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Draw the Head from Below Looking Up

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Transcript

Hey everyone, this is Chris Pataki from Aki visual art and today we're going to deal with one of the most difficult points of view to draw the head difficult camera angle is low camera angle looking up in an extreme fashion on the head. So you can see maybe that there's a lot going on here. So let's jump in. When we look at the head. From this angle, we see a lot of things that we're not accustomed to seeing. We have we can see the features but they're highly tangential in this extreme foreshortening.

And let's point out a few things about this. One is that you can see maybe a little bit of forehead and then a lot of features a little bit of forehead, compared to a lot of room for where the features are. So it's maybe 30% forehead, and 70% the rest of the features. Okay, so that's one thing. The other thing is, is this area right here, we've got the chin, we've got the jaw, we have the top of the neck, and it's just wonky. It's just a mess.

Right there, and we're not used to that. So if we're drawing ahead, and you know, we get these basic eyes, nose, we got a mouth here. And then what do we do down here? We just, we do this go this way, or do we go just go down that way and stick a neck on it? What is going on? We get some problems to solve here.

Right? So let's do that. Oh my god, we're gonna do it's a mess. No. Okay. So I'm going to give you a couple strategies here to deal with this.

Effectively. So let's look at strategy number one, we can do a simple sphere. All right, and if we draw over it with cross contours, we can get you to believe that we're looking up on something from a low camera angle looking up, and we can stick a neck on that and you know, try to figure it out. I'm just gonna knock that back just a little bit. Come on. Let's be knocked back.

And we are knocking back a little bit. And then we've got to put the eyes All right, we got eyes. We got nose. I guess some kind of forehead. There's nose like a pretty And then we've got the two cylinder, can we have a chin it goes back somewhere back there who can stick an ear on there. And you know, it's okay.

It can kind of, you can kind of work in a pinch. And then when we get some connections, but our connections aren't that aren't that good because we don't know exactly where the chin is ending. And where that next stops is the bottom of the chin and the top of the neck and, and we just, it can be just a mess. It's not bad, but it could be better and just put it out over here. So that was number one was basically the oval. Okay, another possibility to solve this.

Problem of the head in an extreme angle is cylinder. So let's try that. If I draw a few cross contours I can get us to where we're looking up at the head. I can give myself a centerline and then start to put the eyes on but I run into a problem. How far over is the eyebrows? corner of eyebrows?

I don't know. So I just got a I got a wingman. We got the other eye we start to sculpt out. brow ridge cheek. Okay. Stop down the nose here.

Just keepin it real simple. Like a prism. Real geometric. Um, we got the two cylinder into the chin. Great, but this whole side of the face right here on the left side, I have no idea where the front of the face is. And where the side of the head is where that point change occurs, front of the face on the cheek side playing to the side of the head.

I don't know. So it's wonky. If I can't find that, maybe it's over here. Maybe it's up here. I don't know. Furthermore, where am I going to put the ear?

Maybe if I can't find where the corner of the brow is? Where's that you're going to go? Is it going to go here? Is it gonna go here? How high how low. We got problems.

But basically I would just try to kind of guess my way into it. Going a guideline here. From the eyebrow, try to fit that beer somewhere in there. I can complete the jaw and pull the neck off. Pull the neck sternocleidomastoid and so on so that that's another possible solution is the cylinder. So let's put that off to the side along with the oval.

So we got two strategies here. The cylinder head or tube and we've got the ball or oval. Okay. So we're just getting started we've got more. Alright, so now we come to a really good solution to show the head and an extreme Upshot and that is the box. The every head has a front two sides, a top In a bottom, and the box has exactly that, if I can show off the box, my head will look convincing in 3d space, especially one that is so extreme as looking up.

So we need to know a little bit about perspective, but not a lot. So I have a horizon line, and I have a vanishing point on the left, and a vanishing point on the right. The horizon line is your line of sight or your eyeline your station point when you're looking straight out, so I'm just going to go ahead and draw a box and parallel lines will all go to the same vanishing point. Let's see we'll see less of the side and more of the front. Let's say hope box, this will go Hear, that's gonna go over there. Okay, as long as I respect my vanishing points, it should be, it should be really helpful.

And then I can kind of stick an idea of a neck on here, but I'm not sure exactly where yet. So let's just hold on to that. So basically, I just divide that box in half vertically, and in half horizontally, and we're going to seem less forehead right and more of the features. So what I like to do is just kind of give a sense of where that curved line is of the brow. That's going to give me a new center line. And then we're going to have the nose somewhere here.

And I'm just gonna go ahead and Pull a nice prism out there, I'm going to curve my lines so they look a little more anatomically correct and then off of one of the nostrils, I'll just put a little sense of the nostril in and I'll pull the two cylinder or barrel of the mouth right off there, and then leaving lots of room for a chin box expression. Okay, so that I think is okay. I'm going to cut in here for the brow that becomes bottom shelf, so to speak, and then we've got the cheek. Okay, and I'll respect my vanishing points to find the other cheek on this side. And I'm going to have to modify the box a little bit as we go. So the brow is here I'm going to draw guidelines straight To the corner, and then go to the vanishing point.

That's why the box is so great because it just shows that dimension. So clearly, you know, the box has that inside corner there. So it not only shows the volume in space, but it shows its direction in space really well. Okay, so I can I describe the form and show its direction in space with that inside corner. That's awesome. And then the nose drawing guidelines on the front end to the side and I can put my ear somewhere in there.

