We draw a human head authors. How to draw a human head? Proportions of the head and face

I was looking for a free master class for a long time, but I did not find it. I got a book, I decided
copy both text and photo. There is no tutorial material in this book. will
only a very detailed structure of the head. How much it will help - I do not know.
the material is large, I will try to shorten it.
Found nature, planted? We found the corresponding picture - we fix it on the easel at the top left. We fasten a sheet of A2 from the wallpaper to the easel and take the coal.
Now we draw a human head - constructive sketches, as it turns out, we don’t worry about cleanliness. Begin...
1. Arrange the head of a person (do not forget about the neck and it is possible with shoulders) in the plane of the sheet - to find the main proportional ratios of height-width, we use an eye and check ourselves.
2. We find the main volumes of the head, neck, shoulder girdle. The eye is working in full force, check your actions several times.
3. Now we recall the previous lessons. Remember how we drew a cube with you, then geometric shapes, how we did exercises to develop logical thinking. Now look - before us is not a frightening person, or rather his head. Before us is form, volume and nothing more. He doesn't bite (just kidding). At this stage, the human head is an inanimate object for us.
Now try to observe this volume and transfer all this volume to the plane of the sheet. As it turns out, let's just see what we can do now. Just start not with details, but with the main volumes and planes. Enough basic ones, do not split the shape, do not draw eyes and cilia, they are not there now. You can warn your nature that most likely, she will not see what she expects from you and will not exclaim, "Oh, how it looks!" - this will not happen.

Do not forget about the three-dimensional image of the form. You do not draw a flat picture, feel how the volume, for example, the ball of the back of the head "wraps" into space. Feel the design of the shape of the front part, this will help the visible protruding parts of the skeleton. And you can try to analyze the invisible ones yourself. Try. I need to know (and you first need to understand for yourself) how you can see the construction of this volume.

2.

So, what has this joint work given us? The main thing is that we understand that in order to draw a person's head, its volume, you must first of all "cling" to something, understand where to start, start drawing a shape, how to "catch" the volume, how to build it. There is something to cling to. Firstly, these may be some points that are immediately visible upon examination, their presence makes it clear that there are strongly protruding areas on the volume of the head, both large and smaller. In the picture you can see how I find the total volume of the head, how I find these main points - they are highlighted the most. Second, I find the main planes, which are formed by breaks in the form. You can see how I am trying to find proportions using imaginary three points - you can see how they form angles.

5.

6.

Meaning: in the process of work, one can understand that the points and planes that we “capture” most, the breaks, are not found by chance. These are the constructive moments of the human head. This is its structure, which forms the characteristic volume of both the head itself and the proportions of each person individually.
Now, it’s easier to say that the cheekbones, or zygomatic points, are most noticed by us, then the nose, which forms a pyramid from its main planes (there is a pyramid at the base of the nose or is also called a prism), the plane of the forehead, the protruding volume of the chin, the balls of the eyes located in the eye sockets. And we found the very height of the head by its characteristic points - the highest point on the skull and the protruding point on the chin.
Well, at the end of our work, you can also designate light and shadow. That's how you see, common main planes. To do this, you do not need to look "forward" to nature, squint your eyes and you will clearly see the main light and shadow. I will only note that the human head can also be inscribed in a cube, hence it will not be a problem to find a shadow - both the total volume of the head, and the nose and eye sockets in particular.
At this stage of the work, I can add that you have begun to study, "probe" the proportional ratios of the parts of the skeleton of the human head. You understood the main thing, I hope that the human head is the same volume where planes and edges exist, the so-called constructive points, chiaroscuro, height, depth and width. And with all this, you can successfully draw a human head, like everything that we drew before. You also realized that even a head can fit into a cube, as evidenced by the distribution of light and shadow. This means that here, too, what is closer to us will be more active, what is further away will go into the air. That is, we will know how the light is distributed over the form.

We continue ... From the previous work, we realized that there are some constructive points that form the shape of a human head. In drawing the head, they are very important. It is on them that the proportional ratios of all planes of the volume of the head are found, and the volume of the head is built on them. Now we will analyze them in detail and add something else. As long as we read and catch the essence.
How to draw a human head We look at the picture on the right.
Shown here are the main structural points of the human skull. Let's parse:
1. The very first thing that falls into the field of view of the drawing is, of course, the eye sockets and orbital cavities.
2. They are followed by zygomatic points,
3. and frontal tubercles.
4. Chin point,
5. point (angle) of the lower jaw.
6. Then we take a closer look at nature and notice the highest point on the skull.

6.


7. Let's pay attention to the temporal point. The temporal bones, (in books) are considered not the most convex in width on the skull, books are considered the most convex in width - the parietal tubercles. But the books don't say that the parietal tubercles are rarely "used" in a drawing. Watch people, the structure of their skull, draw at least sketches and you will understand this. You will also understand that there are points more significant for drawing - temporal points, which, by the way, are very often located wider than the parietal ones. It is this system of learning that insists on the introduction to the arsenal for building the human head - temporal points. How they are formed will be discussed further.
8. And the most convex in width bones - on the occipital part of the skull - the brain box - the parietal tubercles, they form another characteristic point, are used depending on the nature of the rotation of the head in space.
While these points are enough, you need to work through and, if possible, remember. Next, pay attention to the multi-colored lines that cut through the human head. These axes divide, schematically divide the human head into certain parts.
How to learn to draw We look at the next figure on the right. All the constructive points that we have just considered are saved here, you can compare, this drawing is no longer deprived of "muscle mass", such drawings-schemes are quite suitable for us and do not interfere with assimilation of information. We will bring beauty later.

