How to Draw the Head in 3/4 or Side View A common approach to drawing the head from 3/4 or side view is to use a 2 step construction approach. The first step is to draw a ball for the cranium, followed by drawing the frontal plane and jaw. Below is an example by Andrew Loomis (Fig. 1). Figure drawing: Basic Pose and Construction 1. Introduction This method is to help you draw the human form. It is by no means the best way or even a fast way. Arthur- Comic Creator Come play again later! Come play again tomorrow! Comment dessiner différents types de visages Comme nous l’avons vu dans l’article précédent, dessiner une tête n’est pas si difficile que ça avec la méthodologie que je vous ai montrée. Dans cet article, nous allons voir comment il est possible de construire tous les types de visages avec cette même technique. Il s’agit ici de varier les proportions de chaque partie osseuse du visage comme les pommettes, la mâchoire, le front, le dôme du crâne et l’arrière de la tête. Comme en caricature, ou dans le character design pour les jeux vidéos, on adapte les proportions de la tête avant de poser les détails du visage.
DRAWING GRASS (Negative Drawing techniques)at MIKE SIBLEY FINE ART What do you see when you look at this picture on the right? Do you see an ancient black drinking cup? Maybe an ebony candlestick holder? Self Portrail Stencil I am soooo excited about this one. Please do try it, especially you journal artists. It is a lot more fun than you'd think to manipulate images of yourself. Although I make stencils a lot, it had never occurred to me to do a self-portrait until I read Randi Feuerhelm-Watts' brilliant book, Wide Open. How to Draw Hair, Part 1 Looking back at my tutorials on drawing the head, I realized that I covered individual features, but completely left out hair. This tutorial will is split into 3 parts: The Basics, Types of Hair, and a Step by Step drawing. I’ll start this first part of the series with common mistakes that I see all the time.
Human Figure Drawing Proportions START WITH A (3 x 4) OVAL. Divide this head like this:The top of the skull.The pupils are in the middle of the head, top to bottom.The bottom of the nose is about 1.5 eye widths from the eye line.1 eye width below the nose is between the lips.1/3 below between the lips and the chin is the chin crease.I started with an oval that fit on my skull's front view. My horizontal center line of the skull dividing the top to bottom is between the pupils. My head is 5 eyes wide not including my ears. When drawing the head I consider the horizontal eye line the center of the head.
How to Draw Eyes For a video version of this tutorial visit www.proko.com/how-to-draw-eyes-structure This tutorial is a continuation of How to Draw the Head from Any Angle. I will go over the structure of the eye and detailed information on drawing the brow ridge, eyeball, eyelids, eyelashes, iris, cornea, and pupil. The Basic Forms The Eyeball The part of the eyeball that is visible (technical term is Sclera) is commonly called the ‘white of the eye’. Eyes and Freckles The color pencil drawings of Amy Robins. Artwork © Amy Robins Link via Life is a Danceable Tragedy How to Draw the Head From Any Angle The Basic Forms To draw the head from any angle you must first understand its basic structure. Look past all the distracting details and visualize the underlying forms. This ability to simplify can be applied to the features of the face, but when starting the drawing you could look even further. Ignore even the features and simplify to the most basic form of the head. I use a method taught by Andrew Loomis in his book, “Drawing the Head & Hands”.
How to Draw Lips For a video version of this tutorial visit www.proko.com/how-to-draw-lips-anatomy-and-structure This tutorial is a continuation of How to Draw the Head from Any Angle. I will cover the basic forms of the mouth, some anatomical information, and the key information about the minor planes. At the end, I will show a step by step drawing of the lips. Basic Forms Drawing Hair in Pencil By Maery Drawing hair is hard work. It's complicated, time consuming, and often the results are terrible, and trust me, I speak from personal experience when I say that. So, why bother? I used to skip it all together when drawing portraits, thinking I'd never be able to do it well, so I didn't do it at all. Witness exhibits A and B from early 2000: