Original subtitles

Let's take a look at the basic building blocks of drawing the head and the neck.

So typically speaking, the head is really made of kind of two shapes, where you could definitely certainly

draw it with these two shapes.

You have a sphere, and you have a sort of triangular

form.

Imagine this drawn through a little bit.

And you also have a cylinder for the neck.

And these really our very basic form building blocks.

That's not to say that you would draw these exact forms, but these are the forms, the basic form that

we want to understand to make up the components we need in order to draw the head.

But using our knowledge of dynamic forms, we want to draw the the sphere, which is the cranium of the

head.

Draw that in, and instead of bending the sphere, what we can do is attach the triangular form over here

to that sphere,

and have them become one.

And it makes a very directional type of shape.

And when we add the neck to the base of that sphere, we want that to be directional too, smaller at the

top, slightly bigger at the bottom.

And we then have a good form based foundation of how to draw the head.

We we're implying planes, the front plane and the side plane, and we' also have the planes of the neck, the

front, and the side as it rotates around.

And additionally, that we're drawing at a rotation, so this head is facing slightly left and it's not

front on or side on.

So when we draw front on things appear to be very flat.

We can't see multiple sides.

And similarly, when we draw things directly from the side, they also appear to be very flat and we can't

see multiple sides.

You just see the side, or we just see the front. And for the time being as we're doing these form drawings

and learning to draw these forms.

We want to avoid front and side views for the time being, and focus on rotations and

more specifically, what we can call three quarter rotations, where we're rotating the form three quarters

left or right.

That's not to say that you can't do additional rotations.

But while we're learning, let's focus on drawing slight rotations to our forms so that they don't appear

to be flat that they appear to be 3D and dynamic.

So let's look at a few more drawings like this,

where we're thinking about the forms, and we're imagining the different sides of the sphere, attaching

that triangle shape to it.

The triangle form, imagining the neck cylinder starting small, getting big as it comes in, it's going

to eventually attach to the torso.

And just getting a handle of these forms, feeling out these forms, imagining these forms. And particularly

that they are dynamic forms

Let's do a different rotation.

So what I'm doing now is, I'm already imagining that this circle is a sphere.

I'm drawing the contour line over it to imagine where I might

place that triangle, that kind of molds and becomes a part of that sphere.

And imagining that form on that neck coming out,

just as a basis, just as a basis for the face

We can play with the size of elements as well, to get different looks, particularly different jaw

shapes.

So perhaps I'll really bend that triangle now, make sure I know the front and the side of this head

shape and of the sphere.

Imagine the neck sphere behind these forms the neck cylinder mind you.

And really just continuously stacking these forms together, these dynamic forms, and building head shapes.

And really these three components are the main components of, the main form components of drawing heads

Here is a top view.

So basically I'm just imagining attaching this triangle shape to the front of the face, but imagining

that the eye line for example, center line is running here, and the eye line is looking that way and I attach

that triangle to it, and it tapers off as it recedes into the distance.

And obviously we can't see the neck from a top view. And what might a bottom view look like?

So again we can start with the sphere and draw through so let's say that this head is facing that way the

eye line is maybe there. There are some other lines to help us grasp the form, and the small elipse for the neck is

there and the big one is here.

It's kind of bending up and we want to attach that triangle piece to the front.

Let's say that the base of the triangle really ends, you know, the chin shape here.

If you wish, kind of ends in that kind of shape as it moves up to the face. And then our sphere just continues

around and we have the base looking a bottom view from the neck imagining these different planes.

The bottom of the sphere, the front of the face, the side of the face, the bottom of the chin etc..

And so what you want to do with all of the forms that we will be drawing, is grasp

these basic forms. The sphere

cylinder for the neck, draw out these just very basic forms.

This triangular block component, longer or shorter, doesn't really make a difference as long as the proportions

make sense and then add in those dynamic forms.

So add in the idea that you don't want the form to be non-directional and static.

So this form, certainly from the side, is directional here. It is directional from the side.

Although it's front plane is really a square.

So it's not really directional.