7.

So, let's continue talking about the axes that divide the human head into certain parts. We look and compare pictures.
1. The axis of symmetry is shown in red, which divides the head into two equal halves.
2. The line of the superciliary arches is shown as a synonym; it runs along the line of the superciliary arches and the lower part of the occiput. Divides the head into an upper cranial part and a lower facial part.
3. The line dividing the head into the front part and the occipital part is shown in green. It passes through the highest point on the skull and through the ear openings.
4. The yellow line is the three-quarter turn line, a very important line by which you can accurately determine the turn of the head. It passes primarily through the zygomatic point and the temporal point. I repeat, along this line we will determine the turn of the head.
5. Do not forget about the cylinder of the neck, on which the human head "sits".
6. There is another axis that defines the lower part of the pyramid of the nose and it naturally passes through the lower line of the nose and along the lower points of the ears. It is shown in turquoise.
All the diagrams that you saw, you can just view for now. This is for visual assimilation of understanding the design of the head. And below I give a somewhat simplified "version" of what is happening. It is better to start learning to draw a head and study the presence of constructive points, axes and main planes and the proportions of the head from drawing blanks. Just now, let's move on to our blanks

8.


Look: I draw blanks in three positions at once - front, side and three-quarter turn and designate constructive points and axes.
For easier understanding, you can start with blanks in the form of a rectangle. The head can be inscribed in a square, but this is done simply to better understand the distribution of chiaroscuro. In fact, the head fits into a rectangle. But this does not change the essence of the matter. But in oval-shaped blanks, a structure similar to the structure of the head is clearly visible - it is very good to enter a ball or oval into the cranial part. More close to natural form.
Shown here are the main design points in each of the head turns. The main axes that divide the head into parts are shown. Also, already looking at these diagrams, you can see that there are clear proportional ratios of the parts of the head. I will add more: the structure is clearly visible. For example: the height between the superciliary arch and the line that defines the lower part of the pyramid of the nose is equal to the height of the ear, the ear is usually located within these limits. More: on the same line is the mouth and the angle of the lower jaw. Understanding this, you can consciously draw the head, knowing its design features in advance, that is, if you outline the mouth, then you can check its location by drawing an arc along its corners and the point of the lower jaw. Above and below the line of the mouth, you already refrain from sketching. Of course, people are different, as are the shapes of their mouths, but these are the basics. You won't get far from them anyway.
By the way, you can introduce elements of perspective into your work. The figure shows how to achieve it. The part of the head that is closest to us will have the original dimensions. Everything that will go into space will be slightly (do not overdo it) distorted in size down.
It's time to fix the material, it remains to draw sketches of the human head in the form of blanks, for now we draw according to the idea, nature can distract and frighten you (just kidding =)) with details. Who is stronger, of course, I don’t mind - draw from life and immediately compare the drawing of a blank with a living head. But still, I advise you to work without nature for the time being, according to your imagination. Now we need to look for these most constructive points and axes. The theoretical part is over, now draw with me.
A blank can become for us a kind of tool, a prototype, a template, a matrix in drawing a human head. By studying the human head, one can understand the key points in building and drawing it on the basis of this simple blank form. Moreover, it is very easy to understand the perspective ratios of the parts of the head based on it. And, finally, to understand the very course of work in building the volume of the head. See

9.

1. Let's say you are drawing a human head. You have already outlined the composition in the sheet, found the main volumes, found a place for the head itself.
2. Now you need to find the volume of the head itself, find the proportional ratios of height and width, the very nature of the head - a round head, oval or pear-shaped (let's say). We use the principle of drawing blanks. Its shape will depend on the nature of the volume of the human head. Here, the basis for the head, we have a blank.
3. The next step is a great desire to show the vertical axis that divides the human head into two symmetrical parts - left and right. This axis is determined very simply, you can catch on to it by the location of the nose. This axis, dividing the head into two parts, will give us two constructive points - the high point of the skull and the lowest point on the human head - the point of the chin.
Yeah, we have a clue, the process of building the volume of our head has been started, we are taking it further.

10.

4. We began to find the turn of the head, now we will decide on this finally. To do this, you need to outline the so-called three-quarter turn line, which determines the turn of the head in space.
This line is very simple, just dwell on the zygomatic bone, the constructive zygomatic point. We outline the point of the cheekbone and draw a line.
In the process of this work, our eye catches the proportional ratios of the main front part and the rest of the volume of the head.
You can only slightly outline the zygomatic point, since its exact location will still be finally determined later, this stage is preparatory when searching for cheekbones. It is enough now to simply outline the turn of the head and the preliminary location of the cheekbone point (cheekbone points). So, we have the total volume of the head, the axis dividing the head into symmetrical parts, the point of the chin, the high point of the skull, the line of the three-quarter turn, the zygomatic points are outlined. We work further.
5. Now we find the line of superciliary arches.
Our eye should determine this line, or rather, it should be noted how much volume the cranial part of the head, located above the superciliary arches (eyebrow line), and how much the front part of the head, located below the superciliary arches, will occupy.
We devote a little effort to the observational perspective and the line of the superciliary arches is found. See:

12.

13.

Further move:
6. define the line that defines the lower part of the pyramid of the nose. Finding it is not difficult, just look at the nose of nature, and you can test yourself with the following knowledge:
the line of the superciliary arches and the line that defines the lower part of the pyramid of the nose divide our head into equal parts (ideally), we take this as a basis, compare it with the structural features of the head of our nature, there may be some deviations (perhaps the brain part of nature is large or the chin is too massive, or vice versa small), and mark this line.

13.

7. And now you need to outline a line that will divide our head into two parts: the front part and the back of the head. This construction line passes through the ear openings as well as through the highest point on the skull.
8. And when you draw it, there will automatically be a temporal point at the intersection of this found line and the line of a three-quarter turn.
The lines are drawn according to the shape of the head, if this is not felt in your drawing yet, then correct your actions with an eye. Or analyze - if the line dividing the head into the occipital and facial parts, when intersecting with the line of a three-quarter turn, gives a temporal point, then this is equivalent to the fact that the temporal point will be at the intersection of these lines.
The eye determines this convex place on the human skull, there is a temporal point - this is the basis for the fact that two lines go through it, which we are now talking about. So you can check your actions and at the right time adjust the proportional ratios.
In our drawing, a lot of constructive moments have already been outlined, found, allowing us to do the following:

14.

9. First, outline the nose - a place for it has already been prepared, found.
10. Outline the ear.
A place for it is found automatically thanks to previous actions. The line dividing the front and back of the head passes through the ear openings, and the height of the ear (ideally) is equal to the value that we had after the line of the superciliary arches and the line showing the lower part of the nose pyramid were outlined. That is, the distance between them will be equal to the height of the ear.
Of course, as in the previous case, you can check yourself and, in case of errors, correct them. It is enough just to strain your observational perspective. But now you can see your mistakes yourself, you can analyze what you draw, every step you take. Scatter your vision more often, look more often at the total volume of the head, the main proportional relationships. And the details will not run away, they will always have their place inside the main one.

15.

We find the rest of the main proportional relationships. We look at the picture on the left: 11. we find the zygomatic points - now their location is easier to find when they are squeezed into the frame. 12. And we find the angle of the lower jaw: this point will be at the intersection of the line dividing the head into the front and back of the head and the line that forms when the mouth is found. 13. I think you will quickly find a mouth.

16.

Look at the picture on the right. What are we left to do? 14. Find a place for the eyes - one, 15. find the superciliary tubercles, protruding points on the eyebrows (in a simple way) - two, and 16. find the frontal tubercles, the location of which is checked visually, the frontal tubercles are located on the same horizontal line and it is easy to find them, it is enough to draw lines from the superciliary tubercles upward to the most convex points of the forehead. I will add: since the brain part - the cranial part of the human head has the shape of a ball, then it is easier to understand it constructively in this way. We need to tie the frontal tubercles to the shape of the head. To do this, we connect the points of the frontal tubercles with a high point on the skull and with the temporal (temporal). So it is better understood where the volume comes from, what character it has, and everything in our form is interconnected. This is the design we get.
To this, if, of course, the turn of the head allows you to see, we determine the parietal tubercle - the most convex part in width on the back of the head.

17.


So, based on drawing the simplest form - blanks, you can find the design of the head and reproduce it all on paper. But in this case, you can perfectly understand the whole process and, in case of failures, correct it yourself.
Yes, and chiaroscuro is distributed and the shape of the head is molded with a stroke much more readily, when you clearly understand the shape on which you are actually going to "lay" the stroke.
Rotate the blanks based on the design features that we have considered when drawing. On the left you can see the working drawing. You can start rotating the blanks like this. For now, draw as you remember the material. How many constructive points you remember, use them. Try to just rotate them in space.
When the hand gets used to this shape a little, when you learn what you remember right away, then compare it with the blank drawings that we made above. Perhaps all the constructive moments are not taken into account. Then "rotate" the disc, taking into account all the constructive moments, in order to assimilate all the material. I suppose that the best thing you can do so far is to draw blanks in those positions - front, profile, three-quarter, with slight deviations in the tilt of the head. Well, okay, for starters, and it's not bad.

18.


Do not forget that the head is a three-dimensional shape, try to draw lines in shape, in volume, lay lines on the volume of the head, then they will not turn out to be cut out, alien, straight, and so you learn to "feel" the volume, "probe" its design.
How to draw a human head
Now what we found, studied on blanks, we will transfer to a living human head. Translate theoretical knowledge into practical. We will slowly approach the living volume of the head. Now sit on
tour in front of you, who doesn’t have it, take pictures, photos and start working. I, in order to show you the progress of work, use schematic drawings, sorry, I can’t show the photo.

So .... Examine carefully the head of your sitter, in all three turns, get used to it. It is quite possible that already now you do not look at a person as a person at all and the very image of him does not distract you, you are not afraid of this. You have awakened an interest in understanding the very structure of the head and subconsciously want to understand its volume. The professional look of an interested draftsman who is looking not for beauty in the picture, but for the "device" of this beauty. An interested, evaluating look is exactly what we need.
And now we will try to transfer everything that we have studied above to a living head. All constructive points, all important lines and axes will be projected onto the natural living volume of the head. See:

21.

22.

23.

This is all the material that we studied above. Everything that we did with blanks is projected onto a living head.
As you can see, all constructive points, all lines and axes are exactly present here. In addition, we can still see how it is formed, the height of the ear and the constructive point - the angle of the lower jaw.

And now everything that you have just been shown, work with your nature. Find everything that is found here by me.
I don’t write the names of the axes and constructive points, by this stage you should have already remembered how what and where is called while still working with blanks. If you forget, go back and study again.
And now, wedged into the process, I will tell you something else about proportions. There are two things. 1) the ideal proportions of the human head, they can also be called "Greek", since the Greeks created the canons of beauty, which were precisely based on accuracy and correctness. 2) but there are those proportions that are present in absolutely every person in the design of his head and they may differ slightly from ideal ones. And it is precisely the differences between them, between each person that help to have their own individuality. This is when you make a drawing, accurately find the proportional ratios of the parts of the head of a given person and achieve similarity, which means that you have caught the proportions correctly. Look at the following figure, it shows the main, large proportions:

22.

If you connect the constructive points or points of the most significant parts of the face (nose, mouth or chin), located so to speak, opposite to each other, then all of them will pass through the ear hole. But these radii, if I may say so, or simply the values ​​from the ear hole to a particular point, can just help us in the successful search for proportional ratios of the parts of the head.
This is such a significant detail in any book I, unfortunately, did not meet. In drawing lessons, the teacher's attention is focused on this. Most likely, this moment refers directly to the practical skills that are captured and developed in the process of work. And it is very important to us.
Naturally, this principle of searching for the main proportions can be applied both in a three-quarter turn and in front view, that is, in front, or when the head has a foreshortening, with the only difference being that in profile these "lengths" or lines are visually almost even, and in other cases, they will "lie down" in shape, "wrap" in space according to the volume of the head. Finding them is just a matter of experience, and experience is practice. But you have already been warned about this, there is little left to do.

And now we will consolidate the material covered. Let's draw a head, just take into account what we've gone through.

23.

We work in steps:
1. We compose the place of the head with the shoulders in the plane of the sheet. My head is a little cramped in a leaf, so that it can be seen better. In general, you can make it smaller. But the principle is this: in front of the front of the head, the indentation from the edge of the tablet is greater than from the back of the head to the edge of the tablet. The margin is smaller at the top than at the bottom. Shoulders may be fully visible, but not necessarily now. So, you have arranged the composition in the sheet according to the total width and height (we use the search for these values ​​​​using conditional three points).

2. We find a place for the volume of the head, neck and shoulders separately by the main masses.

3. We draw a blank of the head, taking into account the proportional features of nature. Do not forget about the neck: the volume of the head is attached to the volume, the cylinder of the neck is not flat. And the neck is attached to the shoulders, as if on a pedestal. The shoulder girdle is also a three-dimensional form, now it is enough just to catch its main proportional relationships and outline the volume of the shoulders.

A) We outline the axis dividing the head into two equal halves - left and right. Points are formed - a high point and a chin point.

B) We outline the line of a three-quarter turn. It goes through the zygomatic point, therefore, the last one will be previously found.

C) We find the line of superciliary arches. It can be outlined along the line of the eyebrows, drawing it further. But here we add one more moment - the point where the zygomatic process of the frontal bone passes into the frontal process of the zygomatic bone. This point is not difficult to notice, this is a break point where the superciliary arches change their direction (look at the eyebrows). Names from the section of plastanatomy, we will not go deep, we will simply call it the break point of the superciliary arches.

D) We find the line that is located under the pyramid of the nose and draw it in the same way as in the case of the line of the superciliary arches. Check yourself constantly with an eye and do not look "in the face" of nature. While finding the proportions, try to sit in one position without changing the angle of view.

D) Find the temporal point. She is very visible in person. On the same line is the temporal point, high and ear opening. The line falls in shape, according to the volume of the head. In my case, this line coincides with the "edge" of the head, "wrapped" in space.

G) We outline the ears and nose. Ears - the height of the ear is found, the features of the shape are obtained from nature. Now the nose: a generalized form - a pyramid. We outline it schematically with the total volume that the nose occupies. My nature has a rather massive nose, its lower part is very well developed - the lower plane of the pyramid will be visible, I outline it.

Now the next and very important thing: not a single form on a person's head "lives" by itself. There is a constant flow, entry, collision, transition from one form to another. This is how things happen with our nose. It connects to the superciliary tubercles forming another plane, which is located between the eyebrows and is clearly visible.

H) We find the zygomatic points finally. I note that the points of the zygomatic processes of the frontal bone and the points of the cheekbones will give us a characteristic conditional plane. It's different for every person. Catch the proportions. And from these same points, one more conditional plane can be outlined by drawing lines from these points to the middle of the ear.

K) We find a place for the mouth. After drawing the line of the mouth along the form, we determine the angle of the lower jaw.

L) We find a place for the eyes. Until the line on which the eyes are located. The line goes roughly to the corners of the eyes. Ideally, if you draw a line from the edge of the pyramid of the nose up, then it is in contact with the inner corner of the eye. In a living form, this does not always work out, you can check yourself as follows: between the eyes there should be enough space for one more eye.

M) Do not forget about the frontal tubercles. From the very constructive points that were found when constructing the pyramid of the nose - the superciliary tubercles, we draw lines to the most convex points on the forehead of a person, which are also located symmetrically about the central axis. So we "tie" the frontal tubercles into the general shape of the head and do not allow them to freely "hang out" in the space of the sheet. And from them you can already draw lines to high and temporal points - thus another plane is formed.

And of course, we support all this work with our knowledge of linear perspective. Look how I'm doing. If all conventionally horizontal lines are drawn further, then somewhere at the vanishing point on the horizon line they will converge. The volume of the head does not have large values ​​- width and depth, so we introduce the perspective quite a bit, so that it can only be felt. After all, our head is still a three-dimensional form and is located in space.

Everything, at the initial stage, further work is not necessary. Learn this material, memorize, work through, you need to feel confident with this portion of knowledge before moving on to the next material. The next material will wait for you here - draw a person's head with a simple pencil, part two.

And, finally, let me give you a little personal advice: sometimes a sound healthy sleep can help you absorb information and “digest” it much better and faster than sleepless hours of laborious work with eyes that are inflamed from fatigue and a tablet worn to holes. Work is very important, but do not forget to rest. It is in a dream that your brain is designed for itself, and it is at this time that it “puts everything neatly on the shelves” with what you loaded it with during the day. There is no other time - while you are sleeping, he has no time to put himself in order.

BASIC FORMS

To draw a head at any angle, you must first understand its basic structure. Look at all the obvious details and draw the basic shapes. You can simplify the details of the face so that you can easily develop and refine them later. But we ignore these little things and prepare the simplest base of the head. I use the Andrew Loomis method described in his book “Drawing the Head & Hands.

The head is formed from two figures: a sphere - the cranium, and a polygonal block that imitates the jaw and cheekbones.

SKULL IN THE FORM OF A SPHERE

The head is flat on both sides, so you can safely cut off the side parts of the sphere. In profile it will be a perfect circle, but at any other angle the shape will be oval because the perspective changes. Divide this oval into four equal parts. The vertical line is the beginning of the jaw line. The horizontal line runs along the line of the eyebrows. The upper and lower borders of the oval will help you find the hairline and the bottom of the nose.

JAW AND CHEEKS IN THE SHAPE OF A BLOCK

We attach the shape of the jaw. The upper part will start from the brow line, and the back part will move away from the center of the oval. In the figure you see a three-dimensional image of the base of the head with the front and side planes (the lower part is visible at some angles).

HEAD ANGLE

STEP 1 - SET THE ANGLE

The angle of inclination is set in the very first step with the ball. We draw three axes:

X-axis - head tilts up and down are determined by the angle of inclination of the horizontal and vertical lines of the oval. With a strong tilt or lift, the head will be in foreshortening due to perspective.

Y-axis- head rotation (left or right) is transmitted by changing the width of the oval. When the head is turned more towards you, you see more of the front and less of the side, so the oval that is on the side of the face will narrow. Also, when the head turns away from you, you see mostly the side part, and the oval becomes much wider.

Z-axis– head tilts to the side are determined by the angle of inclination of the central line, the angle of the oval and its position on the sphere.

STEP 2 - FIND THIRD

After choosing the angle of the ball, divide the face into thirds. The distance from the hairline to the eyebrow line should be equal to the distance between the eyebrow line and the bottom of the nose. Add the same segment, and get the line of the chin. Note that the hairline and the bottom of the nose run parallel to the top and bottom of the oval when drawn around the head. Imagine your head as a box. Thirds should pass both on the side and on the front plane.

STEP 3 - ADD THE JAW

A common mistake in this area is to have the jaw too long in relation to the ball. Make sure you mark all thirds correctly. Notice how the shape of the jaw changes depending on the angle of inclination.

STEP 4 - ADD FACE DETAILS

When the foundation is laid correctly, it becomes much easier to finish drawing the details of the face in the right places. I will tell you about every detail of the face (eyes, nose, lips, ears) in the next lessons, don't miss it!

Practice drawing heads from completely different angles. Take your sketchbook and sketch it with small heads. Do not use photo samples for this, then you can easily find your weak points.

In order to learn how to draw a human head with a pencil, you need to learn the necessary proportions.
Male head: determining proportions

Using a grid to properly build the head and refine proportions is especially helpful for beginners. Despite the variety of faces, the basic proportions are applicable to almost any race.

Full face head - 5 cells horizontally by 7 cells vertically. Central vertical line of symmetry.

Horizontal scale

1. The width of the eye is 1/5 of the entire width of the head and equals 1 cell.
2. The distance between the eyes is 1 cell
3. The distance from the edge of the head to the outer corner of the eye is 1 cell.
4. The width of the eye is 1 cell
5. The distance from the outer corner of the right eye to the outline of the face is 1 cell.
6. The nose, as well as the line of the base of the chin, fits into one central cell in the vertical

Vertical scale: full face

1. Eyes: located in the middle of the entire height of the head.
2. Hairline: 1 cell from the top of the head.
3. Nose: 1.5 cells down from eye level.
4.Border of the lower lip: 1 cell up from the bottom of the chin
5. Ears: from the tip of the nose to the eyebrows - 2 cells.

Horizontal scale: profile

1. Head in profile: length 7 cells and width 7 cells
2. The distance between the anterior border of the eye and the tip of the nose is 1 cell.
3. The width of the ear is 1 cell. Its frontal part is located 5 squares further from the tip of the nose and 2 squares from the border of the head.
4. The nose protrudes half a cell from the basic shape of the skull, which measures approximately 6.5 cells.

Women's proportions are the same as men's.

Draw the head and facial features - exercises

Profile view:
Nose protrudes more than other facial features
The jaw protrudes no more than the forehead
The ear is located well beyond the midline of the profile
In this view, the line of the mouth is quite short.
Study the shape of the eye

Three-quarter view
The far eye has a shortened shape compared to the near one, because we do not see its inner corner.
The far half of the mouth is shorter than the near
The same observations apply to the eyebrows.

Full face view
The eyes are located relative to each other at a distance of the length of one eye.
One side of the head is a mirror image of the other.
The widest part of the head is above the ears.
The widest part of the face is at the level of the cheekbones.
From this angle, the shape of the ears is less expressive.

