頭部繪製 Part 1

Hello, and welcome to week 3 This week we're going to talk about the head or head drawing and construction And so what we'll start with is a basic disclaimer here about the skull and some ideas about what we're really abstracting from So the most important thing obviously in drawing the head or constructing the head the emphasis here is going to be on seeing the head or the face with a series of planes perspective steps so that you could position the head in any angle hopefully from memory With that, with a basic template which is kind of here how I'm thinking of the construction you can add more and more information rearrange that information make it male or female character, creature But it really is dependent on knowing the skull really well So just as a to give a sense of bibliography or reference The best head drawing books that I was really influenced by were Andrew Loomis' Head and Hands I believe it was the book Bridgeman's Head Breakdowns were really useful for me George Bridgeman Bern Hogarth had really useful head drawing steps and breakdowns Glenn Vilppu John Watkiss helped me in seeing different planes around the cheek and understanding how to break that down But this is more the emphasis At least for me in this lesson It's trying to take you through a similar process of understanding So full disclaimer With doing these and studying Mostly from these people One thing I really did benefit after Having done this for a while Was taking Scott's Skull or Portraiture class And that helped me really hone The way that I use construction I still don't understand the skull As well as I should Or the musculature Or changes from male to female But it was a step in starting to refine that So that's something I would highly recommend That you do I'm going to focus more on this side And the reason that we have this skull here Is to tell you or to show you at least How I begin the process of abstracting Because that's really what we're doing I mean we did it with the figure We did it with the body In terms of seeing it as a series of shapes Or planes or leans And that just means we're just taking away Removing what we find to be essential At that moment for the process In developing the drawing So it's very much drawing focused Okay So what we'll do is In this first part I'm going to give you my setup And the skull here is My poorly drawn skull is right here Just to simplify So I can show you why I use certain shapes And what they relate to In our setup alone So this would be I think I'll try to remember to number all of these As we go through But let's say this is going to be The equivalent in head drawing To what our gesture would be in figure drawing And hopefully you'll start to notice That there's a lot of repetition That the steps in head drawing Have already been done At least in the technical side of things When we did the body And I go through four Basic ones here That gets me set up I think these are the four most important steps That people usually leave out When drawing heads It gives you all of the Important setup information And let's Let's also put a few colors here That way You can see them as being different Okay so Step one is In drawing the head I explode all the parts Right so The most important thing for me In starting the head Is getting a big shape For the cranial mass And this is an Objective System And I use it for not just Figures but also for animals Right and so Keep in mind that like I said You can customize these steps I'm going to give you an idea right now How you can customize this shape But you can also change it for animals The same exact formula So when drawing the Cranial mass or the largest area Of the skull I think of designing a shape That is roughly two thirds Of the whole It's going to be the biggest shape Now here's a couple of ways That you can think of this If I'm going to do a cranial mass And I want to just Kind of summarize where that would be here I think of all of this So again All of these finer areas And points And nuances And superciliary art And brow All of that becomes this Why? Because it's manageable It's something that I can begin with In terms of drawing I can place it, I can move it around I can expand it or shrink it But one option For beginning drawing at this stage Is a basic sphere Now is this ideal? Well, number one It depends on Where and what stage you are When drawing But it's not the best representation Of the cranial mass Your head is not perfectly rounded It's not a basketball So in this process Subsequent steps Would start to carve into that Or plane it And build towards something Either through subtracting or adding That more resembles the cranial mass You can also Customize this from Step one It would be more accurate to say The head is not at all a ball It is an egg That's narrowed towards the front And then wider Towards the back Now the only Problem with this is It may be difficult or more difficult For people Depending on where you are with your drawing To design this shape And move a more organic Or imperfect shape around Are you going to get A better result? Probably But if you mess it up Is it going to look weird? Definitely So the goal on this one would be If you want to challenge yourself To use this in the approach And you start to take this same shape And turn it So now if this is 3 quarters Maybe this plane would represent the forehead But now I'm having to draw an egg That's larger in the back And then narrowed and shorter in the front So it's It's making the Process more difficult That's not bad It's just what is your level And what is