This is not directional and that is not directional.

So what we want to do is, kind of, how can we make these forms directional.

We have our sphere.

It in itself is not directional but we mold this triangular block to it.

We're giving this form a sense of directionality, right, it's kind of pointing downwards. It's overall

2D shape.

Something like that.

And so there's a directionality in it.

And then we want to also bend the cylinder for the neck in such a way, as it has directionality too- starting

small at the top and bigger at the bottom, and then the neck's directionality is actually kind of pointing

up, right.

And we will get more into detail as to why we might want to have directionality in human forms. There

are very specific reasons why living things should have a sense of directionality in them. And this is

why we want to bend these basic forms and not just leave them static.

Right.

So hopefully this is a good overview for you of really the basic forms of drawing the head.

Just do it once again here. I'm bending the forms, this time I'm drawing the sphere first adding the

neck, and then molding on that triangular piece and having us kind of feel out these basic forms.

Now, once we've got the basic form down, we can then take a basic, take the basic form, and add just

a very standard, simple skin overlay onto it using what we know about overlaps.

So I'm going to work in two layers here.

You do the sphere, slight rotation to the left, mold that triangular shape onto it to, make it not that

long.

So make it a little bit shorter.

So it ends there.

Nice center line down there helps me to feel the form. Might as well drop in the eye line, a third down the sphere, and get

that neck sphere going, neck cylinder going, drawing through to help me fee. The form is not quite centered on

the neck.

It's not the end of the world.

And once we have this, using what we know of proportions, we can actually add in some features.

So I'll just use some ellipses for the eyes, thinking about perspective, putting in the nose,

dividing this into three, finding the mouth line and then kind of, pressing a little harder and getting

these lines in. Imply the skin surface.

And thinking about overlap her, line weight as well,

and having the neck taper down, giving us a basic skin surface to the forms. And really, if you have

strong forms, adding the details to the forms is relatively easy.

When we think about the triangle, right, our theoretical triangle.

Let's change the waiting here.

You know, it's generally weighted so heavily for shape, and that really is the 2D iconographic shapes

of what we're doing. And then forms, and, you know, even more so than that.

I want to just change the shape a little bit more, just to kind of emphasize the point here.

You know it should be something like, details occupy that much of the space, forms and shape. Because the

details really are just the details.

If the forms are there, people are already then geared to seeing the 3D in what you're drawing.

Right, they're geared to seeing the 3D in what you're drawing, they already buy into the 3D nature of what you're

drawing.

And the fact that we are adding directionality to our forms, already means that we're showing some understanding

of living objects.

So when we do a form of a head in this particular way, there is an implied life in the way that we're

thinking about the basic forms. And to the viewer it's something that they, just kind of, they understand,

they'll get it, there's something about how we're creating these forms and bending them with that directionality

that implies a sense of life in understanding. Versus a more amateurish understanding of form, where

you know, things are very blocky and robotic and flat.

And sure they may still be understandable,

but there's just a lack of believability in the life likeness of the forms.

So this is really just me not adding in the directionality of the forms and not really connecting

anything, just keeping it very static.

It looks very robotic and very dead.

All right.

And so what you can do really is, using those basic form knowledge for the head and the neck

just really connect those parts,

use your proportions knowledge when you want to add features, and keep things directional,

and then add, even if it's just a very basic understanding of the skin surface level of the forms.

It's OK.

Here you can be a little creative.

And you really can add just a very simple skin surface details. And have it, have something that looks

relatively decent, without too much work, because the forms are so strong.

Strong forms.

That's what I want to emphasize to you with this.

So hopefully in this video you've got a good overview of, really how it easy, just add those surface skin

details onto the forms, as well as obviously how to construct the forms.

And don't forget all the things you've learned in module 2, this especially important. Don't forget what

you've learned in module 2.

Regarding loose lines and overlapping lines to show overlaps and things that are in front and behind.

And also, adding line weights to show that this jaw for example here is overlapping the neck. The very

very basics, help you to just get that believability when you're adding the details onto the basic forms.

All right let's move onto the next lesson.