How To Draw A Head How To Draw A Head Front View

Getting Inside the Head
In This Chapter ▶ Becoming familiar with bones head anatomy
▶ Cartoon the shape of the head from dissimilar angles
▶ Creating realism by adding geometric planes and shading If you're ready to draw the caput of the human being effigy, you're headed in the right place! At showtime glance, the caput resembles an egg-shaped, ovalesque object. On closer examination, however, information technology's made upward of two separate groups. The first is the cranium, which is the upper/ rear ovoid portion of the head. The 2nd category is the face up, which rests below the cranium and toward the front of the head. Although people identify with the face, many stu- dents still wrestle with placing the confront in relation to the cranium. In this chapter, I walk you through the general parts yous need to know when you draw the caput and provide guidance on a couple of drawing methods.
Getting Familiar with the Parts of the Head
Beginners often have a tough time cartoon the entire head because a sure facial feature catches their attending and they miss the overall picture. Existence fatigued (no pun intended) to private features isn't a bad thing. Subsequently all, these features brand people distinctly unique. However, focusing on the head itself when you lot depict is important. Not seeing the features in context with the entire head is similar trying to identify where the tail of the donkey is while yous're blindfolded. Each feature has its aesthetic purpose and part only when it's drawn in the proper location in relation to the unabridged head.
Recollect of the head as the world. If you desire to place where to draw the epicenter mark (which represents, say, the facial features), you lot need to exist able to locate the proper key location of the globe before making the marker. Without knowing where to identify the mark in relationship to the outside edges and size of the earth, attempts at drawing the epicenter mark is guaranteed to be more hard.
In this section, I describe the parts of the head from several angles. Don't worry about draw- ing nevertheless; only sit with a cup of coffee and enjoy the ride.
The forepart view
In Effigy 4-i, I show the front view of the human caput. Proceed the following basic structures and tips in heed when cartoon the front view of the head:
✓ You can roughly dissever the caput vertically into thirds.
✓ Ideally, both sides of the confront are symmetrical.
✓ The forehead takes up a large chunk of the caput (approximately 1/3 of the entire head).
✓ The tiptop of the head is wider than the lower portion (the jaw) of the caput.
✓ The top of the head has a slight bump.
✓ Depending upon the build of the effigy, the neck lines on each side connect backside the ears (as opposed to being in front of either ear).
✓ The eyes are smaller and more than spaced out than most people initially assume.

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

The three-quarter view
In Figure 4-2, I illustrate the three-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 angle appears unproblematic. Pay close attending, however, to the way the features that rest on the side plane of the head shift relative position in relation to the front side of the face as the head tilts up, down, or sideways. This shift is due to the alter in perspective of the unabridged head (I talk more about perspective in Affiliate 14). Don't be frustrated if, when trying to draw this angle, it doesn't click at first. The three-quarter bending is deceptively complex. For this reason, I recommend first getting familiar with drawing the three-quarter angle from a straight-on vantage signal.
Take a few seconds to expect in the mirror from a 3-quarter angle. Utilise your ear as a state- mark "anchor point," and notice how the placement of the ear shape changes position as you get through the motions of tilting your caput back, forward, and sideways. The higher you lot tilt your caput, the lower the ear appears to sink in relation to the features on the forepart of your face. At the same time, the lower you tilt your head, the higher the ear appears to rise in relation to the features on the front of your face.
Go along the following basics in heed when drawing the three-quarter view of the head:
✓ The features on the one-half of the face that'south farther away 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 border of the left center. The dorsum 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 align the neckline with the edge of the attic).
Effigy iv-two: Cartoon the 3- quarter view of the head.
The side view

