**NOTE: WACOM pen tablet or similar digital pen tablet required to follow along. Photoshop version CS3 demonstrated in video.

[ Click here to download my custom brush set ]

This tutorial demonstrates a rhythmical and gestural approach to laying in and drawing a head in 3/4 or side view. We will use the major thrusts, or gestures, and basic geometric shapes, like the “pie shape” to capture the head. This tutorial will show you how to add a lot of life, movement and dynamism to your head drawings.

There are 3 demonstrations in the video. The tutorial will take you through the entire head drawing process from start to finish. Topics include gesture drawing, construction and shading.

This approach is inspired by the work and teaching of Steve Huston, with a touch of Reilly Method. The static, text version of this tutorial can be found here:

http://www.freshdesigner.com/how-to-draw-the-head-in-3-quarter-or-side-view/

This tutorial will introduce a more fluid and gestural approach to drawing the head. The focus is on the major gestures, or “thrusts” as Steve Huston refers to them, and their relationships to one another. We’re also want to keep our lay-in simple, by using geometric shapes. The first shape we will use is the “pie”.

Step 1: Using The “Pie” Shape

The geometric shape we will use to capture the head in side or 3/4 view is called the “pie”. The name comes from the resemblance to a pie slice or wedge. We get the pie shape by connecting the major thrusts of the head.

The first major thrust is the frontal plane of the face. To get the frontal plane, simply draw a gesture through the point of the forehead (sometimes will be defined by the edge of the hairline) and the tip of the chin (Fig. 2).

This defines where the features of the face will lie and the general length of the subject’s face.

The next step is to draw a line through the point of the forehead to the back of the cranium (Fig. 3). Often times this point will be hidden because of hair. In this case you will have to rely on intuition to guess or estimate where that point is.

To develop this intution, first observe and then use your minds eye to imaging the subjects cranium. With that line and shape in mind, confidently make your mark. Through study and practice of drawing from life, your judgement and observation will naturally improve.

The final major thrust is drawn through the back of the skull to the tip of the chin (Fig. 4).

As you can see. you’ve created a pie shaped triangle. However, it really has all the essential movement and information that the rest of the drawing can be built upon.

Step 2: Grounding The Head

Having captured the pie shape, draw 2 thrusts for the neck that will anchor our head to the torso (Fig. 5).

The key is observation and good estimation. Use the point of the back of the head as a guide for the back of the neck, and the point of the chin as a guide for the front of the neck. The key is good observation, confident estimation and fluid marks. As you make your marks, always consider their relationships to the whole.

Stpe 3: Laying In The Features

First, I plot the major anatomy such as the brow ridge, bridge of the nose, mouth and mandible (Fig. 6). At this stage, I still want to stay fluid and rely on observation and instincts. I dont want to get too caught up in measurements and structure.

Next, I draw a fluid curves for the jawbone and then follow the rhythm up around to give me the back of the ear. Then, I more accurately fill in the cranium, or shape of the hair, hats, etc. (Fig. 7). Of course, I could also add as much construction as needed to guide me when adding details, light and shade.

Satisfied with the lay-in I can flesh out the features and add light and shade (Fig. 8).

For more info on lighting and shading, check out the head drawing tutorials and videos. For reference, here’s a step by step diagram of this process.

The great thing about this approach is it’s fluid nature. It’s also a good way to quickly establish the tilt of the head. Fig. 9 below is an example of the always tricky up-tilted head. Fig. 10 is a down tilt. The numbers are the stroke order.

Below are 2 step by step diagrams for reference.

A lot of this approach is inspired by the work and teaching of Steve Huston. If you want to study this approach further, there was a recent American Artist article featuring Steve’s drawing approach. If you can’t dig it up, I’ll post a review of that article in the future.

In the meantime, find yourself a live model session and try drawing your 3/4 or side view heads using  the pie shape and major thrusts. It will be great exercise in observation and intuition and really add some dynamic ‘punch’ to your head drawings.  As always, I would love to see your drawings and progress so please comment or drop me a line.

This photoshop hotkey tutorial will demonstrate how to create a flip canvas hotkey using the Actions menu. This tip saves me the headache of having to reach up to the file menu and going through the steps to flip your canvas horizontally (or vertically). Learn how to create a hotkey using the actions menu so you can flip your canvas with the press of a button. This little tip saves me lots of time and really speeds up my work flow.

Of course, flipping your canvas while you work is good practice. This tutorial is great for photoshop users and digital artists of all levels.

