How To Draw The Head At Different Angles

Getting Inside the Caput
In This Affiliate ▶ Becoming familiar with basic head anatomy
▶ Cartoon the shape of the caput from dissimilar angles
▶ Creating realism by adding geometric planes and shading If y'all're ready to describe the caput of the human figure, y'all're headed in the correct place! At kickoff glance, the head resembles an egg-shaped, ovalesque object. On closer test, notwithstanding, information technology's made up of two dissever groups. The showtime is the attic, which is the upper/ rear ovoid portion of the head. The 2nd category is the confront, which rests below the attic and toward the front of the head. Although people place with the face, many stu- dents notwithstanding wrestle with placing the face in relation to the cranium. In this chapter, I walk yous through the general parts you need to know when you draw the head and provide guidance on a couple of drawing methods.
Getting Familiar with the Parts of the Head
Beginners often accept a tough time cartoon the entire caput considering a sure facial feature catches their attention and they miss the overall picture. Being drawn (no pun intended) to private features isn't a bad thing. After all, these features make people distinctly unique. Withal, focusing on the caput itself when you draw is of import. Not seeing the features in context with the unabridged caput is like trying to identify where the tail of the donkey is while you're blindfolded. Each characteristic has its aesthetic purpose and function merely when it's drawn in the proper location in relation to the entire head.
Call back of the head as the globe. If y'all want to identify where to describe the epicenter mark (which represents, say, the facial features), you lot demand to be able to locate the proper cardinal location of the globe before making the mark. Without knowing where to place the mark in relationship to the outside edges and size of the earth, attempts at drawing the epicenter mark is guaranteed to be more difficult.
In this section, I describe the parts of the caput from several angles. Don't worry about draw- ing nevertheless; just sit with a cup of coffee and savor the ride.
The front end view
In Figure 4-1, I show the front view of the human caput. Go along the post-obit bones structures and tips in listen when drawing the front view of the caput:
✓ You lot can roughly carve up the head vertically into thirds.
✓ Ideally, both sides of the face up are symmetrical.
✓ The forehead takes up a large chunk of the head (approximately 1/iii of the entire head).
✓ The height of the head is wider than the lower portion (the jaw) of the caput.
✓ The acme of the head has a slight bump.
✓ Depending upon the build of the figure, the neck lines on each side connect behind the ears (as opposed to being in front of either ear).
✓ The eyes are smaller and more spaced out than most people initially presume.

Figure 4-1: The front overview of the human head.

The 3-quarter view
In Figure 4-2, I illustrate the iii-quarter view of the head. The side aeroplane of the head, which includes the ear and sideburn shapes, is partially visible.
The straight-on view of this bending appears simple. Pay close attention, withal, to the fashion the features that residue on the side plane of the head shift relative position in relation to the front side of the confront as the head tilts up, downward, or sideways. This shift is due to the change in perspective of the entire head (I talk more than almost perspective in Chapter 14). Don't exist frustrated if, when trying to draw this angle, information technology doesn't click at offset. The three-quarter angle is deceptively circuitous. For this reason, I recommend commencement getting familiar with drawing the 3-quarter angle from a straight-on vantage betoken.
Have a few seconds to look in the mirror from a three-quarter bending. Use your ear as a land- marking "ballast point," and observe how the placement of the ear shape changes position as y'all become through the motions of tilting your head dorsum, forrard, and sideways. The higher y'all tilt your head, the lower the ear appears to sink in relation to the features on the front of your face up. At the same time, the lower you lot tilt your head, the higher the ear appears to rise in relation to the features on the front of your confront.
Go on the following nuts in mind when drawing the three-quarter view of the head:
✓ The features on the half of the face that's farther abroad from the viewers are slightly narrower than the features that are closer to the viewers.
✓ The top of the ear is slightly lower than the eyebrow.
✓ The left side of the neck aligns with the outer edge of the left eye. The back edge of the neck protrudes out from underneath the ear lobe.
✓ The rear portion of the cranium sticks out farther beyond the neck edge line and ears (a common fault is to marshal the neckline with the edge of the attic).
Effigy iv-two: Drawing the three- quarter view of the head.
The side view

