sags down this way and sets on the shoulder line we're doing more male looking aren't we because that's a long fairly full let's make it a little Fuller trapezius and we have that nice wide neck that's what's doing most of the work and notice now over here we had the neck tube in front of the triangle now we have the triangle in front of the neck like so pretty sophisticated stuff there since we don't have all the features to Mark out this looks pretty easy now to me I just have to get this stuff um plotted out basically with construction lines and little dashes in effect for the placement the rough placement of the features I can just do this little kind of robotic schematic hairline all that good stuff that's pretty easy compared to this there's some sophistic ated thinking going on and notice that we had the chin I'm sorry the neck and then the mask of the face was in front of the neck so the face is in front of the neck and the neck's in front of the TR the trapezius the shrugging muscle from the back view it reverses the tri the triangle trapezius shrugging muscle is closest to us the neck is farther and the face the face unless we have a huge neck we'll see a little bit of face the face is farthest yet little bit of face little bit of face for that wider chin and skinnier neck relationship and then notice where here the ears were almost an afterthought we stuck them on because they're visible and they deserve to be there but they didn't really add a lot of information uh any new information to the mix it was just plotting out one more detail like picking out eyeglasses I put on eyeglasses not really giving me more information just a new shape in there and then so from a front view the straight on front view the ears don't add much other than a more refined character of what we were seeing but here the ears are going to be much more important because they are going to be the only feature that we see all the other features are hidden around that far side so drawing those ears are important and notice how I drew them I just drew them like this in fact I made a little double line or a thick dark construction either way and that shows the thickness of the ear as we get into the uh ear construction and we'll do uh segments chapters on each feature in detail there's a lot to be understood with each and every feature one of the things we'll notice is that c shape or whatever hybrid shape we drew for it has a thickness otherwise it's going to be flat and not be believable it'll have a thickness just like the mask had that digastric plane thickness idea so we could draw the ear from a front view like this to show that thickness think of it as a disc a slice of a tube like that and so when we put the cheek on it we're seeing this much of that disc or slice and the rest is hidden from a back view then we'll see that whole back of the ear thickness here and that's what we're drawing so drawing a double line in effect shows us that thickness all this subtle stuff in here we don't have to worry about because it's just a construction at this point this is the simplest most characteristic thing we can do again it's in that middle third range uh but it's harder to see that isn't it because the chin gets lost down here the hair is here but we can't see the eyebrow line we can't see a hair line so we can't inch our way down to that or inch our way up to that position so it's a little trickier then you'll have the hairline will do whatever it does maybe a little duct tail shape in here or it's whatever you know long hair cover is whatever going on there but we'll just do that that sits in there and each of these little details you know you could have a little calx spiral here or this could be a bun you or ponytail hair any of those details will help and notice that we can take again the head uh the skull I should say the skull the face the neck and we can turn this whole thing into a simpler idea just a tube kind of this idea so I'm going to draw a tube and then here's my shoulder line let's say and then I need to go back through those minations we just went through let's say this is the uh center of the head is right here that's that there's the neck here's the uh ears here you can turn them this way if it's a complete back view you can turn them in the same direction if they start turning into a some kind of three4 so if this head is starting to turn this way a little bit and we can turn the ear that way and we can just place it in that midrange of the structure maybe we see a little bit of the jaw going into the chin before it gets lost maybe we don't that's that okay so that gives us a basis for connection we're not showing any of the the articulation yet of doing this kind of stuff we'll deal with that later but that gives us the basics okay the last thing I want I should have mentioned earlier I didn't let's do this that ear when we place that ear we said if we see it from a front or back view the ear sits in the middle third of the head more or less you can use the top of the skull or you can use the hairline I usually use the hairline feels a little more accurate it ends up making the features a little Fuller gives the chin a little bit more oomph when we use the top of the skull often times the chin feels a little shorter and the nose may be a little too big but anyway anywhere in there is good uh so the ear sits in the mid the middle section of the head there's a section on top there's a section on the bottom the middle section is where the ears float in more or less they fill up the whole section they're smaller than that they can be slightly below it or slightly above it but they're in that mid-range when we get to a profile we can see the same thing happening let's put our box back in here and notice the way I drew that bad teacher it should be a little less here and a little more here there's our box there there's our box there more or less without features or hairstyle a little longer in length a little shorter in width going across notice if we come in front of the ear in that Sideburn area cut it in half the ear is very close to the halfway point of the head there so the middle of the ear or the whole ear sits in the middle of the head from top to bottom however you want to do it the middle of the ear is at the middle or the ear sits in the middle third take your pick doesn't matter and also it's in the middle this way the front of the ear touches or comes very close to that midrange give or take uh features and hairstyle like so it sits in that mid- wrench that's incredibly useful because now look what happens if I take that same I'm GNA use the simplest possible shape now take that same sailboat shape if I take this section here and cut it in half and put it in there make sure it sits more or less in the bottom third but if you're off Su notice how this got much bigger it's got much shorter doesn't hurt anything really but you can adjust it down or trim it back accordingly but when I do that it feels like a nice profile like this let's do it again I'm going to draw that same sailboat shape and now instead of putting it in the mid area more or less I'm going to push it really close or fairly close to the front of the face when you do that now notice that the face the jaw the face always sits in front of the ear it ends in front of the ear it doesn't go behind the ear sits in front of the ear some people will uh draw that ear and then they'll put the face back here now it's got to sit in front of the ear look how little face there is now let me Flex this out a little bit I'll show you how to do this another time but just so you can see it there's a little bit of the nose little bit of lips eyebrow eyelashes hairstyle let's do this to make it easy on us there's the neck appropriate thickness we'll deal with how to articulate this later let's just leave it like that but notice if I push the ear towards the front of the face you've done this you've gotten behind the head the farther we push that ear to the front of the face until it overlaps it overlaps it slightly off axis overlaps it perfectly into a back view that ear positions the head this way in the rotation now when we've got a front of the face it's less important because we have all the features but once we get past the profile then those features look at all the features the nose and again we'll look at this more carefully later the nose and the lips and the eyelashes are overlapped by that cheek and jaw construction and we're starting to lose those so placing that ear let's do it again now I'm going to put the ear back here I'll keep it in the middle third more or less I'll make it a little smaller a little bigger anywhere in there I can always adjust it slightly if I need to but notice now when the ear pushes back getting very close to or equal to the back Edge more and less more and less more and less now we start to get a 3/4 view notice now if we did the center line of the features it'd be over here and we're in a 3/4 view in there okay so the placement of the ear crowd the skull you're more of a front 3/4 view crowd the face more of a 3/4 back view get the ears on the outside or very close to the outside you're in a full or more or less full back view put them on the outside and front didto for the front view so where you push the ear this way or that gives you incredible information gives your audience incredible information very very quickly about how it's placed in space all right so the ear is a wonderful thing and this is my the simplest of our choices is my favorite for these simple constructions if I'm doing a real careful portrait I'll break the shape of the skull down and the face carefully but I almost always start with this even if I'm doing a big painting with a big fully realized head it's just easier to place so let me talk about the ear again so as I said if we [Music] let me uh do this I'm going to full more fully realize that skull in fact I'm going to make it boxy because when I get into difficult perspectives the squarer I make things the more clearly it is placed in space it's the corners and the and the alignment of the sides that do our Vanishing points if we were to be that ambitious and give us a sense of true position if I do roundness and again look to my basic uh drawing lessons for a full explanation of this but the rounder things are it can have a good sense of rendered volume but it doesn't have great sense of position are you behind this ball or in front of this ball tell you get something else in relationship to it you don't know but here you know immediately how it's sitting that it's tilted facing tipping in certain three-dimensional position so the squarer things go the better in terms of working out difficult