Drawing The Head And Hands Pdf

[Nina Zahra]

Thesides of the head are flat, so we can slice off a piece from both sides of the ball. From profile, this plane will be a perfect circle, but when drawing it from any other angle, it will appear to be an oval because of perspective. Divide this oval into quadrants. The vertical line represents the beginning of the jaw. The horizontal line represents the brow line. The top and bottom of the oval help you find the hair line and the bottom of the nose.

Attach the shape of the jaw. The top will start at the brow line and the back will start at the center of the oval. This is a 3-D volume with a front plane, side planes, and bottom plane (bottom plane is seen from some angles).

After establishing the angle of the ball, divide the face into thirds. The distance between the hairline and brow-line should be the same as the distance between the brow-line and bottom of the nose. Add that same distance to find the chin. Notice how the hairline and nose-line align with the top and bottom bottom of the oval when wrapped around the face. Imagine the head as a box. The thirds must be wrapped around the side plane and front plane.

A common mistake at this point is to make the jaw too long in comparison to the ball. Make sure to measure your thirds correctly and that they relate correctly to the ball. Notice how the shape of the jaw changes from various angles.

My answer to this is to play around with it. For the most part I would say roughly 2/3 of the height of the circle. Personally, I think that this part will effect the rest of the drawing so I like to try various sizes.

The other factor that you may consider is how far to cut into the sphere, thereby making the head wider or thinner based upon your placement. Again, I want you to experiment here so that you can develop a nice variety with your characters.

In this case, we will be drawing someone resembling Alfred from the Batman comics. So we will use a much taller area for the height of the nose. I am also going for a more slender head template for this character type.

Circles for the eyes are a great way to help you draw eye lids that wrap around the eye ball area and also help with the foreshortening. Without places the spheres below the brow line, I usually skew things a bit.

For the nose you can use a larger pyramid like shape or in this case a small upside down triangle. I find this to work well by simply keeping the shape of shadow in mind. It allows me to perceive the nose from there.

Now with those primitive shapes in place, try drawing your line work around and through them. Remember that these are just guides, you need to practice seeing past them and letting your imagination run wild.

Practicing head shapes and the individual features of the face has helped me tremendously. They are all tricky in their own right but with lots of sketches from different angles we start to find the patterns that resonate with us.

These individual studies can really add up over time. Plus, if you find that you do pretty well with the face drawing until you get to the nose, then drawing the nose over and over from tricky angles will more than likely get you past that problem area in your work.

This long pose course continues where the Analytical Figure Drawing class left off. It focuses on the study of head, facial features, hands & feet to build an understanding of their gesture & structure. Topics of capturing likeness, expressions, lighting, value and shadow shape design will be discussed during the many in class demos. This is a great class for character designers and for artists making the transition from drawing into painting. Pose length varies from 10 min to 3 hrs. poses. Previous experience in figure drawing is strongly recommended. (Due to Covid-19, there are no live model sessions for online classes.)

*Due to reasons such as instructor sick day, family emergencies, storm, earthquake, fire, flood, or other unforeseen circumstances, Concept Design Academy reserves the right to push any class back 1 week in the schedule if necessary. Students are strongly recommended to plan their schedule with some flexibility in mind to avoid schedule conflicts.

*** Limit one seat purchase for each class per student. Multiple seat purchase of same class will not be honored. ***

Ironically, these tremendously valuable and influential texts were long out of print, leaving artists to discover them by word of mouth and prowl used bookstores, and later the internet, hoping used copies would turn up for a reasonable price. Copies of them in good condition would often sell for $250.00 to $300.00, sometimes more.

Much to the delight of myself and countless other artists, Titan did a superb job, bringing to life the character and appearance of the book in a facsimile hardback edition that actually surpassed the printing quality of the original.

The edition has been a tremendous success, and Titan has followed up with what is considered the second most important and sought after title in the series, Drawing the Head and Hands, and they provided me with a review copy.

