My understanding of the forms is solid enough that I can make unique iterations on my own. I know what it looks like when they overlap because I studied the masses of the skull in various positions. I’m able to design a character because I know the forms. You would never get here if you just drew the same skull proportions over and over again. You can see how this starts to develop and turn into its character. In my head, I’m starting to visualize a strong male portrait. You can see I’ve given my character a robust jaw, made the forehead a little more round, and gave him chunky cheekbones. I’m using the knowledge I have of the three sections of the skull to sculpt my character’s head with unique characteristics. When you have a grasp on the masses of the skull and you’ve tested your knowledge in various positions, it’s time to draw / design a skull of your own. You can always find proportion references if you need them.ĭesign the skull to create unique character designs If you learn the masses of the skull, you can mold them into different shapes that create unique characters. You’ll have the same head every single time. You’ll do the same thing for your characters if you memorize and regurgitate the same proportions for heads. You lose the character in your linework if you let the computer make all your straight lines for you. It’s the same way I feel about using shortcuts for straight lines. If you use the same proportions every single time and you master them perfectly, your faces will all look the same. If given proportions were used, even though these proportions were the ideal average, they would result in a drawing without character.” “There are many conceptions of measuring, scientific and ideal, and they all differ. The reason I focus on learning the masses of the skull over proportions is that I don’t think they’re necessary. And you’ll get more familiar with how each slice of the skull works in concert with the others. It’s still good practice for visualizing turning forms in your head. You’re not going to see the underside of the skull when you start drawing a real head because the neck will be there. There are some unique poses when learning about the skull on its own. The more you understand, the easier it will be to draw a portrait in any pose you desire. Turning the skull and trying to draw it from below or above will test your knowledge of those forms. If you’re drawing skulls, draw from all sorts of different perspectives and positions. The only way to become extremely flexible with your knowledge is to test it in a variety of ways. Thankfully, there’s a solution for that too. With enough practice, proportions will become second nature. It’s understanding how these forms move in space that will trip you up the most. It’s the same way you get a feel for driving a car or balancing on a bike. If you’re still worried that proportion will be your arch enemy, know that you’ll get a feel for it over time. You know those are two different masses of the skull structure. For example, you’ll never make a major screw-up like drawing the eyes where the jaw should be. The unique pieces of the skull simply play within the areas that you’ve designated in each slice. You don’t have to worry about proportion. When you think of the skull structure like this, it’s a lot easier to break down the individual components. What you want to observe as you look at these skulls are the three masses that stack on top of each other: Here are three of the most basic head poses that you’ll see: the front, profile (or side view), and three quarter. That way, you can create the characters that you’re visualizing in your head (no pun intended). What you want is to make that knowledge flexible so you can mold the skull into any structure. Most teachers would teach you the proportions of the skull and how to draw them, but the ideal measurements of the head will only take you so far. You need to make sure that you draw it well. You can forgive a lot of anatomical mistakes on the figure but the same doesn’t hold for the face. Humans are designed to seek out faces and it’s incredibly jarring when a portrait doesn’t look quite right. This is especially true when it comes to the portrait. It should come as no surprise that if you want to draw really amazing characters you have to know the anatomy of the figure.
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