Today we're going to talk about drawing the head. Now, a lot of people have trouble drawing the head. Sometimes it's just with the features, face spacing and placing the features. The plane to the head, rhythms to the head. There's a lot of things going on. So let's talk about why you'd want to master or begin to draw the head.

So let's kind of take a look at that. One. I think it's one of the most interesting and beautiful things to draw on the planet. I love drawing the face the head, the features getting a likeness to me, it's just a cool thing to do. It's also a good opportunity to solve any drawing problems you could possibly face. So it's excellent practice.

You could also get a job down the road as a sculptor if you know the plains of the face and really well You're a sculpting jar, you could translate that into sculpture. You could become a portrait artist and paint beautiful portraits and oil or or acrylic paint, or charcoal, and so on. You could be a concept artist or character designer, that's cool. A storyboard artist, even a caricature artist or an illustrator, so all those things are possible roads, you could go down, if you can master drawing the face. So let's get into this. In do this, I'm going to turn my flow down to about 9%.

And the mixer brush really kind of makes things look like natural media. So what I'm going to do is just really lightly block in common a that's that's your quick start right there from the front is an A and two Kind of kind of kind of space in place in a very general way, the egg and then I'm gonna get bisected vertically down the center and horizontally and to find the center from top to bottom. Okay, that's a great start right there. I'm just going to swing out a little sagging. See curve right there. A bit of the neck is real roughly.

Okay, so now that we've got that, we can go from the top of the head I halfway just a little bit above the eye is going to be the eyebrow and then halfway between the eyebrow and the chin is going to be where the nose is. And then from there We can go thirds. So what we just did was we went halfway is where the eyes are, and then halfway from the brow to the bottom of the chin is where the nose is. That was another half and then we divided this into thirds. Okay, so the first third is where the mouth is going to be, generally, and then next third is going to be right below the lower lip, it's the top of the chin, and then you get the end of the face or the bottom of the chin. Okay, so we're doing good right here.

Um, I'm just gonna, now that we have the eyebrow, I just draw a horizontal line all the way out to the side. That's where the top of the IRS is going to be. So I'm just gonna draw those in. Real quick, and I'm going to try and keep those real simple the bottom of the nose is where the end of the year the bottom of the year is going to sit. So somewhere between that middle third is where the year is gonna be. I'm just gonna get that in kind of quick here.

It's kind of like a disc, the top of it, it has a thickness as it rolls back. Okay, good. So now I'm gonna basically place a dot where the eyes I think are going to be so I just kind of feel that and put it out right there. And then what I'm going to do is from the middle of the forehead, I'm just going to drop a 45 degree angle. Right like that. And what that's going to do is help me find the tear duct on the inside.

Edge of the eye. And it's also going to help me find the edge of the nose plane where it meets the cheek. So somewhere in here, there's going to be that edge of the nose. And so where that finishes, hits the cheek and becomes a cheap plane, that's important to know. I'm just going to lightly put that in. And then what I'm going to do is kind of just from here, on the right side, not quite all the way to the edge of the face, but just inside a little bit.

I'm just going to draw a visor, just like an arc right there. And that's going to be the brow ridge. And then I'm going to go ahead and click A block in, I think that AI is going to be and that tear duct is right here. And I'm gonna make that I just write right there, just a little bit, not touching but very close to where the tear duct would be. Okay, just blocking that in working very lightly. And I'm not going for a clean, exact line at the moment.

So then I'm going to drop a plumb line from the center of the eye, each of the eyes straight down. That's going to give me two things that's very important is it's going to give me one, the end of the mouth, and where it terminates, it's also going to give me where that where the chin is and how the chin separates from the jaw. And that's really important. So I've got that. So I'm just going to make a little overlap for the chin right there. It's going to overlap with the chin and jaw kind of starts.

And then right here, just that little line at the top of the chin. If I draw a horizontal line out there, that's gonna tell me where the chin changes direction or the job changes direction, starts going up to the ear, and to find the side plane of the face a bit more. Excellent. So now, what I want to do is just make sure I've got Kind of a circle here. It cuts in a little bit to the nose to the edge and the mouth and then the top of the chin. That is the two cylinder or the muzzle.

And I just have a space and a place for that. And then next thing I'm going to do is define the front plane of the forehead and the side plane. So I'm gonna about right, right here. On either side, I'm going to swing out a seat curve to swing out of secret, just like that. Okay. And now I've got a nice front plane to side plane.