perspectives difficult proportions because we can break those Corners down into measurable segments uh and difficult Dynamic um objects so notice by pushing that ear a little bit lower from a uh just really generically let's do this and this one two three let's say those are equal and we put the ear right in the middle that way and this way that's a perfect profile we'd add on all the stuff I'll add a little bit of the stuff just so you can feel the truth of that idea that's a perfect profile give or take proportions of course of the character you're drawing if I move it this way it turns if I move it this way it turns if I push it up this way or if I push it down that way it's now going to turn and well not turn tilt in and out of the picture plane so by pushing the ear down a little bit lower I'm going to exaggerate it here and we'll see this better when we get some reference and we do more sophisticated versions of these things but for now this is as far as we're going to take it there's that kind of stuff again I'll help you work that out more carefully later but just so you can see in context notice how we have the ear less than an ear away from the chin or even let's say a full ear away from the chin but here we have an ear and a half or an ear and 2/3 from the top of the head that wasn't true here we were very close very close here so as the ear gets lower we start to get on top of it you can see it right here here's my ear somewhere in the middle now as I do this the Chin's receding so the ears getting closer to the bottom of the head structure and the skull's coming and revealing more and so we're getting visually more mass on top and then of course the reverse would be true push the head down we're on top of the head just like we're on top of a tube push the head up I'm sorry push the ear up and it's going to make us feel like we are underneath the head again I'll show you the subtleties of this in a later time I'm just putting them in now so you can really clearly visualize what I'm saying notice when you lay in these very simple shapes sometimes you have to modify them to make them ring true for that uh particular dynamic position in the simpler positions we can do simpler shapes in more Dynamic positions it's the difference between between looking at a box or looking at a box in the more Dynamic positions we have to articulate those shapes a little more carefully so you might find you need to lift a little bit you need to square out a little bit but notice also we could conceive this as a boxy form I'm going to make it very simple here again I'll describe and explain this that structural stuff later but we can make it rather boxy and so the ear could be on the side of the box and the features could be on the front of the Box the ear can be on the side of the box and the feat all the other features are on the front of the box or we can have it as a tubular idea we can conceive of this we underneath not a box but a tubular IDE and the ear is on the side of the tube and the rest of the features are on the front of the tube like so front of the tube and notice what I'm doing here just generically I'm going to make the eyebrow line is specifically the arch of the eyebrow the height of the ear that's not going to be true for every model or even most models but it's roughly true often times the ear will be closer to the eyeline but I love those arching eyebrows we'll see this when we get into more clear more sophisticated structure if I use the eyebrow line to the ear I have a natural construction line whether I'm doing a tube or a boxy idea a tube or a boxy idea notice that this is the eyebrow line and this is the movement of the ear and it can be a rounder conception or a square conception here's the eyes here's the nose we'll talk about how to do that here's the mouth the chin notice that I now I have to flesh out my skull or hairstyle to make it ring true there's a square conception there's the rounder conception chin is on the bottom of the tube or chin is on the bottom of the Box take your pick and of course we could do it egg like and we could do eyebrow line to ear eye line nose mouth chin adjust that jawline and again make sure that you're getting enough skull there often times you have to add a little skull on these things add a little skull or refined little skull okay and then we add the if it's more front than side we add the tube if it's more back than side we add the tube if it's more of a uh more side than front we can do the the uh hourglass idea if it's somewhere in between 3/4 you can take your pick do either one so this would work okay doing that to Hourglass in those three quarters all right so that's a basic head shape in basic articulating perspective no deep perspective we're conceiving it as simple forms simple shapes and it can be a simple shape that's Square simple shape that's more tubular simple shape that's very round it can be a hybrid of all those things uh the choice doesn't matter as long as it's simple yet characteristic with what we see it doesn't uh depart radically from what we see unless we're doing a radical piece of art and we're going to pay very close attention that whatever we do by the end of it we feel that the skull drifts back as the face drifts down skull drifts back face drifts down unless it's very close to a full front back view we're going to feel that skull having a motion back that it's distinct you can think of the part of The Parting of the hair if you have a hairstyle like this you know where the part is the part is going to run along that axis back into the skull all right there's one last point I want to make here before we move on if we look at our skull so we get this idea of our ear the ear is about right here remember the ear sits right behind the end of the jaw the jaw sits right in front of the ear so this is a Sideburn area of the hairline the ear sits in here and so just watch this little pointer my finger here as we turn this way you can see how the ear is going to crowd the face and eventually overlap the face that was the point we were making earlier and then as we come back this way the ear is going to let's do this for the ear I guess the ear is going to crowd the back of the skull and then overlap the back of the skull and so that ear gives us a great Landmark for how this turns especially in this back 3 quter range where we don't have the features as landmarks these features are fantastic landmarks for plotting out the structure uh the three-dimensional position of the head when we get into this three 3/4 back view back view to the other side we lose that uh that ammunition so then the ear becomes crucial so there we have it there and then likewise if we tilt say this is the top of the ear as we tilt the head down notice how the ear is now crowding the bottom of the face visually and moving well away from the top of the face so if you draw that ear lower in your skull shape your sailboat shape or whatever construction idea you're using is going to help immediately put that head in that top orientation and likewise if it comes this way and the top of the ear starts to crowd the top of the head now we know that we're getting underneath it again it becomes a great Landmark especially in these positions to show that so anyway that little point now let's move on to our Master drawings and have some fun okay now we have our Old Masters to look at we've got Hans Hine on the left and Raphael on the right and if we look at the Hine you can see the egg now notice we have a hat here and so the skulls up in here and if I draw that uh that basic egg shape we'd see the hats up here now remember when we do the egg shape though it's going to be much more accurate to what we what we're after if we make that egg shape a little fatter at the top more of a true chicken egg egg rather than a ellipse we can do that or we could make it more of a capsule shape which means flat on the sides and notice if we look uh towards the hairline the hairline I'm going to modify the hairline just slightly uh down into the lower jaw you can feel that kind of flattening there the problem with that is let's go back again let me um get that color back problem with that is she's got those wonderful cheekbones and so what I'm looking for is a simple shape egg or c but the most characteristic and so I want the uh sense of those fine cheekbones popping out let's do it this way and so maybe the bulging egg or you might even modify further and notice with uh this particular character we could modify maybe we use more of a diamond shape to show off those those cheekbones again watch that that diamond doesn't distort and lose the mass of the skull but maybe through the hairline we put a little diamond shape inside the egg so notice that it's simply characteristic and there's a a a uh nice range of variations we can do we can modify that shape it can be elliptical it can be capsule like it can be egg shaped that has a fatter end and a more narrow end it can be more diamond shaped and more and more and more lots of choices there round on the top square on the bottom you have lots of ways to go as long as it's simple yet characteristic you choose and if you're doing uh uh refined heads portraiture or trying to create bring in personality rather than generic uh a generic sense of a of a aad but a a personality head then you'd want to modify those shapes simple yet characteristic so you want to stay Nimble with that if we look at the Raphael it's chubbier features and so the egg is Fuller and rounder and more a little bigger here and uh more characteristically a classic egg whereas on the whole Bine we could argue for a rather squarish bottom here because of that strong jaw this uh this woman but with the Raphael that's not the case we're uh we're going in of course for the little baby here too we're going for that nice simple uh and much more true egg shape and in any of these cases there's great subtle variations of the of the final Contour it wobbles bumps uh sharpens up Smooths out does all those different things that a contour is going to do but that's in the finished stage so again we're making it simple yet characteristic and as I've drawn the Raphael uh the mother here mother and child we can see then simple construction lines show us the uh Center Line the ey line the eye brow line the hair line the line of the nose and the chin darken that up for us a little bit and so we can break that basic idea down in proportion just a general generic proportion about halfway now in this case it's a that's not quite true let's put it down there it's a little more than halfway on top the top is catching more and the Bottom's a little less and with a hairstyle that's even more exaggerated but she's