Close-up facial features

1. Profile view
The eyelids should be slightly larger than the eyeball - otherwise the eye would not be able to close.
2. Three-quarter view
Note the significant difference in form. The shape of the far eye resembles a profile view, while the near one appears more complete due to the fact that the inner corner is clearly visible. The far brow arch appears shorter than the near one.
3. Full face view
In this form, the eyes are mirror images of each other. The distance between them is equal to the length of one eye. Please note that, as a rule, approximately 1/8 or ¼ of the iris is hidden under the upper eyelid, and the lower border of the shell almost touches the lower eyelid.

From different angles, the nose has different shapes.
1. Profile view
Pay attention to the shape of the nostril and determine its distance in relation to the tip of the nose.
2. Three-quarter view.
The profile outline of the nose still remains obvious; however, notice how the distance from the nostril to the tip of the nose changes.
3. Full face view
Only the length of the nose and its tip are expressed here. The nostrils are also outlined and accentuated - do not forget to work out the tone ratios.

1. Profile view
In this perspective, the line of lip closure is the shortest.
2. Three-quarter view
The side of the lips closest to us resembles a full-face view of the mouth, while the remote side is shortened due to perspective contraction.
3. Full face view
We are familiar with this aspect. It is very important to accurately and correctly draw the line of closing of the lips, otherwise, you will not achieve an accurate reproduction of the shape of the mouth.

Ears - there are various configurations, only a few of them are presented here.

Definition of facial features.
The eyes are of paramount importance, because very often they determine the facial expression of a person and make him so recognizable to us. The next most important elements are the mouth and nose.

The line of closing of the lips is strictly straight.
Smile: upward curve.
Sadness: the downward bend of the line

Lips - thin or full?
Eyelids - narrow or wide?
Brow arches - curved or straight?

Proportions without grid

1. Eye level.
2. Central axis and eye level line at right angles to the central axis.
3. The tip of the nose is a little closer to the eyes, at a distance of a little more than a third, but less than half.
4. Central line of the mouth. Approximately one third of the distance from the tip of the nose to the chin.
5. The distance between the eyes is equal to the width of one eye.
6. Dropping straight lines from the inner corners of the eyes, they will touch the edges of the nostrils.
7. Lowering straight lines from the center of the eye pupils - they will touch the outer corners of the mouth.
8. Having moved the pencil along a horizontal line at eye level - determine the upper tips of the ears.
9. Drawing a line from the lower tips of the ears - you will find yourself in the space between the nose and mouth. Ears are bigger than you think.
10. Neck width.
The distance from eye level to the chin is equal to the distance from the outer corner of the eye to the back of the ear.

Exercises

Well, now let's try to draw a portrait based on the knowledge gained. To begin with, we will make a female portrait - all the same ladies)

First outline the general shape of the head and make sure it matches the shape of the neck correctly. The shape of the head can be rounded, elongated and narrowed. But whatever it is, you must determine it at the very beginning of the work.

Imagine and decide how the hair covers the head and how it relates to its overall shape. Label only their position.

Now mark out the main shape of the head, starting with the line of the eyes. Their level and size must be adjusted, as well as the location of the eyebrows.

Then proceed to sketch the general shape of the nose due to its inclination and the degree of protrusion relative to the general surface of the face.
Determine the length and width of the mouth, make sure you position it correctly in relation to the chin.

At this stage, more clearly draw the shape of the head and facial features. Then select the tonal range and outline the areas of the shadows.

Now work on the chiaroscuro of the face, based on the position of the head relative to the light source and the selected angle. When working out, pay attention to the smooth transition of dark valers to light ones. At the end select the eyes.

Your portrait is ready!

Now let's try to draw a male portrait.

There is also an alternative method of writing a portrait: work should begin with a central line dividing the face into two symmetrical parts. Then, relative to it, facial features are outlined up to the outer borders. This method is used by both experienced artists and beginners.
To perform the exercise, we will choose a position in three-quarters of a turn. First, draw a vertical line on a piece of paper, and then mark the total height of the head with two light serifs.

Refine proportions.
1. Draw the shape of the eyes and brow arches, making sure their proportions are correct. Please note that the eye closest to you will be slightly larger than the far one. Determine the point of intersection of the far brow arch with the contour of the face.
2. Now draw the nose. With schematic light strokes, try to convey the shadows in the unlit areas as accurately as possible.
3. Specify the height of the ear - with the frontal position of the head, it is the same size as the distance between the lines of the eyes and nose. However, when drawing a three-quarter-turn portrait, perspective reduction occurs. Therefore, do not forget to slightly shorten the ear and place it at a slight angle. Determine the position of the ear relative to the oval of the face and specify its shape.
4. Outline the shape of the mouth. Because of the same perspective contraction, the far half of the mouth should be smaller than the near one. The nasolabial fold should expand from the nostrils to the middle of the mouth. Show the pointed shape of the chin.

Define facial features
1. Draw a horizontal line for the location of the eyes - it should run exactly in the middle between the upper and lower marks. Then show on it the location and shape of the eyes.
2. Divide the upper part of the head in half again and outline the hairline.
3. Also mark the lower part of the nose - it is located exactly in the middle between the line of the eyes and the lower point of the chin. Now schematically, with a few strokes, convey the shape of the nose.
4. Determine the position of the mouth. Note that the mouth is closer to the nose than the chin, so don't make the common mistake of placing your mouth exactly halfway between them.

