Getting Inside the Head
In This Chapter ▶ Becoming familiar with basic head anatomy
▶ Drawing the shape of the head from different angles
▶ Creating realism by adding geometric planes and shading If you’re ready to draw the head of the human figure, you’re headed in the right place! At first glance, the head resembles an egg-shaped, ovalesque object. On closer examination, however, it’s made up of two separate groups. The first is the cranium, which is the upper/ rear ovoid portion of the head. The second category is the face, which rests below the cranium and toward the front of the head. Although people identify with the face, many stu- dents still wrestle with placing the face in relation to the cranium. In this chapter, I walk you through the general parts you need to know when you draw the head and provide guidance on a couple of drawing methods.
Getting Familiar with the Parts of the Head
Beginners often have a tough time drawing the entire head because a certain facial feature catches their attention and they miss the overall picture. Being drawn (no pun intended) to individual features isn’t a bad thing. After all, these features make people distinctly unique. However, focusing on the head itself when you draw is important. Not seeing the features in context with the entire head is like trying to identify where the tail of the donkey is while you’re blindfolded. Each feature has its aesthetic purpose and function only when it’s drawn in the proper location in relation to the entire head.
Think of the head as the globe. If you want to identify where to draw the epicenter mark (which represents, say, the facial features), you need to be able to locate the proper central location of the globe before making the mark. Without knowing where to place the mark in relationship to the outside edges and size of the globe, attempts at drawing the epicenter mark is guaranteed to be more difficult.
In this section, I describe the parts of the head from several angles. Don’t worry about draw- ing yet; just sit with a cup of coffee and enjoy the ride.
The front view
In Figure 4-1, I show the front view of the human head. Keep the following basic structures and tips in mind when drawing the front view of the head:
✓ You can roughly divide the head vertically into thirds.
✓ Ideally, both sides of the face are symmetrical.
✓ The forehead takes up a large chunk of the head (approximately 1/3 of the entire head).
✓ The top of the head is wider than the lower portion (the jaw) of the head.
✓ The top of the head has a slight bump.
✓ Depending upon the build of the figure, the neck lines on each side connect behind the ears (as opposed to being in front of either ear).
✓ The eyes are smaller and more spaced out than most people initially assume.
Figure 4-1: The front overview of the human head.
The three-quarter view
In Figure 4-2, I illustrate the three-quarter view of the head. The side plane of the head, which includes the ear and sideburn shapes, is partially visible.
The straight-on view of this angle appears simple. Pay close attention, however, to the way the features that rest on the side plane of the head shift relative position in relation to the front side of the face as the head tilts up, down, or sideways. This shift is due to the change in perspective of the entire head (I talk more about perspective in Chapter 14). Don’t be frustrated if, when trying to draw this angle, it doesn’t click at first. The three-quarter angle is deceptively complex. For this reason, I recommend first getting familiar with drawing the three-quarter angle from a straight-on vantage point.
Take a few seconds to look in the mirror from a three-quarter angle. Use your ear as a land- mark “anchor point,” and observe how the placement of the ear shape changes position as you go through the motions of tilting your head back, forward, and sideways. The higher you tilt your head, the lower the ear appears to sink in relation to the features on the front of your face. At the same time, the lower you tilt your head, the higher the ear appears to rise in relation to the features on the front of your face.
Keep the following basics in mind when drawing the three-quarter view of the head:
✓ The features on the half of the face that’s farther away from the viewers are slightly narrower than the features that are closer to the viewers.
✓ The top of the ear is slightly lower than the eyebrow.
✓ The left side of the neck aligns with the outer edge of the left eye. The back edge of the neck protrudes out from underneath the ear lobe.
✓ The rear portion of the cranium sticks out farther beyond the neck edge line and ears (a common mistake is to align the neckline with the edge of the cranium).
Figure 4-2: Drawing the three- quarter view of the head.
The side view
In Figure 4-3, I show the side view of the human head. In my opinion, the profile is the fun view to draw; you don’t have to worry about drawing the other symmetrical side of the face, whether you’re drawing from a live model or from memory. Artists commonly overlook the following when drawing the side view of the head:
✓ The overall profile is much wider than the front view (see the earlier section).