Plane, step down side plane. The more I can show off the box, the better. So now I'm gonna take that upper Part of the cranium, just make it a little more of a circle. And come right down all the way through, it's going to lead me to about the bottom of the nose. Okay, and that's important because that's gonna be where the bottom of the cheek is. And so I just want to connect everything and relate everything, one thing to another from the top of the head to the bottom of the head, and that's going to make it look even more realistic if I can do that if I can connect everything.

Okay, so you might see that there's a kind of a shape now like this. Right, that's what I just made. So I find that if I can simplify shapes and find silver Wet flat 2d puzzle pieces that makes sense to me. I can put those in there. So I try to draw those sort of comparisons to make things easier to memorize kind of like shape recognition for me. And so having swung out those seat curves now I kind of got that I've separated out again, the side plane of the forehead, from the front plane.

Okay, and that's looking good. Next thing I want to do is right from there right from this ended this brow ridge right here. That's going to be the top part of the cheek where the cheek starts. And it divides or delineates the front plane of the face from the side plane of the face. So I'm just going to go on Straight down to the, to the jaw with that jaw starts or the actually it's the chin. So I'm just gonna go straight down to the chin.

Okay, and then take my flow down a little bit. So they are now I've got that side plane differentiated from the front plane of the face. So you can kind of see. front plane, step down, side plane, right. front plane, side plane. That's good stuff.

Okay, so that jaw or that cheekbone, where it starts and where it goes down. It can go straight down to the chin. He can go right to the edge or the terminus of the mouth right there, or you can go right underneath to the top of the chin. So you have three options there, where the cheek kind of can go. It depends on the person, the sex and the ethnicity as well. Okay, so the next thing I'm going to do is right here at the top of the forehead, I'm going to draw a kind of a chevron shape or Keystone shape.

It's gonna look like that. So here's the shape. Again, let me draw it a little bit higher. So it's here like this. It looks kind of like a razor blade is kind of a trapezoid shape. It's right there.

And that's a super ciliary art they call it or where the glove Bella is. And once I've got that, I'm gonna pull some three dimensionality into it. So I'm going from 2d now to 3d just by pulling, extruding some shapes off the sides. And so now I have a front and two sides and a bottom. Okay, front, two sides and the bottom. And so what that's gonna sort of turn out to, I'm going to translate that into my drawing here and zoom in a little bit.

All right. Here we go. I'm just gonna darken that a little bit so you can see. There, there, there. Perfect. So that's going to give me the inside of the eye socket have the upper part of the eye socket.

Okay, and that's usually Shadow, so I'm just going to darken it in a little bit. All right, and then that's going to move us right into the glabella which is right here. We don't need to talk about that too much but I'll just put it in. But it's the start right here of the eyebrows. So the eyebrow wraps around starts underneath the brow and then comes over the top and wraps around the top of the eyebrow. brow so it starts on the bottom and wraps around on top.

Just something like A little bit later starts on the bottom, wraps around the top. So there's your eyebrows just right along that brown line right there. So it's kind of like a, you know, a piece of paper and if you twist it okay and you get a kind of side the twists away is in shadow and the stuff facing the light is lighter. So this is on top is light in here is in shadow. And that's kind of like how this brow is starts from the bottom and then twist over the top. It starts from the bottom and then twist over the top.

So, practicing this right here is really important. Like a twit a piece of paper with a twist in it. Okay, so let's move on to now that we have the eyebrow in place, we can kind of talk about the inside, bottom part Have the eye socket. So let's let's do that we can kind of get that by this part of the Keystone right here. I'm just gonna go ahead, right there's the bottom part of the Keystone and that just arcs right into and sort of delineates the top or the, the top part of the orbit of the eye. Just swings around like that.

So go from here. It just swings around like that. Okay. Looking good. The next thing I want Do stocking up these eyebrows a little bit so you can see them better. Okay, go back to my, my pencil tool.

Let's see if we can go ahead and kind of like delineate the temporal plane from the frontal plane a little bit more and cut show off the bottom of the cheek a little bit so that's going to be important to know where that cheek ends right there and some people you can really see that a lot. Some people don't see it at all and put it in there for them. ministration purposes and click here to combine these layers and just look a little wide so I'm going to make them a little narrow and keep going. So next thing I want to do is put in the nose so the nose is basically a prison. Okay, and so I'm going to keep it real simple for myself. Okay, so basically prism.