Show areas of shadows
1. With a few light strokes, show the shadow areas on the side of the head facing you. Then outline a light shadow contour, leading with a pencil from the forehead along the cheekbone to the lower lip and chin. Mark the neck area and the contours of the falling shadows.
2. Highlight the volume of the eyes, nose and mouth with shadows. Put a soft shadow with light shading along the hairline. Then define the outline of the face more clearly. Finish off with zigzag strokes for the shape of the head at the top.
3. Once again, work out the contour of the face on the right. Be careful: the chin area should not protrude too much in the frontal direction.

Work on light and shade
1.Start by deepening the tones of the most accentuated areas. Carefully model the forms with tonal nuances: in some areas, increase the contrast with the depth of tone, in others, soften the transitions, using an eraser if necessary.
2. The most accentuated in the drawing, as a rule, are the contours of the eyes (sometimes the eyebrows), the shadow area between the nose and the eye, as well as the area of ​​the nostrils. The line of closing of the lips, the area under the lower lip, as well as the edge of the chin (depending on the lighting conditions) are distinguished quite sharply.
3. Clearly mark the strands of hair, work out the shape of the ear. Align the position of the head relative to the shoulders.
4. At the end, pay attention that on the unlit side, darker tones visually move the hair array deeper, and the highlights highlighted with the eraser help to bring the face to the fore.

The portrait is ready.

Every aspiring artist should learn how to draw a person in proportion.

The lesson was prepared based on the materials of the book by B. Barber.

Let's immediately move from words to deeds, that is, to the proportions of the head. Let's start with the portrait, namely the head and all the details that belong to it, such as: mouth, nose, chin, eyebrows, eyes and ears.

Introduction

So. The main criteria for proportions in all scientific books take into account the average proportional dimensions of objects, forms and objects in general.

If you know the classical canons and patterns of proportional relationships, then this will help you develop observation skills ( important thing for a painter), the ability to correctly notice the features of living forms and objects, as well as to distinguish them from correctly proportional ones and vice versa.

The head is considered to be a measure of proportional ratios in - this is because it is customary to measure all other dimensions of the body with its dimensions, like height, length of feet, arms, as well as the size of the hands, elbows, and so on.

As we already know, the shape of the head consists of two equal and equally important parts: cranium and facial anterior. The ratio will be approximately 1:2 if you start from the front. Her (i.e. our little head) can be viewed from three different points of view: frontal, profile and horizontal. We will consider with point of view "in front".

The correct proportions of the head in the figure

1. Its height relative to the width will be somewhere in the area 1:1,7 .
2. Since we begin to draw the head without hair ( in the sense that the hair has not yet been shown in the figure - it is not necessary to cut your hair), then the line of the eyes can be considered the middle of the head: it, as it were, divides it into two equal halves.
3. The distance between the zygomatic tubercles is directly proportional to the distance from the chin to the bridge of the nose. (type 1:1).
4. The height of the head relative to its diagonal will be 1: 1,8.
5. The width of the head relative to the width of the head on the profile side will be approximately 1:1.7 or 1:1.8.
6. The front part is divided in height into three equal parts:

A) From the tip of the chin to the beginning of the nose

B) From the beginning of the nose to the superciliary tubercles

C) From the superciliary arches to the middle of the frontal bones (or two fingers above the frontal tubercles).

1. The dimensions of the palpebral fissures are equal to the distance between the inner corners of the eyes ( in other words, you need to draw eyes at such a distance that another exactly the same one could fit between them), and they are equal to the width of the base of the wings of the nose and the width of the tip of the chin. How!
2. The line of the mouth lies at a distance of two-thirds from the base of the nose to the base of the tip of the chin.
3. The length of the oral fissure is equal to the distance between the tip of the chin and the line of the mouth. This distance is also equal to the length of the nose ( is the distance between the bridge of the nose and the tip of the nose).
4. The bridge of the nose is located somewhere at the level of the upper eyelid.
5. The zygomatic points should be sought at the level of the middle of the nose.
6. As for the ears, they are about the same size as the nose, and they are located parallel to each other ( it's not hard to hook up).
7. Now about the neck. Its height is determined by the distance between the jugular notch and the base of the chin (this is when viewed from the front), and from behind - by the distance between the lower part of the occiput and the seventh vertebra. The height of the neck corresponds approximately to half the height of the head.

In this drawing lesson, I have prepared the material so that the key principles of drawing a human head are visible. To learn how to draw a portrait, you need to understand the shape of the head, and this is possible by simplifying and generalizing unnecessary details. For this purpose, I used a schematic representation of the head called "stumping", an academic drawing of the skull, a step-by-step drawing of a human head, and additional schematic drawings to understand the features of the anatomical structure.

1. Volumetric form. Simplification and generalization.

At the initial stage of learning to draw, people most often see the contours of the object instead of its volume. This is how beginners draw a portrait: they draw the contours of the eyes, nose ... But the human head, eyes, nose, lips - they all have volume, these are not just contours. In addition, they have a rather complex shape. Therefore, at the beginning of training, one must be able to generalize the secondary and be aware of the volume of each form.

First, let's try to draw a person's face with a protruding nose and forehead, presented in the form of rectangular geometric shapes.

2. The skull is the basis of the shape of the head.

There is one important lesson to be learned next. All the main curves and contours of the face are formed from the bulges and curves of the skull. After all, it is the skull that is the basis on which the shape of the head in the portrait is built. Try to trace this relationship by comparing the shape of the skull with the pattern of the head. This is a very important point in learning.