actually the position of this head is actually slightly underneath this she's tilting forward so if we put a bucket on her head we'd be on top of the bucket that way so that means if we were to draw our Construction line that would stay the same this line of course then would turn this way and so the eyes are on a slight Arc moving over and as we find that tilt with the ears and such then we're losing as it moves down into the paper we're losing a little bit of face at the lower and it's getting a little shorter head's uh coming up over the top towards us we're getting a little bit greater lift of head and notice that what I drew here is more exaggerated version than what uh our friend Raphael has done and that adds even more skull to the view this one has more skull this has less skull and this has much less face and this a little more so here's an exaggerated version of the the slight tilt here this is a slight tilt compared to this one which is perfectly straight on and formal um and I'll notice that uh even the craftsmanship brings this out but just in terms of design when we have a very formal pose like this notice what it does to the feel of the of the piece notice how this is uh more distant now she has that character but that's one of the reasons he chose this front view is she's very formal and standoffish whereas this is a mother that has uh who's has great empathy and so we feel that empathy and we're drawn into it and so the slight uh tilt of the head off axis and the slight tilt of the head into the picture plane adds to that intimacy and that informal or uh compassionate View and then this little baby's doing what he's doing this way and the those baby proportions would have an effect that will save for another day once again always a big danger when we're drawing these egg-like capsule like constructions of the head notice that on this uh mother figure here I drew the egg without enough skull and so the skull would really be out here a head give or take the uh portraiture the personality the quirky uh proportions to the head but a halfway point and then we're going to build off that and notice that the uh the band of the Hat here acts pretty much as our hairline and so if we break it down into uh hairline and eyebrow line eyebrow line to nose line nose line to mouth I'm sorry to Chin those end up being about thirds now if you've got a a more Dynamic dramatic heroic figure you can actually go up to the top of the head should be say top of the skull minus the hairstyle and do thirds down Fuller nose and that's actually trer in this case and then the chin despite its strength chin and Jaws a little less so because it's a woman uh more heroic character especially if it's a male mature male it'd be down here and you could break the thirds but typically on a realistic figure if you're not trying to stylize heroism into the mix you go from hairline to eyebrow line to nose line to chin and that's your thirds ey line is below there and that's your halfway point top of the head to ey line ey line to Chin all right all right here we have petta in a more or less perfect profile somewhere around that and let's look at this from a couple different ways now notice this strong line here we want to be careful of that what I really want is the line of the face and I'm cutting off the features and specifically we'll see this more clearly when we get into the placement of the features and all their various structures I want to go where the forehead more or less where the forehead bumps into the nose right there and where the lips bump into the chin right there so these two points and then up somewhere near the hairline of course that can change radically depending on the recession and it can be anything close to that it doesn't have to be right on the money but in there now when I that's that's a gesture of the face going down that I'm going to build my structure my mask on the gesture of the skull going back I don't want to go down this way and make that more or less a right angle what I want it to do is rise up and back and it actually does just the drawing fools us for a moment so it goes up this way notice how that opens up there that angle opens up a little bit from a right angle if we were to do that sailboat shape it' be here or here anywhere where and there is fine if it were to be the egg shapes let's just bring this right back you could actually if you wanted to start with the Egg of the skull in here down in here anywhere in this range is good and then you come right off that egg again down to your construction or your gesture line for the face so this is an egg that has an axis going back but notice the way I drew it it's actually going back and up a little bit so again implies that opening up of that angle let's um make a clearer point of that look what happens if I go the other way like that it destroys the structure of the skull that's a that's bad news there or if we uh had the face coming down and the skull shape doing this we'll see a Raphael towards the end of our little series here and it suggests this and we have to be we have to look past uh a glance to see what he's doing there but if we do that where this is drifting down it destroys the the skull destroy you don't have enough brains in there to to be a functioning human being when you do that so we don't want to do that we want it to open up and then we can come off that uh back of the skull this way and do a modified triangle or as uh we said before we can use a simple ified hairline in front of the ear and over to the chin down here and feel the mask of the face that mask here notice how the ear the ear sits right in the in the center now he's just barely turning away from us and so that ear is crowding just a little bit in this case and it VAR from person to person and also Canon to Canon each uh artist and art movement will idealize or distort the figure uh in a certain way and so that will play uh sometimes quite Loosely with the with the facts but um in this case we have the ear the center of the ear as I said right in the middle of the head even without the little bit of hair hair lifting up so in there but anyway it's following our our our idea truly enough close enough to work with notice that how the top of the ear lines up with the eyebrow line that's one thing we want to pick up consistently wherever the eyebrow line is usually where the arch of the eyebrow is we want the ear to be at that or close to that and that's going to give us a lot of uh good uh material to work with when we get into more Dynamic poses as we will in a bit notice how the bottom the ear sits about at the bottom of the nose there and so the ear is sitting in that middle third and by keeping it well away from the top of the skull and well away from the bottom of the skull bottom of the chin face it gives us that sense that we're looking more or less straight onto this figure maybe slightly on top so uh anyway that the placement of the here in the middle from left to right in the middle region from top to bottom gives us um a sense that that's a solid basic profile all right here's a tppo and here you can see the simple construction uh idea never taken really any further we've got Mom here with a simple egg shape but since she's off axis she's in a 3/4 view then we're getting a little bit of the skull back here so let's go back look at that again and see exactly what our friend's doing here there's the center line of those features here's the eyebrow line or ey line the T idea notice how when we start getting into these perspectives we're starting to get off axis from from a perfect front or perfect profile then our T starts to get into Dynamic positions the uh head's tilting down so the te tilts were underneath and in a 3/4 view uh to the eyebrow line and ey line so the eyebrow and ey line tilt up and so that t throws off into a dynamic position so let's look at that one more time and there's several ways we can do this All right so we can draw our our sailboat shape and we can take in the whole head notice how we're going back here there it is there or we could have started with the center line going back and then add on a little bit more or you know start outside put the center line either way it's fine and then the eyebrow line or ey line I usually do the eyebrow line because you get those uh arching eyebrows or so are clear drawn in shape of the eyebrow rather than the uh a little vager sense of where the eye is uh so I use that to place it and then work off your your um proportions from there the other way we could have done this of course is the egg shape I would not I do not want to do an egg shape for the whole thing that's too crude that's simple but not characteristic there's two shapes going on here and as soon as we move from a front view towards a profile or even into a back view we're going to see the face shape and the skull shape so we need a construction strategy that uh that shows both so I I want the face shape as a mask and it could be rounder or Square here as much rounder another artist would make it square center line is right through there eyebrow line is right there ey line if you wanted that too is right there and then we're going to add on a little bit of the Egg of the skull notice as soon as we do that we're getting that gesture down for the face gesture back for the skull that we have to have let's look at our little baby character here here we've got the face tilting this way eyebrow line Center line sometimes it helps to do the construction lines first sometimes it's better probably usually it's better to do the big constructed face gesture structure there it is there and then we add the center line on now we end up with a that sailboat shape it's very pointy it's got those Corners so maybe because this is a b maybe we're going to go start with the Egg of the skull first because that kind of dominates we're in a 3/4 View and the head's tilted down and so we see that strong egg shape and then we add on a rounder mask here picking up our construction lines on that like so the eyes sit in here like that and you can mark off let's do it one more time there is the skull shape here is the face shape in here we can complete it through or leave it open-ended whichever way is appropriate since we don't have a hairline it's a little easier to imagine it is open-ended Maybe here's the center line eyebrow line in there you can see a little bit of the ear here right there's a little bit of the ear now notice that you've already have I'm sure the simple conception of this he's just breaking down ideas this is a sketch for a painting some uh mural painting so it's going to be up on some uh high wall or ceiling and notice that he's conceiving of