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The 3 Sided Head 1

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Transcript

Okay, the three sided head. So remember in the introduction, we talked about the face and how it's a broadcast screen. And it's a broadcast screen for people stories. And if the figure is a song, and I want to draw my figures, like I'm writing, composing or orchestrating that song, than the head is the first verse, or if I'm writing a book, The head is the first chapter. And that's going to be exactly how it is for your paintings. We tend to look at things that are like us.

So no matter what kind of painting you make, if there's a figure in it, your audience is going to look for that figure. If they could see the face, they will focus on that face. And so that's, that's the kind of mechanics of painting and that's the importance of, of the face in the draw that really in a picture. So with the head, everything has a gesture and the head is The first gesture of the body so the the head flows with or against the other gestures of the figure. If you don't deal with the head as a gesture, it will tend to get stuck on so you can do a nice gesture of the figure. But if you put the head on last, it'll just get thrown on like a circle like that.

Maybe it'll be too small, or maybe it'll be just too big. And so you need to be kind of conscious of that of starting with the head. And that it is a gesture that relates to the rest of the body. So the head has three gestures. Okay? It's the gesture of the scope, the skull, the top of the head, the front of the face, and there's a gesture in the back of the cranium all the way to the chin.

So there's three gestures there. The heart part for people starting drawing is basically the beginning. It's that reticence of making a mark on the page that can be pretty intimidating. And so let's start there. You know, sometimes that can just stop people right away. So we need a really simple shape that can help with this problem.

And you know, we could start with the head with a simple shape, maybe like this, right? That's, that's basic, but it's maybe it's too simple. And it doesn't really look like the head we want. It's not very satisfying. Okay, so maybe we can start with to, to mobile. That's okay.

That's not not bad. We could start with an oval and a triangle. Okay, it's good about that. This is a great shape. It's a great shape because it's, it's designed, it's designed to catch wind and pull that ship across the surface of the water. That's an amazing thing and a well designed sail can do that and it has power.

So we want to use a shape that has power because our drawings need need power, they need gravitas, really on the page to draw our audience in. So let's use let's use that shape. We're gonna start with that shape. And it'll be like a sailboat shaped kind of, you know, like this. That's kind of a bulging triangle. You know, we flipped the sail a little bit 90 degrees.

Okay, so this shape has three gestures, one, two and three. And it's got curves, right? And it's got corners. So the curves and the corners give it life. Right? The curves give it life, the corners give it structure.

And that's what's so great about this shape, it has a balance of both. And if we take the head basically starting in any kind of profile, okay? make this easy for ourself. And the head in profile fits basically in a box. Okay. So that's without the nose and without the hairstyle right because the nose breaks out of the box and the hairstyle can break out in the box as well.

And so the back of the head is a little bit higher. The front of the head so the back is a little bit higher than the front and that jaw comes out a little bit more than the forehead. Okay, kind of juts out just a little bit. Okay. So this will give us um, you know any kind of a profile we'll be seeing a lot of scholar quite a bit of the skull and quite a bit of the, you know, back of the head can work so it's three quarter front two, three quarter back. So it's kind of divide that up into that square.

Divide that horizontally, the eyes are basically in the center. Okay, eyebrows are just a little bit above that. And halfway is the nose. So just from here to here, is dividing this into thirds. And we're going to place the ear because when we place the ear That's gonna really do a lot for us that year is gonna is basically sits in that middle third right here. So I'm gonna line that up.

It sits in the middle third and is at an angle, maybe a 35 degree angle, something like that. And it sits right there. So what does that do? For us? Well, basically, placing the ear helps us check for errors in case so it's a good checking mechanism, checking for proportions and so on at the beginning stage, and it's also separates the two shapes. So we've got the mask of the face and the back part of the face.

And it's also going to be helpful to place the head in the second and third dimensions. Okay, so that's That's what it's really helpful for. When I'm choosing my simple shapes, for anything I'm trying to draw and trying to design a simple, basic shape, it has to meet two criteria, it has to be basic. And it has to be distinctive of what it is I'm trying to draw. So if it's basic, basically, I can get it down quick. I can draw it quickly.

