In portraiture, you basically have front side and three quarter views to work with. And I'm going to talk about the three quarter view now. But before I do that, we've already looked at the front view plains of the face, but I'm just going to recap real quick. So from the front, you have a silhouette. That's basically an egg shape. And it's an oval with some variation from the ears and the hairstyle so it doesn't have much variety in terms of the silhouette.
Okay, it's pretty straight on a little bit boring from a design perspective. But it's it's bilaterally symmetrical. That means from top to bottom, the features on the right and left sides are exactly the same all the way down so they're equal and equally represented on either side of P vertical line. So the big problem is to keep the features lined up correctly, right from side to side from left to right. And so that they they're the same size and that they're on the same horizontal position. And we don't want them sliding, you know, down the face like that.
Because then they're not symmetrical anymore. So that's the big challenge is to kind of keep everything lined up straight and not sliding down the face, an equal position of the eyes, and even an equal sizing of both the eyes. So the front view is pretty straight on. And so from a psychological perspective, it's really in your face. It's domineering, there's nowhere to go to escape the gaze of This person in the picture. So you may want to use this angle to portray a person with a powerful personality who is to be reckoned with in some way.
It's also someone who's not afraid and very confident, especially at the eyes have life in them. If you're creating a character, it could be the hero or villain. Or it could even be a monster. So you could use it for hero, villain monster because it's very confident and it's in your face, so to speak. There's no way to get away from it. All right.
So let's go to the three quarter view. Now and when We got a three quarter view, you can really see when I start to turn it that this position is a lot more inspect in perspective than the front view. And we can really see the structural nature of it because come over here, you can start to see how there's that little notch from the brow to the cheek, and down. Then there's the cut in from the chin to the neck. So you start to see an interesting silhouette design wise. And from a structural point of view, every head has a front, two sides, a top and a bottom so it has a front, side here, side on the other side, a top and a bottom plane under here, right.
So it's got a front two sides. Top And bottom. So we start to see that structural architectural nature of the head. And it's because the front plane and the side plane intersect to form an inside corner. So you can kind of see this corner if we just box it up, right? Let's draw a box.
So if we draw a box in perspective, right, there's my box. We have this plane on the right side, right? And then we have a plane on the left side. And right there is that corner. It's that inside corner. That gives us the ability that the power of the box is that it can describe the form not only describe it, but she Its orientation in space show its direction in space.
There's no question that this box you know, if we call this the front is facing this way, right? You can't really get that out of a tube. You know, a two we can describe the form but we can't really show there's no inside corner to show which way it's facing. We don't know if it's facing this way, or if it's facing that way. Okay, so the box is the real star, primitive shape that we're going to use. Because the box is is simple and it's it's distinctive of the head.
Can it allows us some advantages. We Get it down quick. Right? And that's huge. So that's its main attribute is we can get it down quick and it can show the, the heads direction in space. Right, so it can show where that person is looking.
Without a doubt, okay, it's the best shape for that. So the box had that inside corner. And so we're going to have that same kind of opportunity or an inside corner, right? It's not strictly a box. It's not exactly like a box, but there's that where that shadow is that core shadow that runs down the side here that shows that there's a plane change definitely There's a front and a side and a top. Right.
So the more we can show off the boxy nature of the head, the more the stronger our drawing is kind of look. In the end, it's going to look more believable, it's going to look more solid and 3d on the page. So it's something that you can overstate in the beginning. And I would suggest doing that, and then you can you can back off of it later in the drawing. So you draw really lightly as kind of a workflow, you draw lightly first, and that way, you can erase it out later or draw over it later. And finish finesse it so that it looks more like a human face.
Our human head. So from a psychological point of view, the three quarter head is it's less confrontive less confrontational to the viewer, okay. So the gaze is, is not straight on, it's off to the side. So there's some psychological distance there. And so it's basically less tension for the viewer than the previous straight on gaze. There's there's more room for nuance.
It can basically be contemplative moody right? I can Show someone's character even it convey like a, maybe a noble character. It can even signify or be used for a friendly invitation. So from a psychological point of view, there's a lot more room a lot less stress and tension for the viewer. And you can use it in all these kind of different ways. Okay, if I just do a box like structure over the face, we're going to see we're going to make some observations here.
We're going to see obviously, it's not a true box, but it's box like The chin is narrower than the forehead so it's a tapered box from top to bottom, it's thick here, thin here, then the back we have a cutout. Okay, from the neck to the jaw line, so this part of the box is cut out. Other than that it's very boxy. And then of course, we can round it out at the top. We can cut the notch out of the orbit of the eye. And you can kind of start to see that we need to line up the features along the perspective, grid that go out to the vanishing point out here somewhere, but basically, we're not going to overdo that but we should keep that in mind that the Features won't line up, the eyes will line up with a vanishing point.
And the ear, the solo feature on the side of the head will go to another vanishing point over on the right side, right vanishing point. So it's kind of it's a box in space. You don't have to know a lot of perspective for that. But that's the general idea. You can quickly bang this thing into shape to look more characteristic of a human head, within the three quarter view, you'll have a soft three quarter, a three quarter, a true three quarter and then a hard three quarter that's in between three quarter and let's say a strict profile. That's where the nose you can see.
Breaks that brakes that plane right there. The nose comes Okay, that's a hard three quarter. So those positions are good to know in case you want to communicate to someone on your team, what your vision is and have them do it, and so on. Okay, we'll see you in the next video.