In Figure 4-3, I show the side view of the homo head. In my opinion, the contour is the fun view to draw; you don't have to worry almost cartoon the other symmetrical side of the face, whether you're drawing from a live model or from retentiveness. Artists commonly overlook the following when cartoon the side view of the caput:
✓ The overall profile is much wider than the front view (see the earlier section).
✓ The front of the face is slanted at an angle.
✓ The back of the caput is as broad every bit the front section of the caput.
✓ The ears rest at an angle along the jawbone line.
✓ The neck comes at an angle when the effigy is continuing erect.
✓ The lesser of the nose is roughly level to the bottom of the dorsum of the head.
✓ The features create a triangular overall shape.
Figure 4-3: The side overview of the man head.
The back view
In Effigy 4-4, I evidence the rear view of the human head. This side is probably the well-nigh over- looked. Beginners every bit well as experienced artists assume that if the caput is facing the other manner, all they need to depict is a bunch of hair to cover the back of the head. Not true! Here, I list some key features that get overlooked in the cartoon process:
✓ The back of the head is approximately ii/iii of the vertical elevation of the entire caput (that'south quite a scrap of space for your encephalon!).
✓ The neck (or top of the spine) emerges from underneath the back of the occipital bone (the large back department of the skull).
✓ Depending on the person, the mandible (jawbone) may be visible.
✓ The top of the caput has a slight bump.
✓ From behind, the ear doesn't rest flush against the head.
Figure 4-4: The rear view of the human head.

Drawing the Shape of the Head

Choice up your pencil and get ready to draw your first head from scratch. In this section, I walk you through the steps to proportion the head accurately with careful measurements on a template. I likewise show you how to approach cartoon the face without having to become through equally many stages, which is handy if y'all're strapped for fourth dimension.

I've found that students identify with their eyes more than other features of the face. Most students begin drawing self-portrait assignments with the eyes. Apply the eyes as your "mea- suring stick" to build the basic dimensions of the head and as you effigy the placement of the main facial features (eyes, nose, rima oris, and ears).

Equally you block in the features, you may find that they occupy less space on the head than you remember. Pilus conceals the forehead also as some of the summit portion of the head that's visible from the front. Go on this fact in mind throughout the residual of this chapter. (Come across Chapter 6 for full details on drawing hair.)

Easing into it: Drawing the forepart view of the head with measuring tools

Drawing the head past advisedly measuring proportions and features is a good idea for begin- ners because it encourages y'all to use detailed guidelines that may fix or adjust whatsoever errone- ous assumptions you have about the caput proportions. I show you how to depict the head of an average-build adult in the post-obit sections (I explain how to depict heads of different ages after in this affiliate). Y'all need a compass, ruler, and a kneaded eraser in addition to your cartoon pencil and newspaper.

In this method, laying down the big shapes as accurately as possible is helpful, because the rest of the smaller shapes (which stand for the facial features) rest on this foundation. A compass is a great tool for drawing big, symmetrical circles (see Affiliate ii for more details nigh this and other cartoon tools).

Although the following approach is useful for understanding the structure of the human head, it'southward a generalized method that's meant to supplement your drawing and observation skills. The heads y'all run into or draw won't necessarily abide past this technique. In addi- tion, these stages take time to execute. Then if yous're drawing from a live model for the first time, applying every stage isn't easy — unless the live model is able to stand still for at least an hr (not likely). In these cases, consider using the method in the later section "Drawing the head freehand from unlike angles."

Measuring proper proportions Follow these stages to create the precise proportions of the head:

1. Using a ruler, draw a direct line (approximately 3 inches) at the center of your drawing paper and divide it into v spaces (every bit shown in Effigy 4-5a).

Each partitioning unit of measurement represents the width of one eye

ii. Mark the center of the line with your pencil (approximately at the 11/two-inch mark) and employ it to depict a circle with your compass (run into Figure 4-5b).

This circle represents the upper portion of the head. I refer to this circle as circle 1.

Figure four-5: Commencement to build your caput with a directly line and a circle. ab

3. Plant the centerline of the head and the landmarks for the bottom of the face.

As shown in Effigy 4-half-dozen, draw a vertical line approximately 5 to half dozen inches long going through the centerline. Make the lesser portion (from the horizontal lines dropping downwardly) longer than the upper. Use this line to align the center of the face when you place the nose and oral cavity.

Figure 4-6: Create the mensurate- ment units.

iv. Use your ruler to measure one of the division units that represents the width of an eye (run across Step 1) and apply it to mark A, B, and C starting from the lesser exterior of the circle, as shown in Figure iv-six.