this it's going to be this beautifully finished realized little baby Jesus uh beautifully lit beautifully rendered and he's just starting this out as an egg notice that the the whole conception of that skull if we remove it from the the face construction and from the Chara the idea that's a head it's just an egg and if I were to draw an just an egg and then light that egg with a light source that's equivalent to what we have here it would be very close to that it would do that or it would do that or it would do this it would do some version give or take a variation of what we see there and so drawing the basic Shadow shape of the forehead throwing the features into shadow in this case uh in any way that's any clo anywhere close to a simple egg on a table is going to be what we'll start with and that's a secret of making things up out of your head that's a secret of animating things conceiving things as so simple of an idea that we can render great detail on it we can move it in space and we can redesign it reimagine it into more Dynamic into alien eggs and uh monstrous eggs and heroic eggs and all that kind of stuff for for design uh let's go back to our figure one more time of the female and we can see how again the the simple conception of Mommy here the um eye sockets marked out give us a a clear sense of where those eyes would be but not very accurately there it's just roughly true uh this eye over here maybe drifts out a little too far to the left uh the nose gets a little dark here the nose is probably a little too short for it uh maybe even the uh face is a little long but probably not when you get the bottom of the chin here and the rest of this is the bottom plane the digastric plane in here but anyway there's there are or could be quite a few errors there we finish that off and maybe we find we should have had a little more skull especially with the uh uh cloaked head or the hairstyle all those little things you know it should have been here but it ended up here it should have been here but it ended up over here that kind that those little variations aren't a big deal and they'll be easily corrected as we move on through the drawing so as long as we get a fairly close approximation it doesn't have to be perfect you don't have to stress out about that uh simple but characteristic and as we simpli simplify it and give it basic characteristics it can uh the variations then don't matter the subtle inaccuracies don't matter they can be corrected or left as a stylization or as a Charming variation okay here we have another Raphael beautiful head one of the most famous uh drawings ever from the Renaissance and we can see again the simple conception in fact if you look at just the hair you can see the hair itself is rather egg likee isn't it you we can feel kind of eggs in here the even though and little eggs in here the Cur the uh Renaissance curls lot of roundness there eggs were huge in the Renaissance because eggs suggested uh the Christian idea of rebirth an egg was a potential Life coming into the world and so it was used as a symbol for uh for uh the religious painting that these often were this was a saint in this case and so it fits in with that but let's go ahead and look for our shapes now so we have a little bit of a dynamic position it's a three quarter View that means we're going to see a lot of face and and some skull and we're on top of the view that means the skull is going to dominate the face so we're going to see even more skull and slightly less face now when you get a very difficult challenging position and this is an extreme we'll get into that another chapter but it's extreme enough when we're starting out to give us trouble or subtle enough that if we throw off things a little bit we miss the the uh point of the position and it and it goes out of whack for us so if we have a a difficult difficult uh position or a difficult shape something that's challenging often times I'll go to the construction lines first me just mark this over here so I have that to sample later and here is that Center Line going down here and there is that construction line eyebrow line going here with or without the ey line take your pick so sometimes it's best to start that way then you can build on that sailboat ship shape and notice how far off let's say um this is the actual chin without the beard notice how far off your constructed tips might end up this should end up uh pretty nicely within let's put it here put it pretty nicely within the structure but these two tips can stick way out and we can chop them off later Let's uh do that again here this can come out here we can chop it off later like so just nip off those ends uh if we feel the [Music] need like that so sailboat shape or we always have several choices as long as it's simple yet characteristic let's say I'm okay with not uh putting in the center line I'm going to draw the mask of the face first I'm going to draw the simplified far side of the face I'm going to find draw the simplified cheer into the jawline in front of the ear I'm going to draw a simplified hairline so just like it was a cutout Halloween mask I'm going to conceive it of that this is going to get totally lost in this case in those bangs but that's okay I need a shape to work with I could come way down here but it's nice if I can canonize my proportions especially in the beginning and if I always draw the probably a little lower here actually if I always draw the um hairline then I'm seeing a shape of the same proportion give or take the character the model and not something that's radically changing because of a accident of uh of costuming and then I can add my Center Line right on down through I'm looking to where the forehead where the forehead meets the nose and where the lips meet the chin anywhere in there and if I'm off a little bit that's okay I can adjust it later or uh build around it later and it won't be a problem so there's my simplified idea that's a mask of the face that's not enough we need to get the shape of the skull and I'm going to look for the shape of the skull without the fullness of the hair and notice I have a lot of room for error it could be down in here feel okay it could be all the way out to the hair do just fine because the hair will cover it I like to get it fairly accurate though not because the skull matters it uh in this instance because it will be covered by the hair but because it will matter of often times in how well I fit that neck in construction so there's that hourglass idea of the neck let's get rid of this little pinch we'll save that for a later structural talk there's that hourglass shape and then I put in the ear at this point because it's going to help hide that binding transition between mask of face and hair it's going to show us how they fit together and in this case now if we come back and add our construction lines maybe we didn't do the center line let's do the center line now let's do the eyebrow line notice that the center line of the face and the eyebrow line of the features are all on the front of our shape so if we continued that [Music] around the bucket idea the bucket whoops let me adjust that a little bit we put a bucket on the head notice that the eyebrow line follows the front this case the right side of the bucket and the ear if they're lined up pretty well as they are follows the left Contour left side of that bucket and notice in that tilting also notice it's all almost always better to screw up the tilt of that bucket by making it tilt too much because what's our real problem here the real problem is to fight off this flat paper or flat canvas we're on and give the idea the illusion of three-dimensional form of tilts and tips and facing Dimensions so if we we know we have to fight that flatness to get the illusion to get the idea I'd rather overdo the idea a little bit to make it more exciting if I'm if I'm doing a comedy as a film as a story I'd rather it be too funny than not funny enough you can always back off later but if you if it's not funny that's tough tough to to fix it later so if you've got a real flat drawing it's tough to push into it three-dimensional form but if your form is a little too three-dimensional tilting a little too much it's easier to correct now notice what's going to happen when I pick up my let's just bring this all the way across here and we could uh take the hairline and let that be roughly the top of the tube and then notice that tubular idea whoops that tubular idea starts to break down when we add that skull going back we don't get a good sense of the gesture going back we don't get a good sense of how the back of the skull finishes against the back of the face there but if we continue that down notice that the the consistency and this is one of the powers of using simple constructed forms is once you have that construction concept the tilt of the bucket then that's going to carry through on all the features and affect all the features notice how all the features track that same tilted construction line on the front of our tube not the tip of the nose but from nostril to nostril from corner of the mouth to corner of the mouth or the very front of the lip or front of the tip of the nose the ey line eyebrow from Arch to Arch bottom of the chin and even in this case the beard is tracking that we so we have all and even the bangs the hairstyle tracks it with whatever little variations there are they're all tracking that same tilt and that's what gives that dramatic Dynamic illusion of that head in that lovely position and then the ear is all alone isn't it that's one of the the struggles we'll have is we have all this feature stuff on the front of the face to build nice three-dimensional positioning but we only have the ear on the side to do it at least apparently so so we're going to have to work at that to get that sense but eyebrow to ear does a lovely job of beginning that idea of that tilt and then there'll be other things like the jawline as it drifts up it's still giving a sense and exaggerated sense but the sense of that corner we'll get into that a little bit later but that gives us a sense of that notice that we could have drawn this uh any number of simple ways we could have drawn an egg and played all this stuff along the curvature of the egg jawline comes up swing all the way around from the eyebrow line over to the ear notice that that egg though is is exceptionally unsatisfying for the skull we've cut off all the back of the skull we've left it out so we'd want to add another egg going back so we get that drift back and get the fullness of the back of the skull that then accepts our lovely hairstyle there and also makes for a much more satisfying connection for the neck