So prism looks like looks something like this. It's a little bit wider at the bottom than it is on the top. And it's got a front to sides, a top and a bottom. So I'm going to try to show that off. And I'm just building it out a really simple primitive shapes because it's quite a complex thing, but if I can kind of space it and place it in there with a very simple idea, like a modified rectangle, which is a pyramid, and now I've got a front step down to the side. And I've got a bottom plane right here.

Okay. So that's awesome. That's what I want. I'm just going to take this Get a little bit smaller, a little bit more room but I basically want that to hook up. Okay. So I'm going to hook these up this to this, this to this, right, and then this to this.

And that's going to build my nose from the Keystone or the glabella. In other words, pride into the side plane of the nose. So let's do that. zoom in a little bit. Grab the color and see if we can go ahead and put that slower a little bit. Okay, so narrow at the top wire on the bottom.

Go ahead and put the bottom right there. Go ahead give those minds a little bit of flair they're gonna curve. Let's see, is that gonna end in a different spot? See how it comes right out of the socket of the eye. And then there's the bottom of the prison side playing at the whims of the nostrils. Also combat.

All right, so now I've got a top plane. Side plane, front plane of the face. Okay. That's what I'm looking for. And from there we are going to put in the mouse. So let's do that.

So, from that split of the lips, basically, I'm just gonna swing an arc just like that and put a little V shape in there. I'm going to connect that to the philtrum from the nose to those top peaks of the lip, and then I'm going to put the tubercle in which looks like a little heart shape. And then I'm going to swing two little arcs out to the edge. Just be fed up a little bit so you can see swing out, swing out and come in. And then there's something called the muscular node right there at the end of the terminus of the mouse, which is kind of that Okay, and then I'm gonna swing an arc right there. Okay.

And then creating almost a W shape right there. Yes, we've got an M shape on top. And then we've got an echo of that M shape. An m shape on top right here. Can't see them. MC Echo of that M shape.

On the bottom we have a W, kind of a reverse at the top. And we put in the tubercle there, right, they're such an important thing. And this is the philtrum. And in going into the septum of the nose, but let's wait for that. So we've got our mouth and then we'll turn the corners up just a little bit. And the mouth is going to be top of the mouth is usually in shadow.

So I'm going to hit that with some tone. And definitely when it goes back into the end of the mouth, into those little nooks and crannies is going to get darker and then the bottom lip is going Gonna be there's a top plane and a front plane. And so leave that top plane in light. And then there's the, the shadow between the bottom of the lip and the top of the chin. We're just going to put that in and then that kind of swings around kind of like like a horseshoe shape. Right there.

Okay, you can bring that up into almost like the last lines of the muzzle, and kind of see we can connect that stuff a little bit. All right, and then we've got the chin, the space for the chin right there. Now let's put in the nose, so the nose can really look like an M shape at the beginning, so this is kind of an M, right? They're going to bring this up just a little bit look a little low to me. Sometimes you have to always be modifying the thing. Okay, so we've got a basic kind of M shape for the nose.

And now we can put the nostrils in. So from that septum of the nose. So why don't we go and explain a little bit so I'm going to put in the ball of the nose right? there and then the wings of the nose. And then they kind of come in so and then you have the bottom of the nose. So what you have is the front plane of the nose, step down to the side plane, top plane of the wing of the nose, step down to the side plane of the wing of the nose, right, step down top side like that.

So we're thinking like a sculpting jar, we're trying to find the planes and show off the corners. The more that we can do that, surprisingly, our head is going to look more real. Okay, so let's break down that nose again. So the ball the nose just looks like a circle. Just like that. And then we come down into the septum of the nose here, which looks like like this into the nostrils.

So that ball the nose goes right into something like this. Okay, so that is it's like a hot air balloon, right? So that's the shape, kind of like a hot air balloon and then we've got darkness. So the wings of the nose look kinda like tiles on a Spanish house, right? So kind of goes right into the wind awaiting the nose right there. That's bottom plane, bottom plane.

Okay. So we have that I'm going to scope that out a little bit more so we can see it. Okay. Connect septum to the philtrum into the tubercle. Alright. Okay, great.