the best Usage of shape at this stage To accommodate that What is the disadvantage To using a ball It's just not going to look Exactly like the skull It's going to take you a little extra work So this is what I want to introduce Right away Is that every step Is an opportunity for customization To customize By intention In terms of Extreme intentions Character, animal Or you can just Customize for Realism Okay, so enough said about that Once I have my cranial mass The second thing that I always do to it Different color for different step Is to give it a tilt And this might Seem strange but It could also seem familiar, right Because this is the first thing That we did when drawing the ribcage So For example, this is why This step is important to me I see students all the time just draw heads And then They usually draw that outside And then It's like this, and then there's a neck And so on and so forth But I think Because it's difficult, because there's so much When we see the portrait or the face or the head Everybody always makes Perfectly vertical head And this Looks like a race of people with whiplash No one is ever willing to Move their head or their neck Or their shoulder line So after I find my sphere Or my largest shape I then try to assign a tilt To the cranial mass Or let's just say the head The neck And then the shoulders The other thing that I think Is worth noting here is There's a lot of expression Just in these three areas Like for example In 18th century portraiture If You know, a sitter Or a portrait was designed To have the head The neck And then the shoulder At all these separate angles It was a sign that they were Blue or pretentious, right So if we're not dealing with this We're missing out on a layer of Storytelling That has historical precedent And opportunity for connecting With an audience So here I showed Straight line Or Diagonal line Diagonal line that summarizes An angle for the neck And then a diagonal line that summarizes The angle of the shoulders There's a lot of attitude in there So if we think of this as Step two having A, B, and C Those are the things I'm looking for As we have it here, right This is just Our straight up and down tilt Which is okay because that's just our Static model that we're using as reference So that's two If it were In this Broken down to there It would just look like that So it's just a linear indication Tilt again means a 2D lean Two dimensional lean Which is from side to side Step three What I'll add to this Color here I'll always add now The jaw But I do it with a caveat With an extra consideration So step three for me is adding Two things I add the jaw shape And then I also add The cross Or the symmetry line Of the face And these two things for me kind of go hand in hand So here's how that would go If I'm designing Again just on top of here To show you what I would Summarize or see and then try to Crack it into this simple shape I bring Or think of this as The remaining one third Of the head And I try to drop it Off the side of the egg In a very smooth Continuous curve That can be punctuated Or should be punctuated At the chin But when looking at the skull Or drawing over the skull Notice how much I'm leaving off I'm cutting off all of In this case Just the particular angles Of the mandible that make it feel Masculine But I'm not even there yet I'm just trying to see mass and placement So that would be my Basic summary shape For a front view You can kind of forget That the skull is there now You just made an egg Kind of a well-considered egg The next part Is this second step You can think of it as a cross Or you can think of it as a T It is something that I developed To help position The direction of the gaze Or the head So the T would be made Thinking across the brow Right here Or if it's easier You can kind of look for the eyebrow Even though there would be some movement It's good enough for what we're doing That's your horizontal for the T And then your cross is The symmetry line of the face And what I always try to keep As far as the cross or the T is concerned Is that it should have this Symmetrical position To the chin So there's that chin That's that only straight line That we put in there And that cross is always connected To the symmetry point The point of symmetry And that's something that's going to be Really important for how I start to turn The head Let's do that same thing in profile And then I'll do Kind of a turnaround at the bottom So same thing Editing out All the information I don't yet need There's my front Difference for Profile view No straight in the chin Right now the chin just becomes This kind of pointed shape And also Very little If no cross And that's because now that would be On the profile of the face That would be that initial line I drew So that's kind of your extreme From front to profile And I made this The egg Just as easily And I would have been just as happy With it being a ball Or a sphere I should say So Step 1 gives you your mass And sizes the head Step 2 tilts it By way of just considering then it's side to side lean Step 3 With your jaw and your teeth Gives you Complete control over how much Rotation you assign to the head And I'm going to Make that clearer down here So it's just going to swing down And I'm going to do a series Let's just do 4 Right here So I'm going to do all All So not the greatest Line up of spheres but this is just for demo So that's step 1 Step 2 tilt I'm going to give all these the same tilt Just because we're not focused on Changing the lean of the head at this point I'm focused more on the jaw and the rotation