✓ The front of the face is slanted at an angle.
✓ The back of the head is as wide as the front section of the head.
✓ The ears rest at an angle along the jawbone line.
✓ The neck comes at an angle when the figure is standing erect.
✓ The bottom of the nose is roughly level to the bottom of the back of the head.
✓ The features create a triangular overall shape.
Figure 4-3: The side overview of the human head.
The back view
In Figure 4-4, I show the rear view of the human head. This side is probably the most over- looked. Beginners as well as experienced artists assume that if the head is facing the other way, all they need to draw is a bunch of hair to cover the back of the head. Not true! Here, I list some key features that get overlooked in the drawing process:
✓ The back of the head is approximately 2/3 of the vertical height of the entire head (that’s quite a bit of space for your brain!).
✓ The neck (or top of the spine) emerges from underneath the back of the occipital bone (the large back section of the skull).
✓ Depending on the person, the mandible (jawbone) may be visible.
✓ The top of the head has a slight bump.
✓ From behind, the ear doesn’t rest flush against the head.
Figure 4-4: The rear view of the human head.
Drawing the Shape of the Head
Pick up your pencil and get ready to draw your first head from scratch. In this section, I walk you through the steps to proportion the head accurately with careful measurements on a template. I also show you how to approach drawing the face without having to go through as many stages, which is handy if you’re strapped for time.
I’ve found that students identify with their eyes more than other features of the face. Most students begin drawing self-portrait assignments with the eyes. Use the eyes as your “mea- suring stick” to build the basic dimensions of the head and as you figure the placement of the main facial features (eyes, nose, mouth, and ears).
As you block in the features, you may find that they occupy less space on the head than you think. Hair conceals the forehead as well as some of the top portion of the head that’s visible from the front. Keep this fact in mind throughout the remainder of this chapter. (See Chapter 6 for full details on drawing hair.)
Easing into it: Drawing the front view of the head with measuring tools
Drawing the head by carefully measuring proportions and features is a good idea for begin- ners because it encourages you to use detailed guidelines that may fix or adjust any errone- ous assumptions you have about the head proportions. I show you how to draw the head of an average-build adult in the following sections (I explain how to draw heads of different ages later in this chapter). You need a compass, ruler, and a kneaded eraser in addition to your drawing pencil and paper.
In this method, laying down the large shapes as accurately as possible is helpful, because the rest of the smaller shapes (which represent the facial features) rest on this foundation. A compass is a great tool for drawing large, symmetrical circles (see Chapter 2 for more details about this and other drawing tools).
Although the following approach is useful for understanding the structure of the human head, it’s a generalized method that’s meant to supplement your drawing and observation skills. The heads you encounter or draw won’t necessarily abide by this technique. In addi- tion, these stages take time to execute. So if you’re drawing from a live model for the first time, applying every stage isn’t easy — unless the live model is able to stand still for at least an hour (not likely). In these cases, consider using the method in the later section “Drawing the head freehand from different angles.”
Measuring proper proportions Follow these stages to create the precise proportions of the head:
1. Using a ruler, draw a straight line (approximately 3 inches) at the middle of your drawing paper and divide it into five spaces (as shown in Figure 4-5a).
Each division unit represents the width of one eye
2. Mark the center of the line with your pencil (approximately at the 11/2-inch mark) and use it to draw a circle with your compass (see Figure 4-5b).
This circle represents the upper portion of the head. I refer to this circle as circle 1.
Figure 4-5: Start to build your head with a straight line and a circle. ab
3. Establish the centerline of the head and the landmarks for the bottom of the face.
As shown in Figure 4-6, draw a vertical line approximately 5 to 6 inches long going through the centerline. Make the bottom portion (from the horizontal lines dropping down) longer than the upper. Use this line to align the center of the face when you place the nose and mouth.
Figure 4-6: Create the measure- ment units.
4. Use your ruler to measure one of the division units that represents the width of an eye (see Step 1) and use it to mark A, B, and C starting from the bottom outside of the circle, as shown in Figure 4-6.