A marks the bottom of the olfactory organ. B indicates the bottom of the lower lip (yous apply this mark afterwards to notice the location of the oral cavity). C marks the bottom of the chin.

5. Starting time to describe the lower front section of the caput.

Measure out and create the midpoint, D, between A and B so you tin can use your compass to draw a circumvolve as shown in Figure 4-7. Make certain the bottom of the circumvolve meets with C. This shape represents the lower portion of the head. I refer to this portion as circle two.
The like shooting fish in a barrel way to practice this step is to start the circle by placing the needle point at D and placing the lead point at (and start drawing from) C. This is much quicker than gauge- ing how wide of an angle you demand to set up the compass.
Figure 4-vii: Draw the lower portion of the head.

6. With your ruler, notice the midpoint between the heart of circle 1 and the lesser of circle 1 (point A); label this midpoint E.
After marking East, draw a straight line beyond the circle to create points F and 1000 (equally shown in Figure 4-viii). This line where the eyes rest should be parallel to the centerline right in a higher place it.
7. Complete the outline of the head past drawing two slightly rounded arches for the correct and left cheeks (extend from the left and correct outer edges of circle 1) downward to the chin (C).

Use the roundness of the cheeks to control the age equally well as the physical build of your subject. I make the cheeks of younger individuals rounder (I explain how to draw heads of different ages subsequently in this chapter). I describe the cheeks fishing outward for individu- als who are muscular.

8. Draw two lines for both sides of the neck to complete the basic head shape, equally shown in Figure four-9.

Here are some central points to go along in mind when cartoon the neck:

• The length of the neck from the ear down to the clavicle (collarbone) is virtually the same every bit the distance from the bottom of the chin to the eyebrows.

• For children and females, the edges of the neck curve in toward the center.

• For aesthetic purposes, I draw female necks slightly more elongated than the necks of males or children.

• Ideal necks on males are the same width as the head. Although I draw these lines vertically straight downward, using a ruler isn't necessary.

• Heroic male necks (the Schwarzenegger types) start the aforementioned width as the head and bulge outward, abroad from the centre of the neck.

Don't make the common mistake of leaving the neck out of your limerick when cartoon the head. Compositionally, portrait artists will never crop out the neck; if they practise, information technology looks like the head is floating in space with no foundation.

Figure four-9: Indicate both sides of the neck with two lines.

Calculation uncomplicated facial features

When blocking in the facial features, don't worry virtually drawing the shapes realistically (I cover these topics in Chapter 5). For now, merely copy the simple geometric shapes that I use. Pay more attention to the accuracy of placement and size. Follow these steps:

Figure 4-viii: Indicate the guides for the optics and block in the cheeks.

1. Apply your ruler to lightly draw half dozen vertical, parallel lines along the markings of the upper portion of the skull.
As shown in Figure four-10a, describe the lines long enough that they stretch from above the head downward by the chin (C). With this step, yous now take five equally spaced sec- tions, and each is the width of one eye.
To make the remaining steps easier to follow, I label each segment with numbers 1 through 5.
two. Employ the spaces two and 4 to lightly cake in the shapes for the eyes along the segment FG (as shown in Figure 4-10b).
For the purpose of this demonstration, I apply a narrow almond shape equally a identify holder for both eyes.
To ensure proper proportions, be sure that both tips of the almond-shaped eyes touch the vertical parallel lines.
Figure four-10: Lightly describe the vertical guides and the eyes. ab

iii. Draw the elementary nose, as shown in Figure iv-11.
Draw a concave arc in section 3 to indicate the placement of the nose. Draw the arc right along indicate A.
Make sure both edges of the arc are touching the left and right lines of department iii to ensure proper proportions.
4. Draw the uncomplicated oral cavity (meet Figure 4-xi).
To represent the mouth, depict a curt line along signal D. Brand sure the line for the mouth is parallel to segment FG
Figure 4-eleven: Lightly indicate the nose shape and locate the rima oris position.