Step 3 Add the jaw So fold down the sides And so if you want You can do both sides Focus on getting these to be the same And then I'm going to place Where I imagine the straight of the chin to be And then sometimes Your tilt can double as your Teeth or cross It's always a nice Happy accident when that happens And then here's across the brow So this is now A shape Or it's a gestural Symbol for a Front view of the head If I want to turn Because this is about rotation When I'm drawing the head All I do is push So this straight line here For the chin I just shove it to one side And imagine that you could just reach into the page And start to fold that to the right It would look like this Now maybe I have something That's straighter here I'm thinking of my Two-third, one-third relationship Here's my chin Now I'm just going to bring one Uniform line there So what happens Well if my symmetry line has to stay centered to this It's going to now favor one side And you remember our rule From last week When the symmetry line starts to favor one side It means there's a turn And here would be my brow So now I've made a Gestural indication Or symbol for the three-quarter Position of the head We already did the profile So let's do that quickly over here Profile means I would take out The straight line of the chin and just give it This sharp And then if I want to do a head That's from the back view So this is just for the labeling I don't need to move quickly Or be unclear Front, three-quarter, front, profile If I want to do three-quarter back I might use the exact Same shape as the front I'm not going to have a Symmetry line for the back Because we don't see the features So all I'll do if I want this to read as back Is bring the chin Up through the jaw And make a line that's in front Of the sphere And then It can help, this might be too much But you can also put in a line for the back Or base of the cranium And now I have the back of the head So for A type of drawing process That I focus on That's meant for invention or Deconstructing This is a really useful step Because now I can Turn the head all the way around Like the exoskeleton It would just be easy enough If I want to get this pose In between the two Just move the chin a little bit that way Or if I want to be here Where it's three-quarter going Forward profile, I just move it further that way So far I think that's almost everything You would ever need In terms of setting up Or posing your head So I'm trying to distill all of this down To the most important And basic information Because I think everybody's Impulse when doing the head Is just to get to the eye As quickly as possible But I'm also cautioning you About that, because all of these essential Really dynamic story elements Can be absent If that happens And so the last one Is simply The perspective This is the last thing we can really do to the head To kind of pose it It's the only thing missing Of course your rotation implies perspective But I've not yet done anything That is truly a perspective addition So what this gives you Is the last question that you should ask When setting up the gesture to the head Am I Under or over And now we're rehashing Steps and ideas That we talked about when we discussed The arms and the legs In my last video And it's going to be this I almost did that So this is how that would work Let's take This three quarter And do an example of under and over So I'm going to move this guy over here Do this same pose But down here So I'm going to change some things Let's say this first one I'm underneath So here's my ball Here's the cranial mass If someone is seen from beneath It likely means Maybe their head's tilting back So this is me Siding the two dimensional lean of their head If it helps You can use the jaw maybe You can try to match it With this tilt line to your jaw It doesn't always work But it might be a useful guide To double check Here's where Things can get a little bit difficult If I'm doing something that's three quarter And I'm underneath This proportion This generalized proportion of two third to one third Can start to waver a bit So this is a better proportion If we're just seeing the head straight on If I want to adjust for perspective And I'm under I move the chin up So Let's do our tilt Then we'll get that I'm going to say tilt for the neck is this way And then maybe this guy has a shoulder tilt like that OK So I'm under So I'm going to bring this up some I'm going to say the jaw is now here Instead of adding that Because I'm under And it's somewhat dramatic I'm going to put that here The other thing I highly recommend Because you already have the tilt for the neck Is to draw the neck And this is what we introduced last week Remember All connection areas Can be dealt with as straight C or S curve So because the head is raising That's an S curve The neck is stretching out for that And in the back I would be seeing a C curve So that just helps your neck One of the main problems That I see with My drawing students all the time Is they'll do nice heads And the neck will be Perfectly symmetrical So it's kind of two problems One of the Missing out on the angle In terms of stiffening the spine And the cervical column Instead of always seeing that Diagonal motion it has And then paralleling form And not finding the Dynamic rhythm of C and S You can see kind of What's already starting to happen If I place the neck And then the chin there And then follow through on Understanding or thinking about The canopy of the jaw All of this This begins to function As perspective I mean that's not our perspective But