and body below it and then we could also make it boxier we could make it a boxy idea this way this way and then all the features here would set on the front of the box and um even the bangs and the um ear would be on the side of the box and the hair and the skull would sit on the top of the box some way we'll have to figure out and show the back of the box so we've got choices choices choices it's just a matter of which way you want to go and it's a great exercise to do as I'm doing here draw those old Master drawings uh either draw over them digitally or Trace over them tracing paper in a book or sketch them as you look at them as I'm doing here and make those determinations see which way Raphael lean did he tend to use one idea or another did he use all three tube box and ball okay here's another Raphael more dynamic position little baby here of course get that to the side and you can see now here again is that triangle idea here or since it's a round baby and the egg is so important to the Renaissance we can do as he did let the egg dominate since the skull we're in a almost a full profile and we're on top of that head there's a slight 3/4 move to that profile and we're quite strongly on top of the head and you can see how an accident a positioning this happens often times on male or on adult or child when you get on top of those the skull quite a bit this bottom of your constructed skull here gets very close to your ey line our eyebrow line actually both it gets very close to both because that skull cap that mass of skull is dominating the face in this case so we feel it there you're still going to want to be very careful on his position but uh you'll see that quite a bit and then here is the mask of the face in here like so and then the ear separates or makes a transition between those two constructed ideas now when you have something very round like this it gets real especially it's if it's in a dynamic position it can throw things off let me show you what I mean by that so if I construct this let's say I constructed the skull like this and I look at that model on the model stand or that photograph on my drawing board and I see that the eyebrow line really works nicely as the bottom of the skull and so I've sketched in but look what happened here I end up putting my eye and eyebrow line here and it distorts things off let's do this to make it worse see how distorted that is that's out way out of whack so rather than that I'll go ahead and construct it the same way I'll use my eggs because that's in character it's fair really easy to get big simple shapes in space in this case we have that domination of the skull on top of the face shape like this so it's almost this kind of idea you know overlapping balls in recession so all that's great to show the on top ofessa and I construct more carefully the end as a tubular idea or as the egg tilting in the correct position and I look to the fa the nose and the features now again the danger of these features are they're going around the other side here going around the other side and we can't see the other nostril we can't see we can't see the other nostril we can't see the other corner of the lip and so we see this thing and this thing and then eyebrow line this thing and notice when I just draw what I see they're all going in different angles and it's going to ruin the cohesion remember what we'd said before you know if we think of it as a tube the hairline the eyebrow line the eye line the nose line the mouth the chin all of those track together they have their own quirkiness the eyebrows Arts the eyelids maybe droop the nose sticks out the mouth changes expression uh on and on and on but they're going to track nicely symmetrically from one side to the other so again let's look at our Raphael and how deceptive this can be we look at these features none of them track and so we think well he's Raphael he doesn't make mistakes so I'm going to go ahead and draw what I see I'm going to draw this and this and this and this and your drawing is not going to look very good so what Raphael did and Raphael does make mistakes but he didn't make it here everybody makes mistakes in fact the Old Masters that makes mistakes they all did consistently we call that their style they've stylized the world into a direction that is not exactly real not true uh not photographically true but beautifully aesthetically true and most importantly whatever they've done it's consistent it's the inconsistencies that screw you off so a Picasso might well make them all go off in different directions because Picasso is after a different kind of truth but this character here notice that the eyebrows do track here's a center line and even though he drew the tip of the nose out and we can't see that other nostril it would be on this same construction line it would be over here same with the corner of the mouth it would be on that same construction line it would be over here and the chin and such too so go back one more time here's that Center Line going down where the forehead meets the nose where the lips meet the chin notice that the eyebrow lines he works very hard to tilt that far eyebrow up in fact he repeats it with the skull cap here's the casing of the skull intruding that little baby skull dominates the face in younger Critters and notice how those all track beautifully our construction line let's bring it over here and just make it a bucket notice how the skull tracks back up here here ey line tracks back up or eyebrow line whichever nose goes Its Own Way lips go its own way but chin track back up and then we'd add the big egg of the skull there so back down here chin tracks back up to that beautifully now let's look at the other features that failed us notice how we don't we can't get the other nostril but the tip of the nose tracks back up the lower lid of the eye tracks back up the lip the cupid doll curve of the lip even starts to track back up here and the lower lip tracks back up beautifully and so look at even when the accident of information throws us off at the wrong angles he works very hard to find places where we come back to the right angles here and here and here and here and here and here here and here and here and even the hairline is tracking that way more or less okay so it does track beautifully but in it's in a tricky way in a not quite apparent way to begin with and you could even see the tone over here tracking with the cheek Contour over here that also tracks back up beautifully all right so here we have Norman Rockwell it's a painting but of course there's still going to be these drawn truths we've been talking about in the painting or in a sculpture for that matter we can find them uh wherever so Norman Rockwell was famous for his characters each personality the male or the female the young or the old had uh a clear character to them they were Middle America and they were personalities and and even slightly charur as he'd play up so when we look at this uh young boy for example we're going to want to give a shape to him that is specific than different than the shape of the adult who's given him the lecture and so notice what our friend Norman here has done he's centered on a capsule shape and notice or it could be a a tipped over tube that bucket idea this way and it's tilted enough that the back of the tube the tip of the tube there let's do it over here is not exactly right but close to the final shape of the skull he's still given a little bit more back here to give that uh movement down and back for our or skull to face a gesture of the skull going back uh this way in perspective and the face going down slightly this way in a different perspective but in the linear uh idea they're almost in the same position but anyway he's picking up a capsule shape let's call it down here probably and so the very shape the simplified shape that he chose for the whole head started him out Simply like any of these choices would have but more characteristic to his final thoughts to his final goal and so by picking a shape that is specific uh it's less work think of as think of it as a sculpture if we get a capsule shape of clay that's going to be a lot less work to finish it out than if we got a big perfect spherical shape of clay so we want something that's close to the Finish Line that's going to give us less work to render it out things are going to fit better because we'll be able to see clearer truth of proportion and it's going to connect better to the next forms the neck the shoulders all the hands in this case all that kind of stuff and notice how we're going to want to draw through the interruption of the hands and through the Distortion that the hands create to feel where that chin would be and then it's going to get mucked up by the pressure of the hands against it uh so then our construction lines are pulling down this way and he's kind of he's slightly uh mucked with those construction lines hadn't he the eyebrow here is a little higher and the eyebrow over here is a little bit lower and that throws our construction line off tilt a little bit it tilts it rather than being over here it's falling down a little bit and he continues that with the nose the nose is tilting off axis a little bit and then the lips come back pretty well but the lower lip and Chin get tilted off and that's because of that pressure of the hand this hand's doing more work cuz he's trying to get away from this guy he doesn't want to hear what's being told him and so he the the uh simple uh construction of the capsule now has been slightly distorted he's he's created a a physical error in a sense to tell a story so this whole thing is starting to twist off so it's like the tube actually tilted away a little bit I'm exaggerating it but it's trying to get away from the lecture and we've all felt that at different times in our life and so he's bringing that that emotional truth into the constructed idea and that's good picture making that's smart stuff so anyway that gives us that sense Let's uh go back one more time now just take this [Music] out and uh pick this up there it is there and we'll just play this this way and this way and this way and go back to the generic truth and allow the when we draw the final eyebrow line all that kind of stuff will'll um we'll give those distortions maybe if we were to take it that far so there we go there here's a center line of course doing here doing this and as I said drifting off a little bit we can put that in or save it for later again get a more refined truth that Distortion idea later in the process stick with a more generic truth to begin with then uh let's look over at our fellow over here there is is that construction notice how the ear is pushing in a