A marks the bottom of the nose. B indicates the bottom of the lower lip (you use this mark later to find the location of the mouth). C marks the bottom of the chin.
5. Start to draw the lower front section of the head.
Measure and create the midpoint, D, between A and B so you can use your compass to draw a circle as shown in Figure 4-7. Make sure the bottom of the circle meets with C. This shape represents the lower portion of the head. I refer to this portion as circle 2.
The easy way to do this step is to start the circle by placing the needle point at D and placing the lead point at (and start drawing from) C. This is much quicker than guess- ing how wide of an angle you need to set the compass.
Figure 4-7: Draw the lower portion of the head.
6. With your ruler, find the midpoint between the center of circle 1 and the bottom of circle 1 (point A); label this midpoint E.
After marking E, draw a straight line across the circle to create points F and G (as shown in Figure 4-8). This line where the eyes rest should be parallel to the centerline right above it.
7. Complete the outline of the head by drawing two slightly rounded arches for the right and left cheeks (extend from the left and right outer edges of circle 1) down to the chin (C).
Use the roundness of the cheeks to control the age as well as the physical build of your subject. I make the cheeks of younger individuals rounder (I explain how to draw heads of different ages later in this chapter). I draw the cheeks angling outward for individu- als who are muscular.
8. Draw two lines for both sides of the neck to complete the basic head shape, as shown in Figure 4-9.
Here are some key points to keep in mind when drawing the neck:
• The length of the neck from the ear down to the clavicle (collarbone) is about the same as the distance from the bottom of the chin to the eyebrows.
• For children and females, the edges of the neck curve in toward the center.
• For aesthetic purposes, I draw female necks slightly more elongated than the necks of males or children.
• Ideal necks on males are the same width as the head. Although I draw these lines vertically straight down, using a ruler isn’t necessary.
• Heroic male necks (the Schwarzenegger types) start the same width as the head and bulge outward, away from the center of the neck.
Don’t make the common mistake of leaving the neck out of your composition when drawing the head. Compositionally, portrait artists will never crop out the neck; if they do, it looks like the head is floating in space with no foundation.
Figure 4-9: Indicate both sides of the neck with two lines.
Adding simple facial features
When blocking in the facial features, don’t worry about drawing the shapes realistically (I cover these topics in Chapter 5). For now, just copy the simple geometric shapes that I use. Pay more attention to the accuracy of placement and size. Follow these steps:
Figure 4-8: Indicate the guides for the eyes and block in the cheeks.
1. Use your ruler to lightly draw six vertical, parallel lines along the markings of the upper portion of the skull.
As shown in Figure 4-10a, draw the lines long enough that they stretch from above the head down past the chin (C). With this step, you now have five equally spaced sec- tions, and each is the width of one eye.
To make the remaining steps easier to follow, I label each segment with numbers 1 through 5.
2. Use the spaces 2 and 4 to lightly block in the shapes for the eyes along the segment FG (as shown in Figure 4-10b).
For the purpose of this demonstration, I use a narrow almond shape as a place holder for both eyes.
To ensure proper proportions, be sure that both tips of the almond-shaped eyes touch the vertical parallel lines.
Figure 4-10: Lightly draw the vertical guides and the eyes. ab
3. Draw the simple nose, as shown in Figure 4-11.
Draw a concave arc in section 3 to indicate the placement of the nose. Draw the arc right along point A.
Make sure both edges of the arc are touching the left and right lines of section 3 to ensure proper proportions.
4. Draw the simple mouth (see Figure 4-11).
To represent the mouth, draw a short line along point D. Make sure the line for the mouth is parallel to segment FG
Figure 4-11: Lightly indicate the nose shape and locate the mouth position.
The width of the mouth needs to start roughly from the middle of the right eye and end roughly at the middle of the left eye. (In the next section, you draw the pupils of the eyes, which help better define where the middle of the eyes are.) I use a ruler when I want to align one object with another. In this case, vertically position the ruler where the center of the eye is. Use the same vertical position to then determine where the end of the mouth needs to be.
