All right, when drawing the head and three quarter, the two things we need to focus in on the most are the structure and the proportion of it. So I'm going to start with a head straight on and then get it to turn and I'll show you how to do that. So I'll start with an oval. That's three units high to two units wide, by sector down the middle, vertically and horizontally. Then I'm going to take an arc and get its gaze to turn to the left and then this little space right here. That distance I'm going to add almost that distance to the back and then swinging arc this way and connected to where the nose would be and that's going to get us back part of the cranium Mass.

And you can see by just bringing a little notch right here how that's gonna work out what is the idea of a cheek and now I think you can probably see it. Okay, let's divide the front half the face from the side plane, I'll just swing is simple Esker and put a tone in so you can see. So we have front plane, side plane and the forehead curve, so we'll just bring it around this way, almost in a contrary motion to that. Okay, now the visor will swing an arc here from one side to the other and bring it into shadow here, protecting the eyes will swing. That's part of the labella in here, but it's like an awning that protects windows. Right?

Okay, then the nose will be can be like a number two with a triangle at the bottom, or it can be a prism. So let's go with the idea of the prism. So I'm going to bring out a keystone here. And then pull the route of the nose and where it ends will be from the top of the browser to the bottom of the chin halfway will be the bottom of the nose. Alright, so let's get that in. That prism shape is very effective.

It's so simple and so clear. Once we get it in, let's bring in the side playing. I'm playing Okay, and now we're going to bring in the muzzle of the mouth or the barrel or the two cylinder and I'll literally just draw a barrel here on one side and the other. And you can probably see here I'm going to point out that the front plane of the face of this straight line here, but the arc That barrel, the planer that barrel is this curved line here. So you don't want to draw it flat because then the two cylinders won't look like a form that's projecting away from the front plane of the face. So I'm just going to put this in tone here besides go back and we'll put tone at the bottom right then we have the chin will state that like a roll like a box.

Make it clear. So you want to overstate the box at the beginning and then you can pull it back later. So start with this boxy shape. And then we can finesse it into something more like a human face later. Okay, cheap phone Coming from the browser and swinging around and make sure we get that symmetry on both sides and then zygomatic arch back to the ear. That's there.

Okay, now we can start to put in the eyes. Now that we've built housing for the eyes so the eye is a homerun shape and the tear duct you can find will not intrude any further in then the wing of the nose so I'm just going to make sure it doesn't do that and start my tear duct. Here. It is goes further in and looks cross side. So here's my tear duct swing a curve here out my job, the inside Michael's enjoying something like this and practicing drawing these kinds of curves just like that outside inside, inside and shadow outside is here and then rather lower lid here. Give that lower lid.

A nice thickening because the ball of the eye is mostly resides under the lower lip, not the upper lip tone here. Okay, this part see the bone of the orbit The eye socket really tight against the eye and this part will be in deep shadow here usually. Hey, let's put the iris in a sense of where that's going to be. Just give that a tone. Make sure it's spaced and placed in the right place. Okay, once we've got that in, we can go ahead and put the other eye in other sides.

I'm just gonna Make sure they're lined up along this line so the eyes don't sag when the tear duct and then that make that curve a lot more exaggerated on the foreshortened side. Right so anything that goes into foreshortening is is more round. Get the top part of that horrible bone here. This and some shadow here and let's build out the novela show it's thickening here. Iris put more of an oval because it's in perspective against the pie that's closer to us. That'd be more of an oval shape.

And let's just clarify this a little bit. Okay. All right, let's work on that nose. first third of the nose is bone, the nasal bone second Two thirds of the nose is cartilage. There's the ball, the nose and one third. There's that middle third and cartilage and then the top third is in bone.

We'll just go ahead and put this in now that lower part is any kind of a shape like a trapezoidal shape, coming in interlocking with that first trapezoidal shape up here. And then we have the wing of the nose and then it's like a disc with a thickness. And then the other side will see it very barely see it depends on the person. Alright, let's put a shadow on top of the barrel of the mouth. Okay. And then the nasal passages.

There's a rhythm here, one side to the other side. Now remember the first time I saw this and which is I was on a plane and the stewardess went over and said, Would you like something to drink and when I looked up, she crinkled her nose and I saw this rhythm, just like that. And my teacher had been, had taught me the rhythms and the Reilly rhythms and there it was, I saw it. And it was mine forever. I couldn't unsee it. That's the funny thing about once you learn something, it's hard to unlearn it, right.

So sometimes that's a good thing. Versus the continual refining of each part, each phase that we do. Getting closer and closer to reality hopefully. Now that follow the noses separated a lot of times into two spirit shapes, I can go ahead and put that in. Tighten up that shadow there. Alright, so let's do the mouth.

So now that we've got the pupils in, we can drop a straight line down on one side and that's going to give us the end of the mouth and the width of the jaw. So that relationship is there between pupil, straight line down, you can catch the side of the mouth of the terminus of the lips and the width of the jaw. Now if you're not aware of that, and you don't take that into account and the jaw can become crooked, easily, alright, so this is the way to check your drawing and make sure that that doesn't happen. So, bottom of the nose bottom, the chin in the middle is roughly where the split of the lips is going to be. Okay, so I'm going to go ahead and swing an arc out this way. Take a little bit from there, so I've got like an M shape.

