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 video is a demonstration of head quick sketch drawing using the Reilly Method, narrated by the artist.

Quick sketch is a name for a short, 1-10 minute, drawing or study from life or model. Topics covered in video:

• drawing fundamentals
• head lay-in / construction
• adding light and shade
• edgework

This is the video version of the Head Drawing tutorial.

The subject of our demo will be “Beat” Takeshi Kitano, the legendary Japanese filmmaker. This picture works really well for this demonstration because of the high contrast lighting and clearly defined shadow pattern. We’ll get into shading later, but first let’s start with the basics.

Step 1: Beginning the Lay-in

OK, so this is pretty much how ALL of my head drawings start and how a lot of artists approach head drawing. At this stage I try to observe the key landmarks that will guide the construction of our drawing. For more info on some of the key landmarks of the head, check out the last portrait painting tutorial.

Reilly method emphasizes good design so the first step (Fig. 1-a) is to: 1. accurately estimate the subject’s head width and length, and 2. plot and design where the head will be on the paper. For a quick sketch like this, composition isn’t too much of a concern, but it’s good practice to plot where the head will be placed and to design the composition of your image.

Next, I draw in the centerline to establish the tilt of the head. Then, I draw a line through the brow ridge. This gives us the angle of the of subjects gaze and begins to define the planes of the head.

Correctly defining the tilt of the head and angle of the planes of the face is critical to the success of a head drawing, so practice, practice and practice. Make sure these marks are done right before moving on to the features.

Step 2: Laying in the features

First, I anchor the head by blocking in the contour of the neck and shoulders. Using the brow ridge as I guide, I estimate their depth and distance apart, and draw marks through the center of the eyes. Using centerline, I lay-in the bottom of the nose and center of the mouth.

Step 3: Constructing the features

At this stage of the drawing, I describe the shape of the eye opening (which follows the orbital bone), the ‘keystone’ of the brow ridge that leads to the nose, and the width of the nose. My main focus now is giving myself enough information to plot the separation of light and dark which will be the next step.

*Please note that this has been oversimplified for this tutorial. There’s a lot of great material out there on head construction, so I won’t go into too much detail here. For more in-depth information on head construction, the work of Andrew Loomis is a good place to start.

Step 4: Seperate light from dark

Alright, we’re almost at my favorite part of Reilley method drawing, the shading, but first, we need to capture the shape of the shadow area. By simplifying the values, I can clearly cut-out or separate the border of light and dark. I also begin to describe form by introducing firm and crisp edges. Generally the core shadow (the border of light and dark) will have a firm edge and cast shadows will get a nice crisp edge.

Edgework can be a tutorial in itself and takes a lot of practice to master. For now, let’s just focus on simplifying the values and getting accurate separation. I’ve drawn over the image in blue (Fig. 4) to show what I was looking for on our subject. For the comic fans out there, look at the work of Frank Miller or Mike Mignola for reference on how to simplify values and design the shadow shape.

*Tip: if you’re having trouble separating light and dark, and simplifying the values, squint when you look at your subject. Or if you’re working from photo, bump up the contrast using a photo editor.

Step 5: Adding tone

Alright, this is the fun part. This is the payoff for all the hard work of good plotting and designing. Using the shadow shape as a guide, drop in a middle value tone. By middle value, I mean mid-way between white (light side) and black. I generally drop the initial tone in one direction, but you can also hatch in the direction of the form you’re describing.

I still remember the first time I was introduced to Reillly Method drawing. I was so dazzled by the elegance and beauty created in the shadow area. To this day, I still get mesmerized when I see it done well. For example, check out the quick sketch drawings by Sergio Sanchez, who was my teacher and mentor.

Step 6: Suggest half-tones and final touches

It’s time to add some finishing touches. First, I punch in some darks. Observe the darks in your subject, but generally, punch in the darks in the eyes and darken up the core shadow to really make the forms pop. Next, I finesse the edges along the core shadow, hair, contour and features. Finally, I add hints of half-tone (the value between white and the middle value) along the cheeks, forehead and nose.

Half tones add a little more life and depth to our drawing, but this is a quick sketch so we don’t want to go too crazy with introducing values. Hint at a background, sign and date and we’re good to go.

** Tips on Head Quick Sketch **

1.  Draw light

When drawing your lay-in and construction lines, have a light hand and draw as light as possible. Especially if you’re working in pen!

The only reason the construction lines are visible in this tutorial is because I bumped up the contrast of the scans. Even if you’re using charcoal or pencil, practice having a light hand and a light touch when making marks.

2.  Work small

This drawing was done in my pocket moleskine, which measures 3″ x 5″. You don’t have to work this small, but a quick sketch is just that, a quick study of the subject. Working small and working quickly, 3-5 minutes, will help you to really focus on good fundamentals.

This first few steps are the key, the rock, the foundation of drawing. So do a lot and practice, practice, practice.

3.  Do a little everyday

Drawing heads well is not easy. It can take a lifetime to master. The beauty of quick sketch is that it is quick and doesn’t require a lot of commitment of effort or time. Anyone can take out 5 minutes a day to draw. If done consistently over time, you can see some amazing progress in your drawing, dexterity and overall skill level. Here’s a an example of drawings I did from Feb. 3rd through Feb. 7th, 2009.

If you want to see some dramatic improvement in your head drawing, try this challenge:

Draw a quick sketch every day for 30 days.

If you can’t do 30 days, get out there and draw for a week, or two weeks. But the key is consistency. If you complete the challenge, send me your drawing from Day 1, and the last drawings in the set.

** The first person to complete the challenge will get an original sketch from me! **

Must be a minimum of 7 consecutive days (1 week). If you have Photoshop, arrange them onto a single jpeg image. Good luck, keep drawing and I look forward to seeing your entries.

A slideshow video of the last portrait painting tutorial. Video has text comments on my thought process and general tips on creating beautiful portrait paintings. Cool soundtrack provided by Japanese DJ Group Nujabes, feat. Fat Jon.