5. Draw the ears and eyebrows to complete the basic front view of the head.
Start at the center of the head, between the eyes and between line E and the central diameter line of circle 1. Draw an arc over each eye for the eyebrow (in Chapter 5, I explain how to draw different types of eyebrow shapes). I draw the eyebrow shape slightly angled upward and away from the center of the forehead. The top of the eye- brow is approximately 1 eye width from the bottom of the eye.
Add a C-shaped curve for the ear on each side of the head (see Figure 4-12). Make sure the top of the ear doesn’t pass beyond the top of the eyebrow. Also, make sure the lower portion of the ear doesn’t go beyond the bottom of the nose (point A). I remove most of the labels for visual clarity so you can see the final image.
Drawing the head freehand from different angles
When you’re new to figure drawing, drawing the human head with the longer and more thorough method in the previous section is key; it helps you become comfortable with basic proportions and shapes. After you get the hang of the previous method, though, you can explore the shorter method to mapping out the basic proportions of the head. This shorter method gets the job done more quickly and also allows you more time to focus on other parts of the figure. (I use this approach when I draw from life or work on characters in graphic novels; I usually don’t have time to flesh out specific measurements as thoroughly as I do in the previous section.) Although both approaches are great for beginners, the approach in this section builds your drawing confidence because it forces you to rely on your own observation skills rather than a formula.
Figure 4-12: Finish with the ears and eyebrows.
Try this approach to drawing the basic proportions of the human head. I cover three angles of the head (front, side, and rear view). For this method, you need only a soft drawing pencil (6B–8B) and drawing/sketch paper (acid free).
Although it takes some time getting used to, judging size and space relations without measur- ing everything trains your observation skills. Just keep practicing!
The front view In my life-drawing class, I have students start with the front view of the head because it helps them see the head and its facial features without having to worry about drawing multiple sides of the head at once. Many beginners make the mistake of starting by drawing the head from complex or extreme angles and become frustrated as a result. Dealing with the head and its fea- tures as a flat, two-dimensional object on a flat piece of paper is more practical and efficient.
Because we have only one model per studio class, not everyone gets the front view. So I have students take turns posing for each other for ten minutes. (A longer pose is better, but unlike professional models, mortals can’t sit still for long without going crazy!)
Follow these steps to draw the front view of the head freehand:
1. At the center of a fresh sheet of drawing paper, draw an oval shape that somewhat resembles an upside down egg (I refer to this shape as oval 1; see Figure 4-13a).
Don’t make the head too large. I keep the initial shape no more than 4 inches tall. Throughout these stages, you need to visually assess measurements without using the ruler. The larger the shape, the more difficult it is to make those quick visual judg- ments. See the sidebar “When in doubt, start small” for more info.
2. Draw a horizontal line and a vertical line to form a “cross” shape (as shown in Figure 4-13b).
Roughly divide the shapes evenly. These lines provide a sense of which direction the head is facing.
If you have trouble making the initial oval in Figure 4-13a symmetrical, don’t panic yet. Use the dividing cross-hair lines, as shown in Figure 4-13b, to make sure the left and right are as equal as possible.
Figure 4-13: Draw the basic shape and lightly sketch the center guidelines. ab
3. Draw the eyes and eyebrows along the horizontal guideline (see Figure 4-14).
I place one small circle on each side for the center of the eyes. These circles represent the pupils of the eye, and I draw them roughly at the midpoint between the vertical centerline and the edge of the head.
Lightly draw an arc above the center of each eye. The width of the arc should be no more than approximately 1/5 of the width of the head.
Finally, draw another slightly larger arc above each eye to indicate the eyebrow shape. Make sure each arc slightly angles down toward the center of the guidelines.
Because we identify so closely with our face and facial features, a lot of people make the common mistake of assuming that the face accounts for the entire front of the head. This happens especially in the initial stages of drawing the head without the hair (which I discuss in Chapter 6). As a result, students place the eyes much higher than they should be, intruding into forehead territory. Although the eyes are drawn at the midpoint of the head, keep in mind that the hair covers up to 1/3 of the top portion of the head, creating the appearance that the eyes are higher toward the top of the head. The face is approximately the same size as the height of the spread hand. Place your hand in front of your face for size verification, and then identify where your eyes are in relationship to the height of the hand. This technique will help you better assess where the eyes need to go.