I'm going to echo that M shape, but kinda like bird wings. I'll give that top lip a tone here. Good usually in shadow facing plane facing away from the light. Okay, and then let's go ahead and Put into the lower lip. upper lip is superior to the lower lip, the lower lip comes out from the upper lip. It's quite pillowed here in two distinct forms.

Remember, this is a blueprint to a schematic. It's an analysis. It's not a pretty picture, really. So don't worry if it looks. It looks a little robotic. It's sort of it's supposed to look that way.

Okay, so under the lower lip is usually in shadow. And so I'm gonna make a kind of a W shape right here. Anything that meets the top plane of the chin, point of the chin, and now we can round out that chin. Make it more characteristic of human face here. Right so we start out, very low resolution, very blocky, and then we round things out as we go. Now at the terminus of the lips, that's very tight right there so I can put a shadow in here.

Slight up, turn. See how that little clip comes out from the upper lip and I'll put tone here indicating the plane changes. It goes away from the front of the face. So we have the front lip. And inside playable it right inside that goes back. Also there's a plane change here too, just as the lip comes out and then goes down.

So it comes out and then down. Okay, so the sutures of the lip we have the muscular node, I'm going to put that in. And that's real subtle. If your lips just end sometimes it looks a little weird. But if you can indicate just a little bit of this vascular note, sometimes that does the trick. It's very subtle.

But if you look for it there many times so I'm going to go ahead and finish off that bar side of the cheek. So the cheat will go no lower than the bottom of the nose. Let's bring that into focus here. And there's an interlocking here. Sometimes it can go back up into here and locking with the Temple of the side play, depending on the lighting. Let's just strengthen this up a little bit here.

See how that brown fits in to the cranium here. clarify that tone, to push it back, a little bit in space. So this is needed, draw pupils and eyelashes and stuff. Just get the shapes The values right and it'll read for you. Okay. Now we can go ahead and I think we're ready to put the air in.

Clarify things just a little. Let's bring this plain change here a little bit. Want to focus a sense of where the neck might be Okay, putting looking at the here a little bit here, there's going to be at an angle, about 11 degrees this way from the middle of the head and back, right so we swing guideline out from the brow and bottom of the nose. Go ahead and just swing the seeker right here. There it is seeker with the letter Y and side. So the top part pop top third is the curve.

The middle part is the And then lower third is the slope that connects in back of the jaw. Okay, so just bring that out with some shadow in the bowl. And then we have our beer emerging. Let's bring it in the center here separating the crud of the jaw from the back of the jaw. That's your chewing muscle. Okay, and then let's put in the eyebrows.

So how I can do that is an angle from that top lid on to the forehead and back down to the other side. Right. It's like a little triangle that sits up there. And the brow starts underneath the eyebrows, tucks underneath and swings over to the top, on the front of the face, on the front of the forehead. Okay, starts underneath, goes up and over kind of like a bird wing. And the younger the person, the thicker the eyebrows.

Just remember that the older the person, the thinner the eyebrows. Okay, and then let's complete the part of the orbit of the eye. So we've got top part of the orbit of the eye, this swings here and goes this way, goes this way. And it's somewhere in the middle. Right of the nose. That's where the top part protects the lower part, orbital bone comes down and then it completes itself here like this.

Completed stuff here like this. So if you want to draw someone looking old, you can add bags right there bags to the eyes. In more wrinkles, it'll make sense because you know where to do it. And then there's that front part of the cheek there. Really now you can see some distinct playing changes there that you have for let's say that you know the front part of the cheek or the top part of the eye socket which will get light and then the front part of the cheek which will get less light and then it turns under, right up front turns under So long we're describing things, we're giving good descriptions. Then we're doing okay.

I'm doing real, okay. Okay, it's time for the hair. So we can come down to about a third of the way down the forehead, let's say. And then there's a lot of different hairstyles that basically come back like that. Like that. And then we come down to sideburns, Over Knives, you can have all kinds of different hairstyles can can be jailed up, right crop short Could be long.

But if you treat it treat it like a tone that also has plane changes, then don't worry about drawing strands everywhere. Just get the shapes in the values. More corners, you have more boxy it's gonna look the one basket masculine. It'll look more curves you have the more family let's go look So as it goes away from the light it will be get a tone goes towards a lighter get lighter. So there we go. We have ourselves a ahead in three quarters here.

Little bit. Little plain changing happens here goes from forehead, step down and then it goes to the side plane. So as long as you know you're describing the plane changes, right? stepping out, going under, right, top lid under front of the sclera, top plane, side plane and then we go to the front and down the it's a real stair steppy kind of thing. It's just going out, down over out. It's kind of like that, like stairs almost as long as you're getting those kinds of descriptions and the definitely going to join up To be better than so many other joints out there and better than your past drawings.

Don't compare yourself to others because just compare yourself to who you were yesterday. And if you're making progress, that's good enough. Absolutely good enough. That's realistic to measure progress like that. Okay, so there we have it, the head and three quarter. We'll see in the next video.