little closer to the front of the face a little farther from the back of the skull and that gives us a sense that he's turning away from us he's facing into the canvas to give his two cents to this young man who doesn't want to hear it wants to do anything to hear it so we've turned him in a little bit and notice what happens when that happens there's the construction line there and notice how if we were to pick up the brow and the cheekbone and the cheek and the chin notice how the nose and lips are behind let's play this up a little bit stronger and he's done a lovely thing he's even put the chin slightly behind that jow area and so notice how what that does for us and we'll see in later construction lessons how to do this exactly but notice how the construction line the what was this this line be can become the side plane the corner between where the side of the head sits and the front of the head sits let's do a a more dramatic construction see how that construction line there that just looked like it was the front of the face as soon as we start to get in this Dynamic that becomes the corner of the face and now all the features except the ear are around this the around that corner hiding from us partially and then the ear is the only fellow the only feature that is on that side plane and so it's doing this let's change that color it's doing this going around the corner really important interesting stuff and it was done let's do it one more time it was done at a really simp simple stage real simple conception let's do this here I just cut off those features they're going to go around the corner eventually but for now I'm just cutting them off because they're complicated and I'm getting the simple yet characteristic truth not the complicated Truth at this point there it is there or there's my gesture line of the face down it's so important and then I draw this shape on that maybe that's more comfortable for me and then I build this all the way through from the back or if I do that maybe that goose me up and I think that's a jawline put the ear in the wrong place so instead I draw the mask of the face in front of the ear that Sideburn area front of the ear down the jaw and chin and then the simplified hair line in here and then I draw the ear to show that that Dynamic transition between the two and then I'm going to come right back to the chin right back to the chin and I'm going to draw the simplified neck simplified neck let's make it really long so we can see that that neck's going away I usually don't bother doing the tube construction because because the neck doesn't last long it'll fall into the shoulders in ways that we'll see so there it is there what was simple can become much more complicated I can refine that hairline as it zigzags down in front of the ear refine the back of the hair uh you know add the the hair style on top of that skull construction uh and build from there okay so this is manise and you can see man uh the kind of the father of impressionism he kind of led the way from the more traditional looks of delaqua and a and and even Sargeant and that that Bunch uh to uh the the impressionism post-impressionism all the wild things like Picasso that came after he was kind of that transition Point very important character often times not looked at much uh By realists people who like realistic things they like Sergeant Moore buero or or those kind of things but he's great because he simplifies simplifies things down and yet that's uh that constructed truth is still there so we can see the egg you can see how flat relatively flat the rendr is if we analyze we'd find that all the structures the key structures are still there but he's simplified and flattened and we'll just leave it at that for now it's flat simplified truth highly edited truth but the the key information is still right there to be found and so we can see uh let's do this I guess we can see that lovely egg idea that doesn't work so well does it let's do that that lovely egg idea is right there right in there keep in mind again that when you draw the egg oftentimes you short shrift the skull so rather than drawing more of a elliptical leg I harp on that because I make that mistake and I see a lot of other people making that mistake a lot of students in class make that mistake so there it is and notice here we could end the uh constructed egg at the chin or include that fold under the chin that'd be the digastric plane that bottom plane you can do either one or as I've done here you could do both pick up both those and then here it's slightly tilted slightly tilted and slightly facing away not a perfect profile now when I'm trying to get the positioning of any form that I'm constructing I'll compare it to a grid to a perfect vertical and a perfect horizontal if I don't think of that perfect vertical and horizontal I'll tend to draw all my figures unless they're wildly dramatic in perfect vertical and horizontal so if I didn't look to it I probably would have drawn that like the whole bind where it was straight on formal looking at me like this a te that's perfectly standing up this te wants to tilt over a little bit and wants to face away a little bit and so we're going to have the center line crowd this and we're going to have the construction lines rise up slightly on the right and since we don't have this dramatic position like we did on that little baby Raphael we can clearly see the construction lines I'm just looking from the corner of the mouth to the corner of the mouth some point on the nostril or the wings of the nose across maybe the outside corners of the eye and the arch of the eyebrow and then uh the hairline does whatever it does but you can see how we could come back for a moment here find it here or maybe you don't see it here but maybe we find it uh here where B bump in the hairline we can track across if we could see both ears those would track across uh and so on and then we build the shape of the hair and and when I do the hair shape I want to make it simple yet characteristic so i' give these kind of rounded bun likee uh forms building on top of each other to make it characteristic maybe even a little bit of there and then uh the ear has been placed in there already and then notice because it's a female now the caller is hiding it a little bit but because it's a female young woman we notice despite the costuming that the is slightly thinner than the jaw and certainly the face shape okay and notice even through costuming even through interruptions notice where we see our construction lines so you just find some convenient point for a shoulder line and you can do that sagging triangle on there and get that connectivity of head and neck into shoulder girdle shoulder construction that will take us uh beautifully down into the Torso and Beyond Raphael again he's great I like his drawings because he keeps things simple he edits out all the uh you know the dimple lines and frown lines keeps it simple idealized and we can see those shapes more clearly and because he's Renaissance uh he picks up these round shapes you can see the egg shapes in the arm here all these little egg shapes and all the way through the forms or egg shapes all right so this one has a real danger to it and it's the danger of getting of just sticking with eggs in a way and we'll see that uh more clearly explained when we get into uh Stronger construction and we're going to find that the more constructed something is the more architecture we want to put into it the more dramatic positioning of forms one form overlapping another or the forms themselves being in dramatic perspectives we're way underneath there's three4 back view then boxing things out is going to be very useful to us the problem with eggs is they get so rounded that their position uh kind of throws us sometimes and so notice that the the wrap here the head wrap fits like this and when we look to that and then we do that face we get that uh dropping skull idea again that goose us up it doesn't look right so notice the ear is nice and low getting close to the bottom of the face farther away from the top that tells us we're slightly on top of this head maybe about this much but I need to feel that skull make sure I could get a skull let's put it that way all the way in there correctly and remember we need to have it um more than just a right angle it should open up a little bit now when we get way on top of this let's turn it into a box more slightly more dramatic position box notice that this does tighten up this this curve the right angle construction starts to distort into a pinching Angle now the back of the skull Rises up a little bit and that fights that but that position does kind of reinforce that tightening up of that angle but we don't want to do it too much so here's what I mean here's the uh construction line of the face and here is you can see that with this little sketching here the bump down in here there is the skull right there let me do it again in a dark line in a dark line that's what we're seeing there notice the difference now let me do it one more time construction line of the face there is the skull in its correct position he didn't screw up how about that and then the um the ear sits here that transition between the two notice that this bumps in here a little bit and this digastric plane actually even feels like it goes behind the ear and it does but the jaw itself is always in front of the ear so make sure you're aware of that so you don't attach the talking jaw back here somehow and again that ear does wonderful work for us doesn't it it shows by getting close to the front of the face it shows that we're turning away here turning away face is turning away and by dropping down from the top of the head it shows that we're slightly on top top of that what that position and then the head wrap helps even though it's going its own Direction it's still wrapping around the perspective of that tubular idea that on topess idea and we'll learn more about that again as we get more into more sophisticated positions and then here's that that neck going back beautifully we have a little bit of that bottom plane going back here'd be the other side of the neck if we could see through our construction our shoulder line is in here is in here going de into deep space this way and then we build on top of that so we only get a bare sense of that um sagging triangle idea in deep perspective all right so here we have tppo and we have a a back view and slightly underneath and so of course in our back view the skull dominates and you can see this growth pattern uh gives us a sense of the back of the skull and if we were to track this down the center line of the back of the skull Center Line