what's happening here Is the same as what would happen in a cylinder This is just me Trying to point out the importance Of lifting that chin That is that you get this here For the true Way that I would work through the perspective In this one let's now move into step three And finish that Which is to add the cross Or the T There's the symmetry line And then maybe here the cross Is this one So here's where It gets somewhat complicated When I make My elliptical line So what I'm trying to do Even though we have this somewhat With the way that the jaw and the neck are working Is I want to turn that eye line Into a very determined Or accurate Ellipse I'm trying to understand the ellipse So how do I find an ellipse To assign to the head Well there's actually a pretty easy way to do it If you look for where the brow So that's something we've already done Sits Relative to the ear And you don't have to draw in the whole ear Just do your best to look And place it generally Maybe put like an egg there I can find or help start My understanding of the ellipse By relating those But I always Always always draw through And I'll just kind of Darken the ellipse On the part of the form that's closest This is a helpful trick That you can use to See the perspective of the face This is going to be continuing Into all the features All the features At least the start is going to share that Kind of perspective line You're telling the viewer or the audience That this is the perspective of the head You're using a fragment of the cylinder Through the ellipse to do it But you're just taking That brow line And then continuing it And wrapping it around If that relationship is vague Between the brow and the ear Think of glasses You know, people wear glasses You always see if they're looking up Across the Frame there And then it will drop back down To their ear And conversely When someone's looking down The opposite For technical Or technical accuracy One thing that's important To keep in mind is that When you make this ellipse So let's come back here and revisit The shape that I made For the cranial mass The cranial mass is this much What I try to focus on When I make the ellipse Is that the ellipse should remain At the equatorial center Of that sphere Which right now It doesn't look like it's the center But I'm thinking of the center Like the equator of the earth So the equator We see the equator on the earth So there we know it doesn't stop It continues Goes around to the other side And then back again So technically the center Is this And then I did it okay It's close enough The reason that I point this out As something that's valuable As a technical tool when drawing Is that I'll see people do this a lot They'll do their heads And then they'll put their eyeline For their ellipse up here And then that shifts and distorts Everything to do with perspective But if you're always maintaining The ellipse center I could do an ellipse here This could be someone That I'm slightly underneath Or if I enlarge it Now I've tilted In 3D space This away And I haven't lost continuity With proportion So That all might be unclear Just make sure that you have A center line And that your ellipse is always drawn through And relating to the middle of it all The middle of the sphere That's it I mean as far as I'm concerned There's no other consideration For posing a head In those steps You can move the camera around With these principles You can change your two-dimensional Leans and gestures with these principles But let's do one last one Where we see a variation On this three-quarter Where we're now going to look From above So we're under here We'll go a little bit faster now Sphere Tilt And just do a tilt for the head The neck goes this way No floating heads Shoulder line If it's a really extreme view You can take the same idea That I did with the chin here And apply that also to Being above someone If you're dramatically over Maybe this jaw is going to overlap Behind the skull So you can use your Two-third, one-third there But make sure that it isn't seen Some kind of distortion This is also a three-quarter Neck To my C and S curve Okay Where's my cross Here's the center line of the head Brow line Let's say now it's here And so If I get confused I'm going to make sure I can see that brow I'm going to double check where the ear is If you see someone wearing glasses The opposite is going to happen To what happened when we were Looking from under You can see the area On the front of the glasses Going across And then it's going to pull up And move down So I can remember this Just because it's a way for me to Understand the way that The ellipse needs to be drawn I'm going to draw this through And now we have Everything we need To develop and pose the head This is the template It's all the gesture Anything further just gets built up In accordance with Something Glenn Zilkow does I like He always puts like a little dot On top of the head Just as a reminder That's the top I don't know why It makes it feel complete And then we're done So that's the most important step The result Even though you don't have to draw these Next to your head That ellipse Is close to this Therefore the viewer Understands the head Has been spatially In the same position That's it All of this is how I get the drawing started It's my gesture You should aim to do it Always and if possible quickly At the beginning of a study or a drawing This is vague enough That it can become custom And then it is Really easy Ultimately with practice To start to develop a more refined look Like you would get in School or realistic work