This video is demonstrates how to construct the limbs (how the draw the limbs) during a figure quick sketch drawing. The video demonstrates basic figure construction of the arms and legs. Topics covered include gesture drawing, anatomy and landmarks. There are examples from 3 different poses. Narrated by the artist.

This is the video version of the how to construct the limbs tutorial.

The approach from the torso study tutorial is sometimes called a “construction” approach. It’s a methodical way to observe and de-construct the figure. Besides construction, there are other considerations when laying in the figure. For example, gesture and rhythms are what animate our figure drawing and give it life.

For this tutorial, I will use a a combination of construction and rhythms. It all depends on what the pose is giving me. Some poses the structure is prominent (or can be made prominent), in some poses the gesture (and thus the rhythms) are very interesting. Bottom line, good observation leads to good judgment and good judgment leads to good marks and so on. So always observe, observe, observe. Speaking of observation…

Step 1: Observe

The first thing you want to look for is the gesture. The major and minor rhythms, swoops and arcs. All the visible, and sometimes invisible lines that give our figure movement and life. Then, when you’re ready to construct your figure, look for the landmarks.

As a general rule, the legs are of greater significance then arms which is why we follow the torso with the legs. The key landmarks are: the connection to the crotch, connection to the hips, point of knee, connection of thigh (hamstring) to calf, , connection of lower leg to foot, point of ankle bone, heel and big toe. Yes, big toe (Fig. 1). That sounds like a lot, but with practice, good observation will become second nature.

Step 2: Gesture

Having identified our landmarks, we describe the gesture. The major rhythms may not always follow the form, but when possible, use the landmarks to guide your gesture marks. Start with the thighs move down to the the calf.

Step 3: Cross sections

Cross sections really help to define form. They also describe perspective and foreshortening. Before randomly drawing cross sections, observe the model’s anatomy. For example, cross sections can be added at the peak of the thigh, the end of the adductor (thigh) muscle, the top and bottom of the knee, the ankle and depression of the calf.

Add cross sections as needed to describe form and anatomy. It’s not necessary to cross the entire figure. Our objective of the lay-in is to give us enough information to add light and shade.

Work your way down to the feet and then move on to the arms. Approach the arms the same way. Becomes of the arms range of motion, they will tend to lend themselves more to a rhythmic approach. Of course it all depends on the pose.

Let’s go through a few more examples.

Summary

That pretty much sums up basic limb construction. First, observe for landmarks. Next, draw the gesture and rhythms. Then, add cross sections as needed to describe anatomy and form. In their most basic and geometric form, the limbs can be thought of as jointed tubes. Using a dynamic gesture line as a guide will give our “tubes” movement and life.

Keep in mind, the lay-in is simply the framework for our drawing. It’s not necessary to replicate the figure with our lay-in lines. The key is to give yourself enough information to add light and shade. Let the light, shade (values) and edges do the work of describing form and anatomy (Fig. 8).

More information on shading, can be found in the other figure quick sketch tutorials and videos.

*** Quick Sketch CHALLENGE! ***

This demo is meant to be a guide and a starting point. It’s almost impossible to learn and appreciate all the nuances of figure drawing from a static tutorial. The best way to apply the techniques is to watch it first hand or go to a live figure drawing session and draw from the model. So here is the challenge:

Draw a full page of quick sketch figures.

The first person to reply with a full page of quick sketch figures will win an original charcoal quick sketch drawing.

When I say page, I mean 18″x24″ newsprint pad, but that size isn’t necessary. It’s just an ideal size pad to practice. Above is a page of 5 minute poses I did during an open figure drawing workshop.

The minimum number of drawings to qualify are:

• 8 full figures at 3-5 min. pose length or
• 20 full figures at 1-3 min. pose length.

Basically whatever you can draw during 2 live sessions. Generally, a session is about 20-25 minutes.

Pretty simple. Just some incentive to get out there and draw from the model. First person to respond with a jpg snapshot of their quicksketch sheet wins. Good luck and I look forward to your entries.

This is part 2 of a series on how to render Concept Art using Photoshop. This video demonstrates how to use an overlay layer to add lights and highlights to concept art.

This video is perfect for those who are new to Photoshop or are starting out in Concept Art or digital illustration. Narrated by the Artist. Music by Japanese DJ Artists Tsutchie.

This video is perfect for those who are new to Photoshop or are starting out in Concept Art or digital illustration. Narrated by the Artist. Music by Japanese DJ Artists Tsutchie.