Sunday 11 May 2014

STUDYING THE HEAD & SKULL

STUDYING THE HEAD & SKULL


Becoming familiar with the head and skull is an excellent way to improve your portraiture skills. If you purchase a plastic skull, you can practice drawing the skull from all angles, as shown in the charcoal pencil studies above. Start with an outline of the basic shape of the skull; then block in the shapes of the main features and refine the lines (shown in the upper·right corner). The important skull bones for an artist to know are the parietal eminence (A), frontal bone (B), frontal eminence (e), labelled (D), supercilious crest or "brow ridge" (E), temporal line (F), zygotic process (G), orbit (H), zygotic bone (I), maxilla 0), rams of mandible (K), mandible (l), and mental protuberance (M)

FRONT VIEW 
Most of the facial muscles originate from bone and insert into muscle fibers of other facial muscles. They do not create surface form directly, as the skeletal muscles do, because they are much more delicate and usually concealed by facial fat. The visible forms on the face are created by several factors skin, fatty tissue, underlying skull, cartilage, eyeballs, and some muscles.







                                                  SIDE VIEW



A. frontal is B. temporal is C. orbicular oculist D. nasals E. elevator labia superiors F. automatics minor G.
automatics major H. Massenet l. Nestorius ]. depressor angling iris K. depressor labia inferiors L. mentalist M. orbicular iris N. procures O. capitalists P. trapeziums Q. sadomasochistic 

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