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Head Angles

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Acolus
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2K views5 pages

Head Angles

Uploaded by

Acolus
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
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“SKULAS AN OVAL SHAPE y GUIDELINES © RATHER THEN ROUND IF YOU LOOK FROM THE SIDE This simple scheme is my go-to when it comes to drawing heads a 41.1 always start with a eirele - it's not the exact outline of the skull, but just a guideline that helps me to place my drawing on the carwas. 2. (2) matches the center line of the face -| use it to quickly establish the direction j@_Thatmy characteris facing 3. And (3) indicates the jawline, that establishes the head angle, and also the line of the chin. sets the direction for the horizontal perspective guidlines. L0'-) =O NY - “4 ERSRECTVE eis e ‘LTHE SKETCH WIL BE HERE! 2. OUR CHARACTER LOOKS TO HE LEFT, 3/4 VIEM 3. OUR CHARACTER LOOKS 0 THE LEFT, THE LEFT AND DOWN, TOUTE ICAT aND UP, cu ERSECIVE 1 EPENOICULAR fete oc Fin ce een These lines are slightly curved (becase the face plane is curved), they 4 follow the perspective and lead to the vanishing point (VP). . Steg © — = ~ yee ~ / Nae se SY NN ts . 2000 SF PS. SOMETIMES 1 VARY THE PROCESS AND START WITH THE EES THERES NO IRON RULE REALLY FOR HOW TO START ORARING THE FACE, BUTT STIL USE THE CENTER GUIDELINE TO KEEP FACIAL FEATURES IN PLACE THESE GUIDELINES CAN BE USED FOR ALL HEADSHARES HEAD STRUCTURE ‘When drawing heads at different angles | pay attention to simple forms and planes of a head. ‘There're a lot of details to pay attention to when drawing facial features, but the most important thing is to keep the big picture in mind (the skull) and start by roughly indicating all the features correctly rorrane within it. Fw uae Also starting simple is a great tool for designing characters and keeping their design consistent, even when you draw them at different angles or with different expressions. S ES \ < reacwraemus scr | noe > mums FY gk — | Tice oo AUT ‘THE EYELINE 1 PLACED DEEPER | cerotanan stone Gq INTHE FACE PANE | Te sECOND TERN, J ¥y | Toric! When you look at the face from the side you see more of the side plane, from the top - more of planes facing up, from below - more of planes facing down and soon PANES FACING UP awe FACING OOH woriz0N yP_ FRCE LOOKING DOW: SF | -Forcnean s eiccee FOREHEADS sce ] tovcte ose SHORTER NOSE A | NOSTRILS SIBLE TOT BROMIDE ToT BroARIDGE TEARS LOWER NOSTRILS HIDDEN EARS HIGHER FACIAL FEATURES |. EYES THE MORE THE FACE 15TURNED TO THE SID, THE MORE THE SECOND EYE 15 HIDDEN BEHIND THE NOSE pe} SS THE EYELID HAS SOME THICKNESS, 10 SHOW VOLUME [HEN DRAMING EYES [PUT MORE LINEWEIGHT ON THE UPPER LD, THATS ALSO DARKENED BY THE SHADOW. Bente es ws ibe ff ~ THE HA OF THEEYE1S FoRHEO BY THE VOLUME Sh) neem 5 orton f J ~ = x Za terunnis \ SS ) suc ocereneo > JME Ye 4 SS 2. MOUTH y og OF THE UFR UPS LE > , fan ~~ z= 4 _ a AYN XE => = ‘MOUTH FOLLOWS A CURVE WORIZON LESS OF THE UPPER LIP IS VISIBLE ‘ a AND AS THE ACE TURNS = WS SS Zi : TOTIESIDCTHEFURMER \ SS &Y ~ ‘CORNER OF THE MOUTH = TI = VY Qy i CETSMIODEN BY THE VOLUME OF THE UES, 3. NOSE Tis PaRT GETS HIDDEN THE FURTHER NASAL WING, BEHIND THE LEDGE HERE ADDS VOLUME EXAMPLES (WITH OC'S) USING GUDELNES FOR DRAWING CONSISTENT CHARACTERS ‘Asmentioned earlier, understanding head structure and using guidelines helps keeping {your characters consistent anc easily recognisable, "use my characters toillustrate my pracess of using guidelines for that! ‘SMALL SPACE BETWEEN THE EYE ‘AND TH BROW ‘ALOT. SAC BETWEEN A. \ THE EVE AND THE BROW oS ‘OTRUDING ow OcE SG { S a = i g wwsonoe

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