The width of the mouth needs to first roughly from the middle of the right eye and terminate roughly at the middle of the left centre. (In the next department, you describe the pupils of the eyes, which help improve define where the center of the eyes are.) I utilise a ruler when I want to align one object with another. In this case, vertically position the ruler where the center of the eye is. Use the same vertical position to and then decide where the end of the mouth needs to be.
5. Depict the ears and eyebrows to consummate the basic front view of the caput.
Start at the center of the head, between the optics and between line E and the central bore line of circle 1. Draw an arc over each middle for the eyebrow (in Chapter v, I explain how to draw different types of eyebrow shapes). I draw the eyebrow shape slightly angled upwardly and away from the middle of the forehead. The tiptop of the eye- brow is approximately ane center width from the bottom of the eye.
Add a C-shaped curve for the ear on each side of the head (come across Effigy 4-12). Brand sure the pinnacle of the ear doesn't pass beyond the meridian of the eyebrow. Also, make sure the lower portion of the ear doesn't get across the bottom of the olfactory organ (betoken A). I remove most of the labels for visual clarity then you can run into the final image.
Drawing the head freehand from dissimilar angles
When yous're new to effigy drawing, drawing the human head with the longer and more thorough method in the previous department is key; it helps you become comfortable with basic proportions and shapes. After y'all get the hang of the previous method, though, you can explore the shorter method to mapping out the basic proportions of the head. This shorter method gets the task done more quickly and also allows you more time to focus on other parts of the figure. (I use this approach when I describe from life or piece of work on characters in graphic novels; I usually don't take time to flesh out specific measurements as thoroughly equally I exercise in the previous section.) Although both approaches are great for beginners, the approach in this section builds your drawing confidence because it forces you to rely on your ain ascertainment skills rather than a formula.
Effigy 4-12: Finish with the ears and eyebrows.

Endeavour this approach to drawing the bones proportions of the human head. I comprehend three angles of the head (front, side, and rear view). For this method, you demand only a soft drawing pencil (6B–8B) and cartoon/sketch paper (acid free).
Although it takes some time getting used to, judging size and space relations without measur- ing everything trains your observation skills. But go on practicing!
The front view In my life-cartoon class, I accept students start with the front view of the head because it helps them see the head and its facial features without having to worry about drawing multiple sides of the head at once. Many beginners make the fault of starting by cartoon the head from complex or extreme angles and become frustrated as a result. Dealing with the caput and its fea- tures as a flat, two-dimensional object on a flat piece of paper is more than practical and efficient.
Because we have merely 1 model per studio form, not everyone gets the front end view. And then I have students have turns posing for each other for ten minutes. (A longer pose is improve, but different professional models, mortals can't sit withal for long without going crazy!)
Follow these steps to draw the forepart view of the head freehand:
i. At the center of a fresh sheet of drawing paper, draw an oval shape that somewhat resembles an upside down egg (I refer to this shape as oval 1; see Effigy four-13a).

Don't make the caput too large. I proceed the initial shape no more 4 inches alpine. Throughout these stages, you need to visually assess measurements without using the ruler. The larger the shape, the more difficult it is to make those quick visual judg- ments. Encounter the sidebar "When in doubt, beginning pocket-size" for more info.
2. Draw a horizontal line and a vertical line to form a "cantankerous" shape (as shown in Figure iv-13b).
Roughly divide the shapes evenly. These lines provide a sense of which direction the head is facing.
If you have problem making the initial oval in Figure iv-13a symmetrical, don't panic yet. Use the dividing cross-pilus lines, as shown in Effigy iv-13b, to make sure the left and right are as equal as possible.
Effigy 4-13: Draw the basic shape and lightly sketch the center guidelines. ab
3. Draw the optics and eyebrows along the horizontal guideline (see Effigy 4-14).
I place i small circle on each side for the center of the eyes. These circles correspond the pupils of the heart, and I draw them roughly at the midpoint between the vertical centerline and the edge of the head.
Lightly draw an arc above the heart of each eye. The width of the arc should be no more than approximately 1/five of the width of the head.
Finally, draw another slightly larger arc in a higher place each eye to indicate the eyebrow shape. Make sure each arc slightly angles down toward the heart of the guidelines.
Considering we identify so closely with our face and facial features, a lot of people make the common mistake of assuming that the face accounts for the entire front of the head. This happens peculiarly in the initial stages of cartoon the head without the pilus (which I hash out in Affiliate half dozen). Equally a result, students place the eyes much college than they should be, intruding into forehead territory. Although the optics are drawn at the midpoint of the head, go along in heed that the hair covers upward to 1/3 of the superlative portion of the head, creating the appearance that the optics are college toward the top of the head. The face up is approximately the same size as the top of the spread mitt. Place your mitt in forepart of your confront for size verification, and then identify where your eyes are in relationship to the tiptop of the hand. This technique will assistance yous ameliorate appraise where the eyes need to get.