4. Draw the simple nose and mouth.
As shown in Figure 4-15a, draw a small concave arc for the nose so that the bottom of the arc is approximately halfway between the bottom of the chin and the top of the eyes. Make the width of the concave arc approximately 1 eye width.
Indicate the mouth shape with a line, as shown in Figure 4-15b, halfway between the bottom of the nose and the bottom of the chin. Make sure you place the line shape for the mouth symmetrically along the vertical guideline.
When in doubt, start small
Many beginners assume that drawing large on an 18-x-24-inch drawing pad is always the best way to start studying the figure accurately. The fact of the matter is that human hand-eye coordination is strongest when your drawing is no larger than the size of your hand. The smaller the object you draw, the more accurate and comfortable you’ll feel drawing it. I can prove this theory to you right now. Take a few seconds to draw a series
of even arcs that get progressively larger (start small — say about 1 inch). When the arc and wrist movements are small, your arcs are fairly even and smooth. As they get larger, your hand must move to accommodate the fact that your compact wrist movement can no longer handle the size of the object. The result is a series of uneven and asymmetrical arcs.
5. For the ears, draw a C shape on each side of the head (see Figure 4-16).
Make sure the top of the ear doesn’t go beyond the top of the eye and the bottom of the ear doesn’t go past the nose.
6. Draw two short parallel lines for the neck (see Figure 4-16).
Start to draw each line from the bottom of the C ear shape on both sides. The length of the line should be 1/2 the length of the head.
Figure 4-16: Draw the ear and neck shape to finish the front view.
The three-quarter view When you draw the three-quarter view, have the front view from the previous section ready for side-by-side comparison. To make the two views easier to compare, draw lines dividing the head into thirds. I label the lines from top to bottom: A, B, C, and D. These guidelines also help ensure that my drawing sizes are consistent within each viewpoint.
Follow these steps to draw a three-quarter view of the head:
1. Between lines A and C, draw a slightly elongated oval (see Figure 4-17).
I refer to this oval as oval 2.
2. Draw five vertical guidelines, using your ruler, to divide oval 2 evenly (as shown in Figure 4-17).
I label the guidelines from one through five. Three is the midpoint of oval 2.
Figure 4-17: Starting the three-quar- ter view of the head.
3. Lightly sketch the upper jaw (maxilla) and lower jaw (mandible), as shown in Figure 4-18.
Lightly sketch a diagonal guideline from the top of intersection 1B to line 2 at the mid- point between C and D. This diagonal line gives you the angle and position of the max- illa. The mandible starts from the bottom of the chin at line 4 and curves up to connect with the maxilla at the midpoint of the horizontal guidelines C and D.
4. Draw an S curve line to separate the front and side planes of the head, as shown in Figure 4-19.
From the top left of the back of the cranium, draw the first curve, which meets at B2, to indicate the top side plane of the head. Complete the rest of the S curve guideline, which angles down and to the right, to connect at C2 before continuing on its path toward the bottom of the chin at D3.
5. Lightly sketch the cross-hair guidelines for the facial features (as shown in Figure 4-20).
Lightly sketch a slight convex arc that stretches across the midsection between lines B and C to align the placement of the eyes. The eye level is close to the level of the eyes from the front view of the head.
Slightly lift the end of the curve closest to you higher than the end of the curve that’s farther away from you. Although this lift is subtle, it gives the overall features a more dimensional and realistic positioning that’s consistent with the rule of the perspective theory (I talk about perspective in depth in Chapter 14).
Draw a second subtle arc that vertically connects between lines 3 and 4, from the top to the bottom of the head, to align the placement of the nose and mouth.
Figure 4-20: Adding cross-hair guidelines.
6. Lightly block in the facial features.
The facial features you draw in the three-quarter view are the same as the features you draw in the front view (see the previous section). However, the size and alignment of the indi- vidual features are different due to the slight transition in perspective that happens between the side and front planes. These slight differences remind you that the head isn’t a flat object.