the neck that once we get into the neck we follow the spine and that takes us all way down that spine becomes a wonderful center line for gauging that facing Dimension which way is it turning you can also see the ears this ear is outside the Contour of the constructed head this ear is going to be inside the constructed head with the face that we haven't done so let's uh pull that back for a second and do it again and we can see now we've got the face gesture the face going down this way now the problem we have is all those features are missing and it just feels like you just got uh floated away from your Dock and you got nothing to hold on to when you don't have those features so we've got to work more carefully here so what I'm going to do then is feel the neck and the neck you can feel your own neck and you'll find that the neck comes from right behind the ear and the actual muscles called the sternal cytoid mastoid muscle and that's what creates that tubular shape of the neck from a front back or 3/4 view you get into a side view and then that uh that sternal clyto mastoid is inside the Contour we'll use it from there in different ways that we'll see but it doesn't create the Contour and so here's our nice bent tube of a neck coming from off the ears the face is outside that we just see it on this side we don't see it on this side and then we have the construction line the shoulder line here tilts this way when when I see hunching shoulders like this and they're hunching partly because it's a figure well up above us which is typical with TLO because he did a lot of murals on the ceiling and so he wanted to give the the illusion that those Figures were above us and so often times we get that uh underneath curvature like a tube and so I would go ahead and draw a hunching line for the shoulders but then let me take that off to be clear a hunching line for the shoulders and then there's the shrugging muscle on that shrugging muscle and notice that the shrugging muscle comes inside the constructed neck and the neck is inside meaning on top of the shrugging muscle is on top of the constructed neck the constructed neck is on top of the face and we can't see it over here but we get this stair step let's do it over here shrugging muscle is here neck is behind that behind that and face is behind that so we have this stacking of forms going away very important from the back view and then the ears this ear is inside the constructed Contour this ear is outside the constructed contour and that does most of the work we have that hair pattern that he's added in but that's a secondary detail the ears really are doing most of the work to show that we're in a not perfect back view but a slightly turn to the left back view the other thing that does the work is the asymmetry of seing face over here and no face on this side so tricky stuff isn't it we want we have to just slow down and work that out eventually it becomes intuitive and you can go after it but in the beginning It's Tricky and doing tracings constructions as I'm doing here is a great way of uh working out those truths to figure out the nuances the little things that you wouldn't think of if you didn't have to draw it but are crucial for our audience our lay people our viewers to understand it uh when they see it so let's stop there with our Old Masters and then we're going to come back with some uh drawing session exercises for you and for me to join in on so I'll see you momentarily coming up now as our time pose section I want you to go ahead and draw the head from the reference that we're providing it'll be time but if you go a little over or you finish a little quicker that's fine what I want to do is see that basic head Construction done go ahead and give it a shot and see how it goes for [Music] yourself e [Applause] [Music] [Music] e [Applause] [Music] [Music] e [Applause] [Music] [Music] e [Applause] [Music] [Music] e [Applause] [Music] [Music] e [Applause] [Music] [Music] e e [Applause] [Music] [Music] e [Applause] [Music] [Music] e [Applause] [Music] [Music] e [Applause] [Music] for [Music] e [Applause] [Music] [Music] e [Applause] [Music] [Music] e [Applause] [Music] e [Music] [Applause] [Music] now it's my turn to work with the time pose so I'm going to go ahead and do my basic instruction based on the reference and we'll see how it goes all right so hopefully you've uh drawn your own uh set of drawings now I'm going to go ahead and draw you can watch me you can draw along with me and I'll give you my own tips and pointers as we go along I should tell you I should tell tell you my materials now I'm using a uh just a fountain pin this happens to be a waterman Paris a kind of a mid-range or even low range Fountain pin and just a sepia Brown ink I'm also using Faber Castell and these are just a sanguin tone any kind of brown range these happen to be uh 9201 d192 and it's a nice soft Brown kind of orange brown all right so now it's my turn so I'm going to draw this biggest simplest most characteristic shape I can I'm working about an inch and a half to two inches in uh real size whatever it is on your screen that's what it is to me and it can be down to about an inch it can be up three inches you get too big it just takes a lot of time to lay it out you get too small it's uh too much ntia you know every little move becomes a big deal on a little head so the eyes can get out of whack quickly sometimes you want to kind of plot out exactly where the features or roughly where the features are to get a sense of whether it's working for you notice I'm drawing several marks for every one Mark I'm making sure the head connects into the neck and you can even take it into the uh shoulder line and don't feel like like you have to finish just pick out as much as you need to in the time you have okay here we have a three quarter View I'm going to just for the heck of it I'm going to start with the uh Center Line of the features and the eyebrow line and then build around it and I'm going to draw the mask of the face since it dominates the positioning of this head but any order that works for you is the correct order this case I notice the ear is a little bit lower more towards the um ey line now I'm going to come in and refine the hairline to make sure it uh um it rings true for that mask of the face and of course as you're drawing you can uh stop it go back do it several times to work out but don't get any more detail than this just roughly the shapes that you need and I'm going to say well you know I'm liking what I'm doing I just want to clean that jaw line up I'm going to cheat and steal you know 5 10 20 more seconds nobody's going to ever know you won't be downgraded the new Master's police won't show up your door just go ahead and do that but don't spend 20 minutes on it okay here we have that sailboat shape I'm going to take it back almost as far as I go down or as far anywhere in there because her hairstyle will uh make the correction it's not quite a perfect Prof file so I'm going to uh lay in a little bit of that Center Line so I did quite a bit of work with the features there to get a sense of how far down I want to go with that mask to the face and how far back I want to go sometimes I'll even kind of feel eye socket cheekbone Sideburn area so I can be more clear on where that ear sits feeling that nice digastric plane that is crucial in giving volume to that mask of the [Music] face okay here we go this is more of a perfect mask uh perfect profile but we're slightly gone slightly around the other side this time so we're going to have a slight uh recession of those front features all the front plane of the face and that means the ear is going to get a little closer if I'm going to screw up it's better to get a little closer yet and I can feel where the eyebrow and uh eyes sit in here nose mouth just marking off the information not defining it not analyzing it just positioning the little a few of the little things so I have a better um confidence in the big things sometimes I'll even lay in a couple loose lines like that and I'll let the audience choose is it here is it here is it here is it here and you'll decide which the the best answer is and bail me out so um sometimes a you can lay in a couple you don't want to do that everywhere or you're just not committing and you're not learning but every once in a while you can lay in a couple of those little marks and let the audience help you now we're getting on top of the head that means the skull will dominate the face so maybe I'll go ahead and draw the skull shape and if there a part down the center of her hairline it would run in here the face is going to be shorter than it normally would be it's fores shortening so literally getting shorter visually just not actually and you're not going to be sure where it's at so you make your best guess and then you build some of the secondary detail the hairline again here's the ear the ear get a little fores shorten too and uh eyebrow line ey [Music] line nose mouth chin [Music] neck so we're try not trying to make these pretty drawings I'll start with a different procedure this time we're just trying to get the basic Big Stuff the big information the big construction stuff we're framing in the house we're not decorating it and sometimes you'll come up with some really lovely little moments in the drawing even at this stage that's great but that's not the point the point is to learn to see to learn to analyze to mark down the key important things making the choices on prioritizing what has to be there as opposed to what would be fun to have there what would be cool or neat or beautiful neat shows my age I guess shouldn't say neat uh rad how's that what should be fat all right and sometimes you might finish a little early that's fine too you don't have to keep going but there's always things you could do getting secondary forms after you get the primary forms Going Back and Double cheing those primary forms a second time maybe push it a little bit farther than it is in the reference to make a a aesthetic point or to uh play up a lovely [Music] feature all that kind of stuff there's the profile again comes down we'll play up this whole big shape I'll draw it like it's a flat profile and then I'll come back over it and feel the constructed idea and notice how I'm doing the eyebrow Line This Way the chin line this way I'm exaggerating them to get that on top of the box idea and doing something like this in a difficult position uh early on you might spin all the the first minute just getting you know half of this as far as I am here so don't feel like you have to finish draw decisive and so I'll draw fast so that I'm making clean crisp motions I'll draw fast so it encourages