4. Draw the elementary nose and rima oris.

As shown in Figure 4-15a, draw a small concave arc for the nose so that the bottom of the arc is approximately halfway between the bottom of the chin and the top of the eyes. Make the width of the concave arc approximately i eye width.

Bespeak the rima oris shape with a line, as shown in Figure 4-15b, halfway between the lesser of the nose and the bottom of the mentum. Brand sure yous identify the line shape for the oral cavity symmetrically along the vertical guideline.

When in doubt, showtime minor

Many beginners presume that drawing large on an 18-x-24-inch drawing pad is ever the best way to start studying the figure accurately. The fact of the matter is that man mitt-middle coordination is strongest when your cartoon is no larger than the size of your hand. The smaller the object yous draw, the more than accurate and comfy y'all'll feel cartoon it. I can evidence this theory to you correct now. Have a few seconds to describe a series

of even arcs that go progressively larger (first small — say nigh one inch). When the arc and wrist movements are small, your arcs are fairly even and smooth. As they get larger, your manus must move to accommodate the fact that your compact wrist movement can no longer handle the size of the object. The result is a series of uneven and asymmetrical arcs.

5. For the ears, draw a C shape on each side of the head (see Figure iv-16).

Make certain the meridian of the ear doesn't get beyond the top of the eye and the bottom of the ear doesn't go past the olfactory organ.

6. Depict two brusk parallel lines for the neck (see Effigy 4-xvi).

Start to draw each line from the lesser of the C ear shape on both sides. The length of the line should exist 1/2 the length of the head.

Effigy 4-xvi: Draw the ear and neck shape to finish the front view.

The three-quarter view When you depict the 3-quarter view, accept the front view from the previous section ready for side-by-side comparison. To make the ii views easier to compare, draw lines dividing the head into thirds. I characterization the lines from top to lesser: A, B, C, and D. These guidelines also help ensure that my drawing sizes are consistent within each viewpoint.

Follow these steps to depict a iii-quarter view of the head:

1. Between lines A and C, describe a slightly elongated oval (see Effigy 4-17).

I refer to this oval every bit oval 2.

ii. Draw five vertical guidelines, using your ruler, to divide oval 2 evenly (as shown in Figure iv-17).

I characterization the guidelines from 1 through five. Three is the midpoint of oval two.

Figure iv-17: Starting the three-quar- ter view of the head.

3. Lightly sketch the upper jaw (maxilla) and lower jaw (mandible), as shown in Effigy 4-18.

Lightly sketch a diagonal guideline from the top of intersection 1B to line two at the mid- point betwixt C and D. This diagonal line gives you the angle and position of the max- illa. The mandible starts from the lesser of the mentum at line iv and curves up to connect with the maxilla at the midpoint of the horizontal guidelines C and D.

4. Draw an South curve line to separate the forepart and side planes of the head, every bit shown in Figure 4-19.

From the top left of the back of the cranium, draw the showtime curve, which meets at B2, to indicate the meridian side plane of the head. Complete the rest of the South curve guideline, which angles downwards and to the right, to connect at C2 before continuing on its path toward the bottom of the chin at D3.

five. Lightly sketch the cross-hair guidelines for the facial features (as shown in Figure 4-xx).

Lightly sketch a slight convex arc that stretches across the midsection between lines B and C to marshal the placement of the eyes. The eye level is close to the level of the eyes from the front view of the head.

Slightly lift the end of the curve closest to you college than the end of the curve that'south farther abroad from yous. Although this lift is subtle, it gives the overall features a more dimensional and realistic positioning that's consistent with the rule of the perspective theory (I talk nearly perspective in depth in Chapter 14).
Describe a second subtle arc that vertically connects between lines 3 and 4, from the top to the bottom of the head, to align the placement of the nose and mouth.
Effigy 4-twenty: Calculation cross-pilus guidelines.