Since the skull has a complex shape, it will not be easy to understand this relationship right away. Therefore, at first we will draw a skull in a generalized way.

The skull consists of two main sections: brain and facial.

In addition, the shape of the skull can be conditionally represented as a cube. The skull has a frontal side, two side, occipital and so-called cranial vault or roof.

After conditional, generalized drawings, I cite as an example an educational academic drawing of a skull. With many details, you can see the frontal, occipital, lateral sides and arch in it. You can also see how the details are grouped into two main sections - brain and facial.

It should also be noted that the widest part of the skull is closer to the back of the head. It is clearly visible in the figure below.

For those who are learning to draw a portrait, the following anatomical names for the various parts of the skull may come in handy:

• brow ridges;
• frontal bone;
• parietal bone;
• occipital bone;
• temporal bone;
• zygomatic process;
• cheekbone;
• maxillary bone;
• mandibular bone;
• nasal bone;
• eye socket or eye socket.

3. Orubovka is the key to understanding the shape of the human head.

In addition to the skull, the shape of the head and face is influenced by muscles, cartilage, fatty deposits, etc. In order not to get confused in the details, chopping will help to understand the anatomical structure. Trimming is a conditional image of a human head, consisting of faces. With the help of such planes, the volume of the entire head is formed. Thanks to these faces, the main curves of the skull and the main muscle groups of the face are clearly visible. In any portrait, in any person, the shape of the head is built on the basis of these trimming edges. Of course, each person has his own facial features, his own proportions, but the key points in the construction of the head correspond to the trimming. Therefore, in drawing a portrait, the artist always keeps these key facets in mind.

Try to trace the main cutting planes in the drawing of the skull and in the tonal drawing of the head, made in pencil.

4. Formation of volume by means of chiaroscuro on the frontal, lateral and upper sides of the head.

In order for the drawing of the head to be voluminous, it must be worked out with hatching. Hatching creates the desired tone. By changing the tone (lighter-darker) we see volume and shape. According to the law of chiaroscuro, light is distributed on the surface of the form in the following sequence: highlight, light, penumbra, shadow, reflex, falling shadow. If you draw a ball or similar simple geometric shapes, then everything is much simpler. But how to show chiaroscuro in the tonal pattern of a human head? In the portrait, chiaroscuro is also laid out by hatching, as in the drawing of the ball. But with the difference that the artist must trace the light and shadow on each individual fragment of the face in particular and on the entire head as a whole. That is, you need to show light, partial shade, shadow - on the nose, on the forehead, on the eye sockets, on the lips, chin, etc. But besides this, light and shadow must be shown on the whole head as a whole, that is, on its main large faces or sides. For example, one side of the head may be darker than the other. This is an important point when creating head volume in a portrait.

For a better understanding of this topic, I cite as an example visual diagrams and drawings of plaster trimming, a human skull and head. In them you can clearly see the frontal, lateral and upper facets of the head. The diagrams and pencil drawings are drawn up in such a way that they can be used to gradually trace the main facets of the head, which will help novice artists to see the chiaroscuro on the surface of the head as a whole.

5. Cerebral and facial sections of the head.

Above, I already gave a schematic drawing in which the brain and facial sections of the skull were visible. But, how to practically see these areas in drawing a portrait? A number of figures and diagrams below can help with this. Here you can trace the border between the front and brain parts of the head in the usual pencil drawing, plaster cutting and a training drawing of the skull.

6. Step by step tonal pencil drawing.

After studying the main anatomical features of the structure of the head, you can proceed to a phased pencil drawing. Here you need to learn such a sequence. First we draw in general. Then we complicate the drawing by adding details.

A) Since the shape of the head resembles the shape of an egg, at the beginning we draw the corresponding figure with a line.

b) After that, we perform the construction of a drawing of the head. We draw an axis of symmetry that will run along the middle of the head. This is very important because the axis will allow you to compare the left and right sides, which will help to avoid errors and bumps. Next, we outline the levels at which the eyebrows, eyes, nose, lips are located. We outline them with light lines. I wrote about how to determine these levels in the lesson.

V) In the next step, you can outline the eye sockets, eyes, nose, lips, as well as the zygomatic bone, frontal lobes, major muscle groups and folds on the face.

G) We clarify the details.

e) I lighten the blackness of the auxiliary lines with an eraser, which will be erased in the end, however, they are needed at the beginning of building the head.

e) We start the tonal drawing. Enter hatching. Designate shadows and light. We “sculpt” the shape of the head with a tone. I did not fix the intermediate stages of hatching, so I publish the final stage of the drawing right away.

7. Different manner and technique of drawing.

At the end of this lesson, I want to add that the manner and technique of drawing can be different. The drawing can be linear and tone. You can draw with a line, or you can draw with a spot. You can work in a free sketching manner, allowing for inaccuracies. And you can perform an accurate academic drawing. You can draw in detail, but you can generalize.

But with all the variety of approaches, a letter should be visible in the drawing. The principles of constructing the head are preserved - whether on paper or in the mind of the artist. A professional artist with experience may not draw auxiliary construction lines. He can work in a different sequence. However, whatever the execution technique, his drawing will show an understanding of the basics of plastic anatomy. Therefore, if you want to learn how to draw a portrait, you need to understand the essence, and not just copy nature or a picture in stages. When a beginner artist gains this understanding and begins to see nature by analyzing rather than just copying, he will be much more successful in learning. I hope the drawings and diagrams from this lesson will help beginners with this.