We're making great progress here. Now we're going to put in I think we're going to define the top part of the cheeks a little bit. So let's do that. So from this inside, top part of the eye socket, we're just going to swing. Next is brush a little bit bigger. Swing an arc out just like that, boom.

And that's going to be the bottom part of the eye socket. Okay, so from that line, boom, swing knockout and that's going to give me the top part. Kind of the top of the cheek, bottom of the eye socket. Okay, so this is all going to be front plane right here, right plane of the face. And this stuff is going to be top plane. See that?

That's good to know. cuz sometimes you want really sculpted cheeks as opposed to really soft cheeks or you might have more masculine cheeks as opposed to feminine cheeks, you know, depending on the character and what you got to do. And let's put in the eyes now. So the eyes just go down here a little bit. You could kind of think of this as like draw a circle here and then we do a dolphin shape or like a porpoise and then we'll do another dolphin shape around it. Okay, that's gonna give you basic I will put the iris in there and then in the middle will be the people can that top lid is going to overlap the bottom lid so we'll just make that happen and then what you've got is the step goes into shadow And then the ends of the lids go into shadow.

It's gonna be dark. And then that top lid is going to cast a shadow onto the iris and the sclera like that, and the bottom lip, you're just gonna hit it. So right in here is right there, that's that side plane is the beginning of the nose. And right with that Keystone is sitting there, right and then your eyebrow twists over the top there. So and then we can put really dark right in the center there for the people back here we're gonna darken the side part of that sphere. Okay, so what you have is the top part of the lid goes down over the ball of the eye, and you've got the top part of the lower lid and then going down to the lower part inside, so trying to scope that out a little bit.

Okay, so let's go ahead and let's do one more thing about that. From the side. You can The follow the I got the cornea and you've got the pupil in there. And then you have the top lid. That top lid is going to come out farther and overlap the bottom of the bottom here and so you have cast shadow right there. From the upper lid into the eye, you have a shadow of that lower lid.

And so a lot of times students will get that messed up and so you want to have that upper lid overlapping the lower lid There's the pupil and you have that cast shadow. And the other thing you have is the catch light right there. Right there next to right next to the pupil overlapping and that catch light that's like the lifeline that shows that you have a living being in there the window of the soul. Okay, so let's do that. Let's put the eyes in. Start this color.

So we've got tear duct coming to need this digital brush right here. Back off on the flow. Okay, so we have tier two tier. There's one eye in between two ducks, one island so I can kind of swing this over the ball of the eye. Okay, I'm gonna swing the lower lid right in there. So got that kind of porpoise look at Dalton let them talk about Cassie the apex of the upper lid is not right above or symmetrical with the lower lid they're offset and that's important student on this side to Swing Out.

Tear tuck here. Up related overlapping the lower lid. You can see a little bit of that inside of the upper lid. the tear duct is usually dark. Then we have lower let's let's put in where the eye is going to be Put that pupil in their real dark. Okay, thicken up that upper lid.

Just got that shadow. It's also got eyelashes but I'm not gonna draw lashes that never looks good. Then there's the top of the lower lid and then the side. Side plans lower top, the lower lid Check it out. Take my need that side point of note. I'm going to add a value here just to show that and, you know, you can, you can drop it straight down.

You can you can kind of create a rhythm right here. You'll see it more bowed out on some people. Either way, it's okay. depends on the person. So I'm just going to kind of put that in. And so there's the that were the site.

Play to the end and side plane of the nose ends and moves into the cheek is tricky so that's why the prison helps because it gives you kind of a definite place for that to happen. I'm just gonna darken bottom cheek can come in here and we're the terminus of the upper lip is put down into some shadow a little bit inside playing up to the Keystone That Keystone does it actually a downed plane so I'm going to go ahead and put that into shadow that would be facing away from the light. Let's go ahead and put in a cache shadow upper lid onto the sclera. Hi itself, the iris darker. pupil is going to be the only place where I go super dark and in the whites of the eyes You're not going to have it's never going to be super white. It's always awkward.

I'm not gonna I'm gonna Leave the white accent for the highlight. So let me just put that in a little bit people in the new layer so I can get real black with that. Okay, and then put in that highlight bowl. Oh, right, something like that. Just hit it and let it be dark enough, is a little bit here. Sometimes these things are easy to do with chalk or pencil as opposed to Photoshop on glass you know starting to beef up this crease right here.