6. Lightly block in the facial features.
The facial features you draw in the 3-quarter view are the same every bit the features you depict in the forepart view (see the previous department). Notwithstanding, the size and alignment of the indi- vidual features are different due to the slight transition in perspective that happens between the side and front planes. These slight differences remind you that the head isn't a flat object.
I employ the front view of the head (from the previous section) to cake in the placement of the features. I recommend starting with the optics and eyebrows (as shown in Figure 4-21), followed by the nose and the oral fissure (every bit shown in Figure 4-22). Here are central points to go on in listen:
• The features on the side of the face closer to the viewers are slightly larger and wider than the features on the side of the face farther abroad from the viewers. Although you don't see the details, the lips and the nostril closer to the viewers are larger and wider to lucifer the shift in the eye scale proportion and seemingly off-centered placement. Drawing objects that are closer to the viewers larger than the objects that are further abroad creates depth.
• Utilise infinite between lines 3 and four as you center most areas of the confront.
• When you await at the three-quarter bending, you see that the optics tilt downward slightly.
• When y'all look at the three-quarter angle straight-on, you see that the lesser of the chin likewise equally the mouth tilt at a slight upwardly angle to accommodate the perspective of the front end aeroplane of the face vii. Draw the ear shape (every bit shown in Effigy four-23).

The top and bottom of the C shape ear line up with the horizontal top of the eyebrows downwards to the bottom of the nose respectively.
Figure 4-23: Drawing the ears.
8. Complete the three-quarter view of the head past drawing the lines for the neck, equally shown in Figure 4-24.
I draw both curving lines of the neck at an angle for a more natural head position. In addition, I taper the ends curving away from each other. The neck curve at the dorsum of the head intersects at the base of the ear. I draw the front of the neck curve aligned with the right side of the olfactory organ.
The side view
When you describe the side view, take either the front end and/or the three-quarter view from the previous sections ready for side-past-side comparison. Use the dividing lines from the section on the 3-quarter view.
Follow these steps to describe a side view of the head:
1. Between lines A and C, draw a slightly elongated oval to the correct of the forepart view of the head model (equally shown in Figure four-25).

I refer to this oval equally oval 3.
Oval iii should be i/2 a head width wider than oval 1 from the earlier section on drawing the front view.
2. Lightly depict the vertical division lines and label them one through 5 (as shown in Figure 4-25).
I use the forehead line, B, to horizontally split the oval in half. Side by side, I marker the vertical quarter marks of the oval and locate and draw the middle vertical line of the oval. Label the division lines i through 5.
Figure four-25: Depict the elongated oval to start the side view of the head.
3. Marking the halfway point between lines C and D where the maxilla (upper jaw) meets the mandible (lower jaw), as shown in Figure iv-26.

Lightly draw a horizontal line to indicate the center altitude between lines C and D.
4. Use the quarter marks two and 3 to draw the maxilla (upper jaw) bone line (as shown in Figure 4-26).
To determine the angle of the maxillary jaw line, draw a line from the top of mark 2 past the bottom of mark 3. Label this line EF.
5. Depict the front end of the face (every bit shown in Effigy iv-27).

From the right edge of the oval (marker 5), lightly depict a line that starts at line B and very slightly curves in toward the left until it meets line D. Detect that the bottom of the chin matches the level of the mentum from the front view of the head.
Don't overdo this curve. The degree to which the front of the face curves in isn't farthermost.
vi. Connect the bottom of the maxilla with the front of the face to class the lesser of the jaw (mandible), equally shown in Figure four-27.
From point F, draw a diagonal line to connect with the bottom of the forepart of the face forth line D. For at present, don't worry about the appearance of the pointed chin. Just exist aware of the bending of the bottom of the jaw.
7. Draw the optics, nose, and mouth features (see Figure four-28).
Describe a slightly skewed triangle for the eyes approximately i/2 an centre width below line B.
Call back of the profile of the middle as an arrow-shaped triangle with the lesser right corner sliced off.
For the olfactory organ, depict a 30-degree angle down and away from the head, starting at the same level of the peak of the profile eye. The line continues to line C. To complete the nose, describe a 45-degree line to intersect with the front of the face up.
Finally, use the same mark between lines C and D to locate the mouth position. I use a simple short line (make sure it doesn't go past the eye).
Figure 4-28: Draw the main facial features of the profile head.