In Figure iv-iii, I show the side view of the human head. In my opinion, the profile is the fun view to draw; you don't have to worry about drawing the other symmetrical side of the confront, whether y'all're cartoon from a alive model or from retentiveness. Artists commonly overlook the following when drawing the side view of the head:
✓ The overall profile is much wider than the front view (come across the earlier department).
✓ The front of the face is slanted at an bending.
✓ The back of the caput is as wide as the front section of the head.
✓ The ears residuum at an angle along the jawbone line.
✓ The neck comes at an angle when the figure is standing erect.
✓ The bottom of the nose is roughly level to the lesser of the back of the head.
✓ The features create a triangular overall shape.
Figure iv-3: The side overview of the man head.
The back view
In Figure 4-4, I prove the rear view of the homo head. This side is probably the almost over- looked. Beginners likewise equally experienced artists assume that if the head is facing the other way, all they need to draw is a bunch of hair to cover the dorsum of the head. Not true! Here, I list some primal features that get overlooked in the drawing process:
✓ The dorsum of the caput is approximately ii/3 of the vertical height of the unabridged head (that's quite a bit of space for your brain!).
✓ The neck (or summit of the spine) emerges from underneath the back of the occipital bone (the big dorsum department of the skull).
✓ Depending on the person, the mandible (jawbone) may be visible.
✓ The acme of the head has a slight crash-land.
✓ From backside, the ear doesn't residual flush against the head.
Figure 4-iv: The rear view of the human caput.

Drawing the Shape of the Caput

Pick up your pencil and get ready to depict your first head from scratch. In this section, I walk yous through the steps to proportion the head accurately with careful measurements on a template. I likewise show you how to arroyo drawing the face without having to go through as many stages, which is handy if you're strapped for time.

I've found that students identify with their eyes more than other features of the face. Most students brainstorm cartoon cocky-portrait assignments with the eyes. Apply the eyes as your "mea- suring stick" to build the basic dimensions of the caput and equally y'all effigy the placement of the main facial features (eyes, nose, mouth, and ears).

Every bit you block in the features, you may find that they occupy less space on the head than you recall. Hair conceals the forehead every bit well equally some of the top portion of the head that'south visible from the front. Keep this fact in mind throughout the balance of this chapter. (Run across Chapter half-dozen for full details on drawing hair.)

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

Drawing the caput by carefully measuring proportions and features is a skilful idea for brainstorm- ners considering it encourages you to utilize detailed guidelines that may fix or arrange whatsoever errone- ous assumptions you have about the head proportions. I show yous how to draw the head of an average-build developed in the following sections (I explain how to describe heads of different ages after in this affiliate). You need a compass, ruler, and a kneaded eraser in addition to your drawing pencil and paper.

In this method, laying downward the large shapes as accurately every bit possible is helpful, considering the residual of the smaller shapes (which correspond the facial features) rest on this foundation. A compass is a great tool for drawing big, symmetrical circles (see Chapter 2 for more details about this and other drawing tools).

Although the post-obit arroyo is useful for understanding the structure of the human head, it'south a generalized method that's meant to supplement your drawing and ascertainment skills. The heads yous encounter or draw won't necessarily bide by this technique. In addi- tion, these stages take time to execute. And then if you're cartoon from a live model for the start fourth dimension, applying every stage isn't like shooting fish in a barrel — unless the live model is able to stand still for at least an hour (non likely). In these cases, consider using the method in the later section "Drawing the caput freehand from different angles."

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

one. Using a ruler, describe a directly line (approximately 3 inches) at the heart of your cartoon paper and carve up information technology into five spaces (every bit shown in Figure 4-5a).

Each division unit represents the width of one heart

2. Mark the center of the line with your pencil (approximately at the 11/2-inch mark) and utilize it to draw a circumvolve with your compass (run into Figure four-5b).

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

Figure four-5: Start to build your head with a straight line and a circle. ab

3. Establish the centerline of the caput and the landmarks for the bottom of the confront.

As shown in Figure four-half-dozen, draw a vertical line approximately 5 to six inches long going through the centerline. Brand the bottom 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 mouth.

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

4. Use your ruler to measure one of the division units that represents the width of an eye (come across Step ane) and employ it to marker A, B, and C starting from the bottom outside of the circle, every bit shown in Figure 4-6.

A marks the bottom of the nose. B indicates the lesser of the lower lip (you apply this marking subsequently to find the location of the mouth). C marks the lesser of the chin.

five. Start to draw the lower front end section of the head.

Mensurate and create the midpoint, D, between A and B and then yous tin can utilize your compass to draw a circle as shown in Figure iv-7. Brand sure the bottom of the circle meets with C. This shape represents the lower portion of the head. I refer to this portion as circle two.
The easy way to do this stride is to start the circumvolve by placing the needle betoken at D and placing the lead indicate at (and outset drawing from) C. This is much quicker than judge- ing how wide of an angle you demand to ready the compass.
Figure 4-7: Draw the lower portion of the head.