Now drawing quickly, is making good, simple, thoughtful decisions. It's not scribbling drawing really fast or like speed paintings and all that sort of stuff. And, you know, if I can get it down quick, and it and I can get it down clear. Then I can capture my audience's attention. I can get the attention Have the audience and that's what I want, I want their attention. So that's key, if I can make a good clear statement, like I hate school.

Okay, that's a good clear statement, and it might capture the audience attention. And then I can go on and write a song about it, I can write 52 chapters in a book, and make a movie, a sequel and so on. Okay. So based on that, based on that good, clear beginning, I put myself in a good spot to keep the audience's attention. And now our mind is is kind of like made to find meaning around us. And it's going to call all of that data but a lot of the data sees and it's going to edit out and it's going to look for commonalities connections, to make that meaning for us.

So we can navigate our way through the world or that moment. And so it's gonna do its best to bring things together and make relationships and meaning between those things. Sometimes the things around are desperate and isolated. And if you're an artist, your job is to bring things together, isolated things, unrelated things and bring them together in a new way for people. So, you know, the song isn't just a bunch of notes, right? It's notes put together in a song.

It's not just dance steps, right? It's, it's the cha cha the samba the rumba, right? You put them together, and it makes some meaning out of it. Okay, so if my shape my well designed shape it that's basic. What can I do? I can also I can animate it.

Okay, so past Man, he's just that simple shape. I can do this all day long. I can do thousands of drawings back, man, a lot of footage and get him to do everything I want to do. And I don't have to think about any of the anatomy of the face, no muscles, no bones. Nothing. And that's, that's really what I want.

I want to simplify my workflow. Totally. So but maybe, you know, you're not an animator, you're a painter. Well, I can animate my poses. I can animate my figures in my paintings or in my storyboards by pushing the pose, like Michelangelo would do or upends. frazetta would do that he's a great one.

And he's just got these great, you know, positions of contorted figures that maybe they just look so heroic and like you're about to do something or doing something, the action awesome and you do that with You know, gesture to do that with exaggerating the pose and, and that's comes from animation. So if I can make my shape basic enough, then I can design and redesign. So if you want to work for male films movie and TV and visual development concept art, then you're going to have to and you're designing characters, then you're going to have to design and redesign and that's your job. So it's going to help you be able to do it faster, make changes quicker, and it's going to help you be versatile because all everything that you can draw is made up of probably three or four basic forms. And we'll get to that later.

But if you can learn those forms, Then you can innovate, right? You can add forms and stretch them out, you can divide the forms, you know, and just start playing with the basic forms and come up with an infinite amount of ideas and characters. Not only does our shape have to be basic, but it has to be distinctive, okay, of what we see. And if, if I have to stop, okay? And an art director pulls me off the job and says, Hey, Chris, I want you to do this. And I have to hand that work off to someone, then.

At least my idea is, is clear, right? It's a good clear idea that communicates something and I can give it to someone. And they're going to be able to execute that idea and build on it and then keep going. So that's That's really valuable because, you know, if you have a, you have to leave the job, you have a break, something comes up, when you come back to what you were drawing, you'll, you'll have that simple idea there and be clear, and you'll remember what your thought process was, and then be able to continue building on that. If its distinctive, right? It's going to have excellent connections, right.

So, the head is connected to the ribcage by the neck, right? So those connections, the structures are connected by the gestures. Okay? And those are really important because they're the connection from one thing to another. If your joints don't look good, your audience will know it. If you're, something's wrong with your drawing.

Your audience sees that right away. So the joints are important for animation. And if they don't look like they can move on. The audience will figure that out. See that same thing for 3d modeling, those joints are where the action takes place, and they won't move correctly, they won't work right for animation. So they have to be rigged correctly for the animator to be able to animate it.

And if they're not, that's going to be it's gonna have to be redone. So if your connections are off, your drawings gonna be off so if my head is connected by my neck to the rib cage, but that connection right there is off right then and I don't take take care to fix it, then the next connection is off. The next thing is off and the whole thing's just a total disaster. Okay, so connections are super important so that we get that down the connections. That is super important. If you have to stop You can pass that idea on to someone else.

That person can take it and continue working on it or you can stop and then pick it back up because your ideas there and then continue on and finish. Okay, let's do a set of two minute drawings to practice what we've learned so far. Feel free to draw along with me. Bye for now 54321 4321 54321 54321

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