me to get the big ideas and ignore the little ideas I won't draw fast because I'm out of control and desperate to finish um so make sure you're drawing the speed that we works for you not the speed that uh somebody else is doing and that you wish you you could do okay all right now we're on top so the skull dominates and we're getting behind the head and so the the uh skull dominates even more so we're going to have less face showing and we're going to have the face receding into foreshortened position here more like this so that ear gets very very close to the front of the face better to be a little too close and the ear gets lower better to be too low the eye socket I'll do a little bump there because we can't see the eyes too well there and the nose all sit very high and if you could see a part down the center of the hair and you can kind of where the hair is being gathered and pulled back it tends to fall down there uh go ahead and pick that up okay and let me make a real quick uh point about this for a moment notice what would happen if I did the same thing and then did the nose and the eyelash lashes and maybe you could see some lips in there it's going to look it's going to have the silhouette maybe that's very accurate to the like a shadow on the wall but it's going to look flat because it's going to take the nose and the lips and whatever else the part of the eye or eyebrow you see and it's going to take it from the front plane way over here and bring it around to the side plane and it's going to kill that corner and just flatten it out so we want want to make sure that in our constructed beginning here notice how I'm going to make it dark here notice how the cheekbone and the forehead eye socket bumps but creates one continuous line sometimes it'll break a little bit around the chin that line like this that's fine to show or not show but then we want the nose and all the other features there's no lip showing this this case but if they were the lips as a line behind and I actually break them bottom of the nose bottom of the lip let's say here's the chin and here's the ear in here I actually break them away from the line so they're kind of ghosted back and I usually draw the bottom plane where a uh a light source would show you know if we shaded this egg like that the light would hit the top and uh we'd get Shadow on the bottom so I'm showing the shadow side the darker side that would be the most visible because it's catching Dark Shadow on this white paper so I do all I can to kind of visually push that back break it up separate it away uh and uh keep it discontinuous throughout okay Fuller back view I'm going to draw the skull that I know is there and the ear I always draw the front of the ear first so I know just how close it is the ear is getting and when you get well behind that ear I'm doing a little double line and you can take it into you know whatever you see of the rest of the the ear or you can just keep it as a double line and that shows the thickness again a corner from the back of the head to the side of the head that ear is showing so pick up that the uh cheekbone is way up here this pulls down here and the uh skull if there was not let's if there's no hair or short hair let's do that so looks like it's just a skull with a F it would look something like that that's what I drew in this last one I drew I drew really partly I began with a skull shape and then I quickly went to the hair shape in this one I did the skull shape mainly because it's it's good practice and I wanted to show you but what I would have done in my own drawing I would have just drawn the whole hair making sure I allowed for a full mass of skull in there and then picked up the the bun so I'm actually drawing the hairstyle and uh in that hairstyle often times I'll look for let's do that where the top becomes the back right there and you can see here how this speeds up comes down here that's suggesting that top and back anytime we can do that it's going to have give a little bit more volume it'll make sure I don't cut off that skull a little bit I kind of punch it out just a bit so you have your choice there but do some practice is where you're drawing the full skull through the interruption of the hat or the hairstyle and then build that that uh fashion that costuming top of that okay now we're underneath so now this egg shape or capsule shape is going to get shorter and we'll go over this carefully we'll do a whole section where we deal with um difficult perspectives but as this goes up and away we're Underneath It All these distances eyebrow the forehead and such are going to get shorter on us and so you have to be a little more careful in your positioning of things to make sure you're you're respecting that new visual most uh especially how short the nose gets underneath we'll figure out exactly why that's the case in another time but and notice because of the awkward and difficult and this is kind of an awkward view when you're underneath because that awkward View and the difficult view I'm drawing this whole section here is the underside of the nose I'm drawing the whole circle of the lips to feel the full volume of the lips and later all I'll I'll rough out more detail as I need to but I'm getting those full volumes so I can break this space up and be more clear on where things end and then I'll find the bottom the chin and the rest of this that I laid in more or less I'll give it some Shadow here that's that digastric plane again that makes sure that it doesn't look like a Halloween mask so it's really important whenever you see underneath the head that you show some of that mass of the face going back to the neck that bottom plane of the face and then there's that and I didn't get any chance to do the rest of it that would have been fine in this case I'm going to do it uh just to point out when you get underneath look how low the ears get way down here and then notice especially in the underside view of the face like this almost always you end up drawing just the mask of the face and not the full skull with whatever hairstyle it's going on so make sure you add that back in okay 3/4 profile and we're way underneath it again if you think of it as a box or as a tube notice how this front side to her which is our left side Rises way up Rises way up and then moves off along this comes around slower this comes around quickly but the changes Direction but that that first movement where all the features are except for the ear is going way up you can't underestimate that really so better to make it much deeper than it really is than to make it less than it is here's the root of the nose in here the mouth in here the chin in here notice again it's a difficult view so I take more time to work out the [Music] [Music] details always take a take that little extra to get a some of the neck connection there okay in this case I'm going to draw the whole mask of the face as an egg it just feels egg like to me so I'm going to do that and then I'm going to lay on my Center Line to show how it's facing my eyebrow line to show how it's tilting in and out of the page and then the ear is way back here someplace nose mouth chin notice even the chin goes in the same direction Direction digastric plane tucks under you can even give it a little bit of tone there to mark it off if you want although we haven't talked about how to do that but you can kind of coat it okay so that that's my time on that but notice what I did with the last few seconds I went back and kind of touched each of these areas or as many areas as I had time to do to make sure they all related together because otherwise you tend to kind of draw this and then you draw this and then you draw this and you draw this and you kind of scan across but you've never taken a look at the hole until you stand up and walk away from your piece so I want to keep a process it where I'm juggling all the balls at once I lay in my construction lines here and then I go over here to some other constructed shape but then I compare that shape back to those construction lines this to this but this to this and these to this and this to that and this over here to this down here there's relationships throughout you can find angles playing off that you can pick up there's all sorts of ways to feel your relationships back and forth so as you do your art constantly juggle keep juggling come back find a little Mark maybe add a little more detail but just to bring you back to that place so you can compare that to something else over here and this to something over here and you're constantly rhythmically relating uh on through I always think of an Orchestra conductor who's playing uh drawing in the brass section against percussions and the woodwinds and each instrument and each section is playing with and against and through the others and so there's this this Mighty uh composition this dance of of ideas form sounds that eyebrow line ear is just invaluable when you're trying to plot things out in dynamic position finding the chin to jawline up back in front of the ear that side bur sideb burn area is going to help us feel that underneath this we'll get a better handle on that when we get into our second uh uh section on uh you know intermediate construction okay so here we're way underneath and behind so that ear is going to crowd the front of the face and crowd the top of the head and much better to overdo it in other words push it too high up too far forward you can use that hairline is always a great way to kind of measure a Sideburn over to the eyebrow eye socket area great way to measure to make sure this distance is about right there's that full jaw of hers and then uh here is the skull shape in here and here is the hairstyle building out from that and adding to that [Music] okay okay that's our lesson for the basic head structure I hope it gave you some good pointers to work with some new information I hope some of the assignments uh help to kind of codify that information make sure it's going to work in practice and not just in theory and as all the these lessons go watching them more than once is a great idea go back to them over and over again this is tough information there's a lot of fine points there that you may not pick up the first time and you can always use more practice as as we all can of course so go ahead and look at that a few times but when you're ready go on then to our next lesson our next lesson will be intermediate head struction and I'll see you there [Music]

Channel: New Masters Academy Español

Views: 352,174

Keywords: arte, dibujo, cabeza, cara, retrato, steve huston, new masters academy, yt:cc=on

Id: 6-M1wNPuprg

Length: 188min 36sec (11316 seconds)

Published: Mon Dec 21 2015