And so that's going to be good stuff. my cheek will be somewhere around here. And so I'm just going to come with a nice If that if that here is indeed at that back half of the head. Then I can swing a nice seeker for that cheek all the way down. It's like a nice S curve actually all the way down to around the chin. So that's good stuff.

And I can get a sense of where that gize and then I'm gonna go ahead and find the bottom of the chin. And then just go back to the jaw, and then to the ear. I so we're getting that together here. And once we find the bottom of the chin We can construct the sense of where the neck will be. So I'm just going to do a nice c curve right here. Then that's gonna be rib cage, we just have a couple of cross contour showing a tube like structure.

And the neck is a tube like structure too. So I'm gonna draw my cross contours accordingly. To show that we're looking up with some partial ellipses there. And then I'm going to give myself the underside of the box that we need so much to tell us where the connection is from the nuchal lines. They're the new Coleridge to the to where the neck is need that connection and there it is. Don't just throw it into the shadow so you can see it there.

Okay. And now I'm going to go ahead and construct that sense of where the eye socket is where the eyebrow would be. Got the clip Ella here into the front of the forehead, wing of the nose. And then I can go ahead and put in below the eye socket. So I've got the top part of that inside brow ridge, which is also Making housing for the eyeball. So I can come in here and just go ahead and construct the where the eyeball is going to be.

And I'll bring that into the tear duct. So the tear duct will be just right in there. And I'll bring that straight line for the lower lip and overlap the upper lip. This will be a bit of shadow and then the under part of the eye socket and then out the side plane. Do the same thing over here. We're going to build that eye socket are we built the eye socket now we're gonna put the eyeball in Somewhere in there, clip I like coming out eyebrow, kind of spitting into that and then going over the top so the eyebrow there's a side plane of the nose and then the eyebrow starting on the bottom and then pulling out over the top.

So here we are. Put a little sense of the nostril. Okay and then we can put the mouse and there should be front plane and then Ben curves around the ball For the peril of mouth, and then we've got the muscular node there are constructions valid. Just keep going here. This nostril go behind so now the nostrils being overlapped by that upper lip, and then the lower lip comes out and overlaps the upper lip and then bends back and then the chin overlaps. That now we've got clear, much more clear depth and space by using the overlaps.

The overlaps are so effective in doing that, and so is the structure of the box. And it's just working wonders for us. So I'm going to take that lip and just show a lot of that upper lip and not much of a lower lip, lower lip puppy come out, overlapping the upper lip and then just be kind of a straight line. Just like that. We don't need to see its full. the fullness of that lower lip, we need to see the fullness more of that upper lip.

Okay. Let's see. And for the chin we can go, we can go this way, if it's a female, make an egg shape and keep the corners round. If it's a male, I can get real boxy with it. And I'm going to just, we can go two ways we can go this way, or we can play it this way. I think I'm going to play it like that, this time.

Okay, so the more Oh clear overlaps we have the better. So let's, let's just exaggerate that. Let's really make that come out. That lower left from the upper lip and then come back in. And then the chin comes out. See how that works.

I'll throw a tone in here so you can see separation between the upper lower lip. Okay, not bad. And what else so we got to just put a sense of where the ear is. So put a very thin thickness on top where the helix is, and then where the cartilage is. I'll just make it real thick. So looks like appears like bottom part, bottom third of the ear is a lot closer in this extreme angle than the upper part of the year.

Okay, then neck coming out. I'm going to go ahead and connect that jaw to the top of the neck now, so let's do that we need to clarify that ambiguous part. So we've got the trachea or the throat there and then it almost goes directly right back up to the ear. And there's a hyoid, hyoid bone, Myo, hi Lloyd and the gastric plane in there, but it's basically this. This is the throat and it has a side plane connecting to the pit of the neck here. And then we've got that Right next to that is the sternocleidomastoid connecting the mastoid to the sternal notch.

And that's just basically a rope, like triangular shape muscle. Okay, then I'm just gonna go ahead and fill out now modify this box and round out the corners so that it looks a lot more human. And when you do that, yeah, all those problems that were bugging you start to really go away. You start to feel comfortable. Yeah. It's really that one step there takes it from looking at real geometric and hard edged to to human So I'm just going to go ahead and take off some of this hard edges here.

Erase some of these guidelines so that you don't know how I did it. Get to get a sell the illusion trick the people right, take this one down a little bit. Take that off a little bit too. So this is going to go ahead and go back this way. And then curve this top of the cheek. side, plane in the head going over trawling through everything Around over.

This is put this connect this nose here cabella. And this is always a challenge, always a challenge. But if you can handle the box, you got to be able to handle the box and if you can, you can think your way through all of these problems just by using simple primitive shapes. Alright, so I'm just gonna clarify these thoughts here a little bit inside of the eyebrow. eyebrow coming out into super ciliary arch overlapping from Tallis, which is right here. That's part of The forehead.

Just put that on there so we can see the overlaps. The overlaps are key in this to selling the illusion. And then I'm just gonna go ahead and modify a little bit more. Let's check it by flipping it to see it looks a little like we can take off a little of that forehead. More sometimes those more straight lines, although they feel counterintuitive, again, they, they just somehow they work and make the drawing have that veracity and it's convincing in its orientation in space, Alright, so the rest of this is going to be just clean up. So I'm just gonna have the video run I'm gonna speed it up a little bit and you can do some watch the rest I hope you enjoyed this solutions to join the head in an extreme low camera angle looking up, we have three solutions, the ball box and two.

That's one maybe the box for me

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