I just give that lower eyelid just a touch because that's where you're gonna see some hair but the inner one, great. I don't beat that one up too much So then I can define the iris a little bit more. And we'll get into that a little bit more later. Let's beef up that eyebrow. Starts underneath, twist silver starts underneath. Brown twist ends up on top of the forehead okay.

Inside part of the eye socket, a lot of times of swing around like that just kind of swings around. define this. These planes a little bit more fatalis to the temporalis side of the head and then we've got the top of the cheekbone. Here, starting and then coming right down to here, and then we've got the chin box. That's going to come in, define the chin right there. So the chin has a front plane and a top and a side too.

So I'm gonna hit this a little bit. So this is kind of defined When you show up the box like I said before, he curves and corners if it's too many curves, it looks cartoony. And if you have too many corners, it looks like lists of curves and corners are the best of both worlds in this digital more so like I said, you can have the cheek, go right to the corner of the mouth, you can swing in and go right to that space between the lower lip and the top of the chin or you can go right to The side of the chin right there see have three options depending on you know who it is male or female and the ethnicity. You can have, you know, cheekbones coming in right there or not, but it's helpful to know. And then you have the front plane of the front of the face and then the mouth, the barrel of mouth basically.

So that's gonna protrude out and then at the edges, it's gonna recede away from us. So I'm gonna darken that down a little bit. And I'm gonna make the edges really right there, between the top of the lip and the bottom of the lip, that goes into really dark shadows. Go ahead. That takes a little while but starting to starting to get there. I'm going to try and hit this thing.

A little dark right there. If I can increase my flow, a little census shadow, that top lid, that's always good. I'm gonna go back to my pastel like brush and hit that low casting shadow. It's a little dark in here. dark in there. We're definitely getting there.

One sculpt that out that knows a little bit. So let's do that. I'm gonna kind of beef up this part of the cheat a little bit right there so now have a warm sense of it's turning away and then we have a front and then we have a top. So again we've got Cabot top and then it goes under, top, under. Kiss. Let's get to that nose and sculpt out.

Front part of it again. So we've got the wing of the nose, top part. bottom part of the ball, the plane changed. They're still looking okay. So that ball the nose is gonna, a lot of times has a split in it so we can divide that out. And then we have the top part of the nose where it begins and separates out from the color palette so you've got the shape that looks like a diamond.

And that fits right into that ball of the nose. shape looks like you know kind of like a diamond or even like a coffin. Okay, so that's that bone part of the nose and that bone part ends right there. So we've got front plane, side plane and to the side plane of the nose, beginning of cheek. That's, that's what we want. Those areas are really tricky.

It's hard to see some of those plane changes so we can kind of put them in and overstate them a little bit then we can back off a little bit when needed so that front plane of the notice is going to kind of lock and key right into the ball of nose. And we go Miss Concannon, sometimes you see crease here. depending on the age, the sex of the person can play that up. Play that down a little bit to find a little bit of an open space right there on the lips. Looks like persons say something and keep that upper edge of the lip kind of soft. You don't want too many hard lines.

There okay, cheeks a little bit to sell cylinder that that mouth is sitting on on a ball, the lips are sitting on a ball. I want to kind of make the side of the ball go away and turn under. Just kind of state that a little bit more. Somebody might have like a dimple. Take some stuff out knows playing into shadows a bit more besides in the shadows just a little bit to pop out shadow for sure there's another possible plane right there further delineating the funtastic Part of the forehead. See that sometimes when people find the top of this, then you'll get the hairline somewhere in here making a bit of a hairstyle.

We kind of lost the years in this whole process. Just kind of put those in real quick. The sideburns would come somewhere in there depending on the hairstyle Quit yours attack attire was so big Yes. Let's move in a little bit and then I'll just hit them with some tone to push him back. I don't want you looking at this too much while I'm there but not to call track Find that next much. Okay, so back to this hairstyle style this thing breaks out some of the stuff so you don't see how I did it and then push that I just defined that little bit too much.

There. Push it back in the space a little bit And you're always modifying continually. It never, never ends. never ends. Sometimes you have a deadline so you have to just finish it. Thomas hare right.

Keep those eyes set back too much Then I can pull it out again with that super white highlight. pupil trying to get them to emerge out of that. Shadow, glass. glass balls. All right. That's basically it.