6. With your ruler, find the midpoint betwixt the center of circle one and the lesser of circle i (signal A); label this midpoint Eastward.
Afterwards marker Due east, draw a straight line across the circumvolve to create points F and G (equally shown in Figure 4-eight). This line where the eyes rest should be parallel to the centerline right above information technology.
7. Consummate the outline of the head by drawing two slightly rounded arches for the right 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 historic period every bit 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 later in this affiliate). I draw the cheeks fishing outward for individu- als who are muscular.

eight. Draw ii lines for both sides of the neck to complete the basic head shape, every bit shown in Figure 4-9.

Here are some key points to keep in heed when drawing the neck:

• The length of the neck from the ear downwards to the clavicle (collarbone) is about the aforementioned as the distance from the bottom of the mentum to the eyebrows.

• For children and females, the edges of the cervix curve in toward the eye.

• For artful purposes, I describe 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 direct down, using a ruler isn't necessary.

• Heroic male person necks (the Schwarzenegger types) get-go the same width as the head and burl outward, away from the center of the neck.

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

Figure 4-9: Indicate both sides of the neck with two lines.

Adding simple facial features

When blocking in the facial features, don't worry about cartoon the shapes realistically (I encompass these topics in Chapter five). For now, just re-create the elementary geometric shapes that I use. Pay more attending to the accuracy of placement and size. Follow these steps:

Figure four-8: Bespeak the guides for the optics and block in the cheeks.

1. Use your ruler to lightly draw six vertical, parallel lines along the markings of the upper portion of the skull.
Equally shown in Figure 4-10a, draw the lines long enough that they stretch from above the caput down past the mentum (C). With this stride, you now accept 5 equally spaced sec- tions, and each is the width of one centre.
To make the remaining steps easier to follow, I characterization each segment with numbers 1 through 5.
ii. Use the spaces 2 and 4 to lightly block 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 place holder for both eyes.
To ensure proper proportions, exist certain that both tips of the almond-shaped optics touch the vertical parallel lines.
Effigy 4-10: Lightly draw the vertical guides and the optics. ab

3. Describe the elementary nose, as shown in Effigy 4-11.
Draw a concave arc in section 3 to signal the placement of the nose. Draw the arc right forth point A.
Brand certain both edges of the arc are touching the left and right lines of section 3 to ensure proper proportions.
4. Draw the simple oral cavity (see Figure 4-xi).
To represent the mouth, draw a brusk line along point D. Make sure the line for the mouth is parallel to segment FG
Figure 4-11: Lightly indicate the nose shape and locate the mouth position.

The width of the rima oris needs to get-go roughly from the heart of the right eye and terminate roughly at the eye of the left eye. (In the adjacent section, you describe the pupils of the eyes, which assist ameliorate define where the middle of the eyes are.) I apply a ruler when I want to align ane object with another. In this case, vertically position the ruler where the center of the middle is. Use the same vertical position to then determine where the end of the oral cavity needs to be.
v. Draw the ears and eyebrows to consummate the basic front view of the head.
Start at the center of the caput, between the eyes and betwixt line E and the central diameter line of circle ane. Draw an arc over each eye for the eyebrow (in Chapter v, I explain how to draw different types of countenance shapes). I depict the eyebrow shape slightly angled upward and abroad from the center of the forehead. The pinnacle of the centre- forehead is approximately ane middle width from the lesser of the center.
Add together a C-shaped curve for the ear on each side of the caput (see Figure four-12). Make sure the top of the ear doesn't laissez passer across the top of the eyebrow. Also, make certain the lower portion of the ear doesn't become beyond the bottom of the nose (betoken A). I remove most of the labels for visual clarity so you can meet the final paradigm.
Drawing the head freehand from unlike angles
When you're new to figure drawing, drawing the homo head with the longer and more thorough method in the previous section is primal; it helps y'all become comfortable with basic proportions and shapes. After you go the hang of the previous method, though, yous tin can explore the shorter method to mapping out the basic proportions of the head. This shorter method gets the job done more rapidly and besides allows y'all more time to focus on other parts of the figure. (I utilise this approach when I depict from life or work on characters in graphic novels; I normally don't have time to flesh out specific measurements as thoroughly as I do in the previous section.) Although both approaches are great for beginners, the approach in this section builds your drawing confidence because it forces y'all to rely on your own observation skills rather than a formula.
Figure iv-12: Finish with the ears and eyebrows.