I use the front view of the head (from the previous section) to block in the placement of the features. I recommend starting with the eyes and eyebrows (as shown in Figure 4-21), followed by the nose and the mouth (as shown in Figure 4-22). Here are key points to keep in mind:
• The features on the side of the face closer to the viewers are slightly larger and wider than the features on the side of the face farther away from the viewers. Although you don’t see the details, the lips and the nostril closer to the viewers are larger and wider to match the shift in the eye scale proportion and seemingly off-centered placement. Drawing objects that are closer to the viewers larger than the objects that are farther away creates depth.
• Use space between lines 3 and 4 as you center most areas of the face.
• When you look at the three-quarter angle, you see that the eyes tilt downward slightly.
• When you look at the three-quarter angle straight-on, you see that the bottom of the chin as well as the mouth tilt at a slight upward angle to accommodate the perspective of the front plane of the face 7. Draw the ear shape (as shown in Figure 4-23).
The top and bottom of the C shape ear line up with the horizontal top of the eyebrows down to the bottom of the nose respectively.
Figure 4-23: Drawing the ears.
8. Complete the three-quarter view of the head by drawing the lines for the neck, as shown in Figure 4-24.
I draw both curving lines of the neck at an angle for a more natural head position. In addition, I taper the ends curving away from each other. The neck curve at the back of the head intersects at the base of the ear. I draw the front of the neck curve aligned with the right side of the nose.
The side view
When you draw the side view, have either the front and/or the three-quarter view from the previous sections ready for side-by-side comparison. Use the dividing lines from the section on the three-quarter view.
Follow these steps to draw a side view of the head:
1. Between lines A and C, draw a slightly elongated oval to the right of the front view of the head model (as shown in Figure 4-25).
I refer to this oval as oval 3.
Oval 3 should be 1/2 a head width wider than oval 1 from the earlier section on drawing the front view.
2. Lightly draw the vertical division lines and label them 1 through 5 (as shown in Figure 4-25).
I use the brow line, B, to horizontally divide the oval in half. Next, I mark the vertical quarter marks of the oval and locate and draw the center vertical line of the oval. Label the division lines 1 through 5.
Figure 4-25: Draw the elongated oval to start the side view of the head.
3. Mark the halfway point between lines C and D where the maxilla (upper jaw) meets the mandible (lower jaw), as shown in Figure 4-26.
Lightly draw a horizontal line to indicate the center distance between lines C and D.
4. Use the quarter marks 2 and 3 to draw the maxilla (upper jaw) bone line (as shown in Figure 4-26).
To determine the angle of the maxillary jaw line, draw a line from the top of mark 2 past the bottom of mark 3. Label this line EF.
5. Draw the front of the face (as shown in Figure 4-27).
From the right edge of the oval (mark 5), lightly draw a line that starts at line B and very slightly curves in toward the left until it meets line D. Notice that the bottom of the chin matches the level of the chin from the front view of the head.
Don’t overdo this curve. The degree to which the front of the face curves in isn’t extreme.
6. Connect the bottom of the maxilla with the front of the face to form the bottom of the jaw (mandible), as shown in Figure 4-27.
From point F, draw a diagonal line to connect with the bottom of the front of the face along line D. For now, don’t worry about the appearance of the pointed chin. Just be aware of the angle of the bottom of the jaw.
7. Draw the eyes, nose, and mouth features (see Figure 4-28).
Draw a slightly skewed triangle for the eyes approximately 1/2 an eye width below line B.
Think of the profile of the eye as an arrow-shaped triangle with the bottom right corner sliced off.
For the nose, draw a 30-degree angle down and away from the head, starting at the same level of the top of the profile eye. The line continues to line C. To complete the nose, draw a 45-degree line to intersect with the front of the face.
Finally, use the same mark between lines C and D to locate the mouth position. I use a simple short line (make sure it doesn’t go past the eye).
Figure 4-28: Draw the main facial features of the profile head.
8. Sketch the ear of the profile head, as shown in Figure 4-29.
Draw a C shape for the ear. Place this shape flush with line EF.