8. Sketch the ear of the profile head, as shown in Figure 4-29.
Draw a C shape for the ear. Place this shape flush with line EF.
Ane of the common mistakes beginners brand is drawing the ear vertically. Take a moment to await at the profile of other people around you. You observe that ears are slightly angled and tucked behind the maxilla jaw line.
ix. Depict the two parallel lines for the neck (run across Figure 4-29).
Use the vertical marks 2 and four at the lesser of the head. Recall that the neck is slightly at an angle even when the body posture is erect.
The back view When you describe the back view, information technology's helpful to take the front or side views of the head from the previous sections aligned side by side. This style, you see how the different angles of the caput chronicle to each other.

Try your paw at cartoon the back view of the caput past post-obit these steps:

i. Sketch the same oval head shape you apply to describe the forepart side of the caput (as shown in Figure 4-30).

I call this oval 4; draw it to fit within the confines of lines A and D. Be sure the top and lesser of the oval touch the guidelines. Be sure to extend all guidelines (A through D) into the oval.

ii. Between lines B and C, draw a C shape for the ear on each side (as shown in Figure 4-30).

Make sure the top of the ear doesn't impact line B; information technology should be level with the top of the eye. I apply the eye from my profile head equally a reference.

iii. Draw the neck lines to complete the back view of the head (see Figure 4-31).

Figure iv-31: Describe the neck shape to finish the back view.

Cartoon heads of different genders and ages

Not all heads are created equal. In the following sections, I provide tips on tweaking your basic caput shape drawings to depict men and women, and I listing full general fundamental physical changes to the human head that occur throughout the developmental stages.

When you draw people of different genders and ages, it helps to observe your public sur- roundings (people watching, if you will). Encounter Chapter 15 for ideas on places for studying and drawing the figure.

Male and female person heads On rare occasions, I've fatigued physically androgynous models in whom the differences between the male and female head blur. Only typically, some distinct full general attributes help distinguish between the two sexes (as you can run into in Figure 4-32). Table 4-1 points out the distinctions between the male person and female heads.

Table 4-one Distinctions betwixt Male person and Female Heads

Male person Head Female Head Wider caput shape Narrower head shape Wider jaw lines Narrower/smoother jaw lines Angled cheekbones Rounder/less prominent cheekbones Square/chiseled chin Rounder/smoother chin

Male Caput Female Head Narrow/smaller optics Rounder/larger optics and longer eyelashes Wider/larger olfactory organ Thinner/smaller olfactory organ with smaller nostrils Thinner/smaller lips Fuller/larger lips Wider/shorter neck Thinner/longer cervix

Figure 4-32:

Comparison male and female heads. ab

When emphasizing the differences betwixt the sexes, I recommend experimenting with slightly skewing the circle you initially depict for the shape of the top of the head (if you're using measuring tools) and making the overall oval shape slightly thinner (if you lot're drawing freehand). Make the circle wider for the male person and narrower for the female. Don't overdo the skew — you'll lose the overall proportion of the head.

A timeline of different ages In this section I give you some ideas for observing and tweaking your head shape cartoon to portray an array of ages. Use Effigy 4-33 as a timeline guideline.

Babies (see Figure 4-33a) accept the following traits:

✓ Significantly larger upper skull mass compared to the rest of the head (approximately 65 to seventy percent of the head)

✓ Larger brow space as opposed to the lower half of the head where the residual of the features almost appear to be crammed

✓ Very round cheeks

✓ Eyes, nose, and oral fissure take yet to develop

✓ Neck is barely visible until the starting time year

Children (come across Figures 4-33b and 4-33c) take the following traits:

✓ Face grows narrower (well established by age 12)

✓ Jaw and chin become more prominent

✓ Bridge of the nose is defined

✓ Distinct hairline along the peak of the forehead

✓ Size of the ear is larger and close to being fully formed by age 12

✓ Females accept a rounder chin and slightly wider eyes than males

Teenagers (meet Figure iv-33d) have the following traits:

✓ A larger lower portion of the caput accommodates the growing facial features

✓ A more defined mentum (withal retains the roundness from "infant fat")

✓ Eyes, nose, and mouth are fully formed

✓ Jaw and cranium develop, making the ear appear smaller

✓ Neck muscles brainstorm to develop merely the differences between the sexes aren't drastically different

✓ Females have fuller lips and higher foreheads (they mature earlier than males)

Source: http://drawartwork.blogspot.com/2014/04/parts-of-head.html

Posted by: robertsfromens.blogspot.com

Share this post