Try this approach to drawing the bones proportions of the homo head. I embrace three angles of the caput (front, side, and rear view). For this method, you demand but a soft drawing pencil (6B–8B) and drawing/sketch paper (acrid gratis).
Although it takes some time getting used to, judging size and space relations without measur- ing everything trains your observation skills. Just keep practicing!
The front view In my life-drawing class, I take students start with the front view of the caput because it helps them encounter the caput and its facial features without having to worry about drawing multiple sides of the head at once. Many beginners brand the mistake of starting by drawing the caput from circuitous or extreme angles and become frustrated as a result. Dealing with the head and its fea- tures equally a apartment, two-dimensional object on a apartment slice of paper is more applied and efficient.
Because nosotros have only one model per studio class, not anybody gets the front end view. So I have students accept turns posing for each other for x minutes. (A longer pose is better, but unlike professional models, mortals can't sit withal for long without going crazy!)
Follow these steps to draw the front view of the head freehand:
ane. At the center of a fresh sheet of drawing paper, draw an oval shape that somewhat resembles an upside downwards egg (I refer to this shape every bit oval ane; see Figure 4-13a).

Don't make the head too large. I keep the initial shape no more than than four inches tall. 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. Run into the sidebar "When in doubt, start minor" for more info.
2. Draw a horizontal line and a vertical line to course a "cross" shape (as shown in Effigy 4-13b).
Roughly divide the shapes evenly. These lines provide a sense of which direction the head is facing.
If yous have trouble making the initial oval in Figure 4-13a symmetrical, don't panic even so. Use the dividing cross-hair lines, as shown in Figure 4-13b, to make sure the left and right are as equal as possible.
Figure 4-xiii: Draw the bones shape and lightly sketch the center guidelines. ab
three. Depict the eyes and eyebrows along the horizontal guideline (see Effigy iv-xiv).
I identify one pocket-size circle on each side for the centre of the eyes. These circles represent the pupils of the center, and I draw them roughly at the midpoint between the vertical centerline and the border of the head.
Lightly depict an arc higher up the eye of each heart. The width of the arc should exist no more than than approximately 1/five of the width of the head.
Finally, draw another slightly larger arc above each eye to indicate the eyebrow shape. Make sure each arc slightly angles down toward the centre of the guidelines.
Because we identify so closely with our face and facial features, a lot of people make the common mistake of assuming that the face up accounts for the entire front of the head. This happens especially in the initial stages of cartoon the caput without the hair (which I hash out in Chapter 6). As a result, students place the eyes much higher than they should exist, intruding into forehead territory. Although the eyes are drawn at the midpoint of the head, go along in mind that the hair covers up to 1/iii of the top portion of the caput, creating the appearance that the optics are higher toward the acme of the head. The face is approximately the same size equally the top of the spread paw. Identify your hand in front of your face for size verification, and then identify where your optics are in human relationship to the meridian of the hand. This technique volition assistance you better assess where the eyes need to get.

4. Depict the simple nose and oral cavity.

As shown in Figure four-15a, draw a pocket-sized concave arc for the nose and so that the bottom of the arc is approximately halfway between the lesser of the chin and the top of the optics. Make the width of the concave arc approximately 1 eye width.

Indicate the oral cavity shape with a line, every bit shown in Effigy four-15b, halfway between the bottom of the nose and the bottom of the chin. Make sure you place the line shape for the mouth symmetrically along the vertical guideline.

When in incertitude, starting time pocket-size

Many beginners assume that cartoon large on an xviii-x-24-inch drawing pad is always the all-time fashion to start studying the effigy accurately. The fact of the matter is that human being manus-eye coordination is strongest when your cartoon is no larger than the size of your hand. The smaller the object you describe, the more accurate and comfortable you'll feel drawing it. I tin bear witness this theory to you right now. Have a few seconds to draw a series

of even arcs that get progressively larger (starting time pocket-sized — say almost 1 inch). When the arc and wrist movements are minor, your arcs are adequately even and smooth. Every bit they get larger, your hand must move to adjust the fact that your meaty wrist move can no longer handle the size of the object. The consequence is a series of uneven and asymmetrical arcs.