One of the common mistakes beginners make is drawing the ear vertically. Take a moment to look at the profile of other people around you. You find that ears are slightly angled and tucked behind the maxilla jaw line.
9. Draw the two parallel lines for the neck (see Figure 4-29).
Use the vertical marks 2 and 4 at the bottom of the head. Remember that the neck is slightly at an angle even when the body posture is erect.
The back view When you draw the back view, it’s helpful to have the front or side views of the head from the previous sections aligned side by side. This way, you see how the different angles of the head relate to each other.
Try your hand at drawing the back view of the head by following these steps:
1. Sketch the same oval head shape you use to draw the front side of the head (as shown in Figure 4-30).
I call this oval 4; draw it to fit within the confines of lines A and D. Be sure the top and bottom of the oval touch the guidelines. Be sure to extend all guidelines (A through D) into the oval.
2. Between lines B and C, draw a C shape for the ear on each side (as shown in Figure 4-30).
Make sure the top of the ear doesn’t touch line B; it should be level with the top of the eye. I use the eye from my profile head as a reference.
3. Draw the neck lines to complete the back view of the head (see Figure 4-31).
Figure 4-31: Draw the neck shape to finish the back view.
Drawing heads of different genders and ages
Not all heads are created equal. In the following sections, I provide tips on tweaking your basic head shape drawings to depict men and women, and I list general key physical changes to the human head that occur throughout the developmental stages.
When you draw people of different genders and ages, it helps to observe your public sur- roundings (people watching, if you will). See Chapter 15 for ideas on places for studying and drawing the figure.
Male and female heads On rare occasions, I’ve drawn physically androgynous models in whom the differences between the male and female head blur. But typically, some distinct general attributes help distinguish between the two sexes (as you can see in Figure 4-32). Table 4-1 points out the distinctions between the male and female heads.
Table 4-1 Distinctions between Male and Female Heads
Male Head Female Head Wider head shape Narrower head shape Wider jaw lines Narrower/smoother jaw lines Angled cheekbones Rounder/less prominent cheekbones Square/chiseled chin Rounder/smoother chin
Male Head Female Head Narrow/smaller eyes Rounder/larger eyes and longer eyelashes Wider/larger nose Thinner/smaller nose with smaller nostrils Thinner/smaller lips Fuller/larger lips Wider/shorter neck Thinner/longer neck
Figure 4-32:
Comparing male and female heads. ab
When emphasizing the differences between the sexes, I recommend experimenting with slightly skewing the circle you initially draw for the shape of the top of the head (if you’re using measuring tools) and making the overall oval shape slightly thinner (if you’re drawing freehand). Make the circle wider for the male and narrower for the female. Don’t overdo the skew — you’ll lose the overall proportion of the head.
A timeline of different ages In this section I give you some ideas for observing and tweaking your head shape drawing to portray an array of ages. Use Figure 4-33 as a timeline guideline.
Babies (see Figure 4-33a) have the following traits:
✓ Significantly larger upper skull mass compared to the rest of the head (approximately 65 to 70 percent of the head)
✓ Larger forehead space as opposed to the lower half of the head where the rest of the features almost appear to be crammed
✓ Very round cheeks
✓ Eyes, nose, and mouth have yet to develop
✓ Neck is barely visible until the first year
Children (see Figures 4-33b and 4-33c) have the following traits:
✓ Face grows narrower (well established by age 12)
✓ Jaw and chin become more prominent
✓ Bridge of the nose is defined
✓ Distinct hairline along the top of the forehead
✓ Size of the ear is larger and close to being fully formed by age 12
✓ Females have a rounder chin and slightly wider eyes than males
Teenagers (see Figure 4-33d) have the following traits:
✓ A larger lower portion of the head accommodates the growing facial features
✓ A more defined chin (still retains the roundness from “baby fat”)
✓ Eyes, nose, and mouth are fully formed
✓ Jaw and cranium develop, making the ear appear smaller
✓ Neck muscles begin to develop but the differences between the sexes aren’t drastically different
✓ Females have fuller lips and higher foreheads (they mature earlier than males)