As I expected, Titan has once again done Loomis justice with a superb job of reproducing the book. I can say without hesitation that the original book and its content are of tremendous value, and the beautiful reproduction makes it a joy to follow the instruction.

Here, Loomis expands on demonstrating how to draw the human figure in correct proportion by constructing it from a knowledge of its basic forms, and goes into the details of the head and hands with subtle, yet clear and strong drawings and diagrams.

In addition to building his approach on the fundamentals of human anatomy, he gives construction methods based on the underlying geometry, allowing you to turn and move the head and hands in your mind and position them in space when drawing. By marking off spatial divisions related to the major features, Loomis guides the reader through an understanding their basic proportions, and how those of the face in particular can vary from individual to individual.

The book goes into better detail than I have seen anywhere else on understanding the change in proportions that the human face and head undergo as we move from infancy through childhood into adulthood.

I bought my copies in a now defunct second hand store. They were in amazingly good condition and only cost $1.5o each (neiner, neiner..) When I was taking life drawing, I referred to them all the time. They are an invaluable part of my reference library.

If you find a copy of Three-Dimensional Drawing, buy it because the gallery in the original title (Successful Drawing) has been replaced by some of the more valuable perspective drawing lessons. I ran across my copy quite by accident almost 20 years ago and I still refer to it. Nomatter how advanced you become, you can never really outgrow Andy Loomis because he was a master of fundamentals.

Charley Parker a belated thank you to introducing and reminding many what a formidable artist and instructor Andrew Loomis was. The books are classics in the instruction of illusionistic pictorial structures. It is has been mentioned before but is important enough to merit mentioning again, in many respects illustrators were and are the last link to the imagery and thought of the Renaissance.

To be honest, just drawing hands alone is as complicated as drawing heads and figures. There's a LOT to drawing hands. However, you can get away with not going too in depth with hands when you're cartooning. Depending on how cartoony you're drawing.

The trick to giving these hands a feeling of dimension, is to think about these these forms as if they are burgers patties and sausages. The palm area of the hand should be thought of as a slightly flat disk shape similar to a fat burger patty:

If you want the hands you draw to be a little less cartoony and a bit more natural, it's best to get boxy. It's still helpful to first draw a mitten shape. But instead of drawing the palm like a burger patty and the fingers like sausages, you turn the palm into a flat box and the fingers like long boxes.

As I've said before, drawing hands if very complicated. What I've explained above is merely two approaches that simplify the hand. However, there's a lost of other factors to be aware of when drawing hands. Below I go over some things to tips that will make you're hand drawings a tad easier and look better:

One of the reasons to draw a mitten shape is to force the size of the fingers to get smaller on the ends. However, you also need to follow this same curve on the joints of all the fingers and the top of the palm.

Why is this important? Because when you're drawing the back of the hand in any position, you don't want to draw the knuckles too high up or you'll lose the padding of the upper palm. Especially when you're drawing the hand bending:

I've found that the easiest way to get expressive hands is to treat them exactly like a micro figure drawing. Since the first thing we do when we figure drawing is do a gesture drawing, I recommend doing a gesture drawing for the hand you're drawing first, then add structure to it after.

By far, the most help thing you can do when drawing hands is to use your own hand as reference. If you don't know what the hand is suppose to look like in a certain pose, pose it out yourself. You can do this in front of a mirror, or you can simply look at it.

With this style, it's boxier still. But only with male hands. The hands are also simpler and less detailed. Female hands are not depicted below since they are essentially identical to Freddy Moore hands.

Fig. 2. The education of a child is like the architectural elements of a building, requiring a firm foundation, strong supports and walls, and a protective, over-arching roof or load. Hands-on, concrete-intuitive learning provide a foundation for early childhood, while artistic, symbolic-notational learning establishes the columns of support in the middle school years, and the formal conceptual, abstract knowing becomes a kind of roof for the education in adolescence.

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