5. For the ears, draw a C shape on each side of the head (see Effigy 4-sixteen).

Make certain the acme of the ear doesn't go across the tiptop of the eye and the bottom of the ear doesn't go past the olfactory organ.

half-dozen. Draw ii brusk parallel lines for the neck (come across Figure four-16).

Start to describe each line from the bottom of the C ear shape on both sides. The length of the line should be 1/ii the length of the head.

Figure iv-16: Draw the ear and neck shape to terminate the front view.

The three-quarter view When y'all draw the three-quarter view, have the front end view from the previous section ready for side-past-side comparison. To brand the two views easier to compare, depict lines dividing the caput into thirds. I label the lines from top to bottom: A, B, C, and D. These guidelines besides aid ensure that my drawing sizes are consistent inside each viewpoint.

Follow these steps to draw a three-quarter view of the head:

1. Between lines A and C, draw a slightly elongated oval (come across Figure 4-17).

I refer to this oval equally oval two.

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

I label the guidelines from ane through 5. Three is the midpoint of oval 2.

Figure 4-17: Starting the iii-quar- ter view of the head.

three. Lightly sketch the upper jaw (maxilla) and lower jaw (mandible), as shown in Figure four-18.

Lightly sketch a diagonal guideline from the height of intersection 1B to line two at the mid- indicate betwixt C and D. This diagonal line gives you the angle and position of the max- illa. The mandible starts from the bottom of the chin at line 4 and curves up to connect with the maxilla at the midpoint of the horizontal guidelines C and D.

4. Draw an S curve line to carve up the front and side planes of the head, as shown in Figure 4-19.

From the peak left of the back of the cranium, describe the get-go bend, which meets at B2, to betoken the top side plane of the caput. Complete the residual of the S curve guideline, which angles down and to the correct, to connect at C2 earlier continuing on its path toward the lesser of the chin at D3.

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

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

Slightly lift the terminate of the curve closest to you lot higher than the end of the bend that's farther away from y'all. Although this elevator is subtle, it gives the overall features a more dimensional and realistic positioning that'south consistent with the rule of the perspective theory (I talk nigh perspective in depth in Chapter fourteen).
Draw a 2d subtle arc that vertically connects between lines 3 and 4, from the tiptop to the bottom of the caput, to marshal the placement of the nose and mouth.
Figure 4-xx: Adding cross-hair guidelines.

6. Lightly block in the facial features.
The facial features you draw in the three-quarter view are the same as the features you draw in the front view (meet the previous section). However, 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 yous that the head isn't a apartment object.
I use the front end view of the head (from the previous section) to cake in the placement of the features. I recommend starting with the eyes and eyebrows (as shown in Effigy iv-21), followed by the nose and the oral cavity (as shown in Figure 4-22). Here are key points to go on in mind:
• 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 confront farther away from the viewers. Although you lot don't meet 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 farther abroad creates depth.
• Apply space betwixt lines three and 4 as you center most areas of the face.
• When you look at the 3-quarter angle, you run across that the eyes tilt downwards slightly.
• When you lot look at the three-quarter bending directly-on, you see that the bottom of the chin besides as the mouth tilt at a slight up bending to accommodate the perspective of the front airplane of the face 7. Describe the ear shape (as shown in Figure 4-23).

The top and bottom of the C shape ear line up with the horizontal tiptop of the eyebrows down to the bottom of the olfactory organ respectively.
Figure 4-23: Cartoon the ears.
8. Complete the three-quarter view of the head past drawing the lines for the neck, as shown in Figure 4-24.
I draw both curving lines of the neck at an bending for a more than natural caput position. In addition, I taper the ends curving away from each other. The neck curve at the back of the head intersects at the base of the ear. I draw the forepart of the neck curve aligned with the right side of the nose.
The side view
When you draw the side view, accept either the front and/or the three-quarter view from the previous sections prepare for side-by-side comparison. Utilise the dividing lines from the section on the iii-quarter view.
Follow these steps to depict 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 caput model (as shown in Effigy 4-25).

I refer to this oval equally oval iii.
Oval three should exist i/2 a head width wider than oval 1 from the earlier section on drawing the front view.
two. Lightly draw the vertical sectionalization lines and label them 1 through 5 (as shown in Figure iv-25).
I use the brow line, B, to horizontally divide the oval in half. Next, I mark the vertical quarter marks of the oval and locate and depict the eye vertical line of the oval. Label the division lines one through 5.
Figure 4-25: Draw the elongated oval to start the side view of the caput.
3. Mark the halfway indicate betwixt lines C and D where the maxilla (upper jaw) meets the mandible (lower jaw), equally shown in Figure four-26.

