To master the method of constructing an image of the shape of the head using a linear constructive diagram, you need to remember a number of rules for the perspective modification of this diagram depending on the position of the head in space. In turn, in order to correctly express the constructive basis of the form for any position of the head in space, the draftsman needs to remember a number of features of the perspective image of the structural diagram.

When learning to draw from life great importance has a point of view, that is, the place from which the painter observes nature. The appearance of nature changes greatly depending on where the painter is looking from.

Let's consider the main positions (rotations) of the head and analyze the features of constructing their image.

1. Head in front, frontal. The position of the head is at the level of our eyes (Fig. 38). The profile line when depicting the head from the front is straight and divides the head into two equal and symmetrical parts. Therefore, when depicting symmetrical shapes of the head - forehead, oval of the face, nose, lips, chin, the student must draw the right and left parts simultaneously. The lines of the brow ridges, the base of the nose and chin, as well as the cut lines of the eyes and mouth will be straight and horizontal. The cut line of the eyes passes through the lacrimals and corners (outer edges) of the eyes, or rather, along the seam connecting the zygomatic and temporal bones. The mouth incision line runs along the border of the upper and lower lips.
2. Head in front, bottom view (Fig. 38). When constructing an image of the head in foreshortening (in abbreviation), the constructive lines of the brow ridges, the base of the nose and the chin should be rounded and their apices facing upward. The bottom of the auricle will drop below the base of the nose. The lower areas of the brow ridges, the lower planes of the nose and chin will open (be visible). The eye line will go down to the hump of the nose. The profile line still remains straight.
3. Head in front, top view (Fig. 38). When constructing an image of the head from a perspective (top view), the design lines of the brow ridges, the base of the nose, the chin, the shape of the eyes and the mouth will be rounded and directed downwards. The bottom of the auricle will be higher than the base of the nose. The lower areas of the nose, eyebrows and chin will be hidden. The profile line still remains straight.

Constructing an image of the head in a three-quarter rotation (Fig. 39).

1. The head is at the level of our eyes (Fig. 39). When depicting a head in a three-quarter rotation, the front part of the head should be depicted in perspective - one half in a larger reduction. The other is in less. However, the front part of the head must be depicted simultaneously - the right and left halves - symmetrically. For example, when outlining the outline of the cheek farthest from us, we simultaneously outline the shape of the near cheek with a line, that is, we repeat in mirror image the outline line of the far cheek. When the head is positioned in a three-quarter turn, the profile line will already appear slightly curved. The constructive lines of the brow ridges, the shape of the eyes, the base of the nose, the shape of the mouth and the base of the chin are straight and horizontal.
2. The head is above the level of the artist’s eyes (Fig. 39). With this position of the head, the constructive lines - the lines of the superciliary arches, the section of the eyes of the base of the nose, the section of the mouth and the base of the chin will be depicted somewhat curved and directed upward. When drawing a head in this position, students often violate the laws of perspective and depict it in reverse perspective (Fig. 40, a). With a given position of the head, the eye that is closer to us will always be higher than the one that is distant, and the lines of the brow ridges, the shape of the eyes, the base of the nose and the shape of the mouth will descend as they move away from us. This is very easy to prove. Let's imagine that instead of a head, there is a simple box in front of us. On the “front” side we will outline our head diagram; according to the laws of perspective, it will look like in Figure 40, b. Thus, the student sees that the eye distant from us is lower. The profile line will be curved. The lower areas of the eyebrow, nose and chin will be clearly visible. The tip of the nose will be higher than the base of the nose.
3. The head is below the draftsman's eye level (Fig. 39). When constructing an image of the head below the level of our eyes, the constructive lines of the brow ridges, the shape of the eyes, the base of the nose, lips and chin will be round in shape and directed downward. The tip of the nose in this position will be below the line of the base of the nose. The line of the eye incision will approach the line of the superciliary arches. The facial part of the head will be significantly reduced, and the upper part of the skull will increase. The profile line remains slightly curved.

Drawing No. 40 - Drawing of a head in reverse perspective

Constructing an image of the head diagram in profile (Fig. 41).

1. The head is at eye level of the person drawing. When drawing a head in profile, an inexperienced draftsman generally stops thinking about design, volume and is limited to a flat image - a silhouette. When drawing a head in profile, the student conscientiously sketches the outline of the head, without thinking about the volume of the skull. The use of a linear constructive diagram helps to avoid this. When outlining the front part of the head with lines, the drawer must also remember about the part of the head that is not visible. In this way, he will be able to consider the head as a three-dimensional real shape.
2. The head is above our eye level. The profile image of the head, which is above our eye level, is quite simple. With this position of the head, it is easier for the draftsman to grasp the design features of the head, as well as perspective cuts. By following the line of the brow ridges, the student can easily notice that the eye facing him will be higher than the invisible one. The same thing happens when depicting nostrils, corners of the lips, and jaw bone. In the drawing, you need to emphasize the lower areas of the eyebrow, nose, and chin.
3. The head is below our eye level. In this position, the design lines of the brow ridges, the base of the nose, and the incision of the mouth will be directed downwards.