Lightly draw a horizontal line to bespeak the eye distance between lines C and D.
4. Use the quarter marks 2 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 marker 2 past the lesser of mark 3. Label this line EF.
5. Draw the front end of the face up (as shown in Effigy 4-27).

From the right border of the oval (mark 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 lesser of the chin matches the level of the chin from the front view of the head.
Don't overdo this bend. The caste to which the front of the face curves in isn't extreme.
6. Connect the bottom of the maxilla with the front of the confront to course the bottom of the jaw (mandible), equally shown in Effigy 4-27.
From point F, draw a diagonal line to connect with the bottom of the front of the face along line D. For now, don't worry virtually the appearance of the pointed mentum. But be aware of the bending of the bottom of the jaw.
vii. Depict the eyes, nose, and oral fissure features (come across Figure iv-28).
Draw a slightly skewed triangle for the eyes approximately 1/2 an eye width below line B.
Think of the profile of the eye equally an pointer-shaped triangle with the lesser right corner sliced off.
For the olfactory organ, depict a xxx-degree angle down and abroad from the head, starting at the same level of the meridian of the profile centre. The line continues to line C. To complete the nose, describe a 45-caste line to intersect with the front of the face up.
Finally, utilize the same mark between lines C and D to locate the rima oris position. I utilize a uncomplicated short line (make sure it doesn't become by the centre).
Effigy iv-28: Depict the primary facial features of the profile caput.

8. Sketch the ear of the profile head, as shown in Effigy 4-29.
Depict a C shape for the ear. Place this shape affluent with line EF.
One of the mutual mistakes beginners make is cartoon the ear vertically. Take a moment to expect at the profile of other people around you. You detect that ears are slightly angled and tucked backside the maxilla jaw line.
9. Describe the ii parallel lines for the cervix (see Figure four-29).
Use the vertical marks two and 4 at the bottom of the head. Remember that the neck is slightly at an angle fifty-fifty when the trunk posture is erect.
The back view When you draw the back view, it's helpful to take the front end or side views of the head from the previous sections aligned side by side. This manner, y'all see how the different angles of the head relate to each other.

Try your hand at drawing the back view of the caput by post-obit these steps:

1. Sketch the same oval caput shape you utilise to describe the front side of the head (as shown in Effigy 4-thirty).

I call this oval 4; describe information technology to fit within the confines of lines A and D. Be sure the elevation and bottom of the oval touch on the guidelines. Exist 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 (equally shown in Effigy 4-30).

Brand certain the top of the ear doesn't touch line B; information technology should be level with the tiptop of the eye. I employ the eye from my contour head as a reference.

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

Figure 4-31: Depict the neck shape to end the dorsum view.

Drawing heads of different genders and ages

Non 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 general key physical changes to the human head that occur throughout the developmental stages.

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

Male and female heads On rare occasions, I've drawn physically androgynous models in whom the differences betwixt the male and female head blur. But typically, some singled-out general attributes aid distinguish between the ii sexes (equally you lot tin see in Figure 4-32). Tabular array 4-one points out the distinctions between the male and female heads.

Table four-i Distinctions between Male and Female Heads

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

Male person Head Female Head Narrow/smaller optics Rounder/larger eyes and longer eyelashes Wider/larger nose Thinner/smaller nose with smaller nostrils Thinner/smaller lips Fuller/larger lips Wider/shorter neck Thinner/longer neck

Figure iv-32:

Comparing male and female heads. ab

When emphasizing the differences between the sexes, I recommend experimenting with slightly skewing the circle you initially describe for the shape of the top of the caput (if you're using measuring tools) and making the overall oval shape slightly thinner (if you're drawing freehand). Make the circle wider for the male and narrower for the female person. Don't overdo the skew — yous'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 drawing to portray an assortment of ages. Use Figure iv-33 as a timeline guideline.

Babies (see Figure four-33a) have the following traits:

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

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

✓ Very round cheeks

✓ Eyes, nose, and oral fissure have all the same to develop

✓ Neck is barely visible until the first year