In order for the student to feel how much the diagram helps construct an image of the shape of the head, the following is necessary: ​​firstly, change the position of the model in space more often and, secondly, change the lighting conditions more often. Then the draftsman will begin to understand that the effect of the drawing depends not on shading (chiaroscuro), but on the correct construction of the shape of the head, on the correct expression of its design features. An example of such exercises is shown in Figures 42, 43, 44. Such exercises are aimed at strengthening knowledge and skills in constructing the shape of the head in any perspective position, so that the young artist learns to correctly understand and depict the relationship of parts and the whole when constructing an image of a human head.

Drawing No. 43 - Training drawing

Drawing No. 44 - Training drawing

By the time they enter an art school, young artists already have some training in depicting the human head. However, this knowledge and skills are not enough to complete the drawing properly. professional level. Students usually do not perform exercises, do not strive to master the principles of academic drawing well, and do not study individual aspects of constructing an image.

In an educational drawing, complex aspects of constructing an image must be learned in isolation from each other, as musicians do when studying a particular passage, or as athletes practice their movements.

Many guys have had to give unexpected surprises to their lovers. One of the unforeseen surprises can be considered a portrait of your beloved girl, made independently, and the process of working on it filmed on video. But how to draw a girl’s head step by step, conveying all the subtleties of her face, emotions, and gaze? Some people believe that only professional artists can do such work, but if you show desire and patience, study the basic proportions and rules of facial structure, you can make a good drawing yourself. Well, let's try to figure out how to draw a head with a pencil step by step.

So, what do you need to know to draw a human head step by step? Portrait of a girl or guy - complex look art, so you need to start it by studying the stages of work. Professional artists We advise you to first study the following tips:

Main outline and centerlines

The initial contour of the face is the main stage in correctly depicting a portrait of a person. The head drawn in pencil begins with an oval face. No matter how strange it may sound, the beginning of this oval should be a circle. To do this, in the center of the drawing it is necessary to place a point along which the orientation of the further drawing is carried out.

You can use a compass to make a circle of the desired radius from a given point. Then a straight line is drawn down from it, crossing the bend of the circle to the same length as before it. This will be the extreme point of the jaw. By lightly pressing the pencil, you should make the correct oval: rounded at the top, pointed at the bottom. Its shape can be different, because the face can be round, elongated or high cheekbones.

Those who want to learn how to draw a head step by step with a pencil need to learn how to draw center lines on an oval (make a sketch). They help the correct construction of the face and its proportions. First, a line is drawn horizontally in the center, dividing the drawing in half. Then each of the resulting halves is divided in parallel in half. In the middle of the oval, a vertical axis is drawn along the face. You will get a kind of grid of 8 compartments.

Expressive eyes are the basis of the drawing

A beginning artist should know that the eyes are depicted in the middle of the oval (head). The eyes will be placed on the central horizontal axis. What should be the distance between them and the width? To do this, this axis must be divided into 8 equal intervals. It is important to remember that the distance between the eyes should correspond to the other eye. Therefore, we retreat one space at a time from the central point to the left and right, and begin to draw the eyes, each of which will occupy the next two spaces. The width of each eye will correspond to 2/8 of the center line. The main thing is that they are not too close to each other or too far away (it is important to choose the middle, you can do without a grid).

The eyes convey the expressiveness of the face, so it is important to accurately draw their shape and position them correctly. The image should begin by drawing the lower and upper eyelids. It is necessary to clearly highlight the corners of the eyes. Above the upper eyelid you need to draw a palpebral groove in the form of an arc, and also repeat it below, only smaller. Much attention should be paid eyeball(iris and pupil). The look will be expressive if the pupils are directed in one direction. Here are some nuances of the image of the eyes:

Drawing the nose

Let's try to figure out further how to draw a head step by step. After the contours of the eyes, you should move on to the shape of the nose. Where should it be located? The height of the nose should correspond to the size of the central and lower horizontal lines. The width starts from the corners of the eyes. From them we carefully draw lines down to the line, above which we draw three circles. They will help to more accurately depict the nostrils, wings of the nose and the central part. Based on this basis, we begin to accurately draw the nose.

Highlighting eyebrows and hair

Next, the drawing begins to acquire a more detailed image. Having made the line of the bridge of the nose, let's try to move on to neat eyebrows. To do this, the drawing can be turned horizontally. It is important to know that it is better to start drawing the eyebrows from a point closer to the nose. The correct height of the eyebrow above eye level should correspond to the other eye.

After the outlines of the shape of the eyebrows are made, we will apply strokes that resemble hairs. Near the nose they will turn out wider and thicker, and closer to the end - thinner and sparse.

After drawing the eyebrows, you need to move on to the hair. Here everything will depend on the hairstyle.

Correct contours of lips and face

The next element to sketch is the lips or mouth. How to position it correctly? It's simple. It should be in the center of the lowest part of the reticle, under the nose. To determine its horizontal length, draw two lines down from the irises of the eyes, this will be the width of the mouth. Let's try to draw neat lips in the marked place. The bottom one is easier to draw, so it’s better to start with it. Let's just copy the top one from the bottom one, just divide it in half. Some girls have plump lips, others have thin lips, you can use the photo as a guide.

To make the sketch complete, you need to clearly draw the outlines of the face. To do this, you can highlight your cheekbones a little.

Ear placement

The shape and position of the ears also need to be given due attention. The height of the ear is approximately equal to the height of the nose. The ear consists of 5 parts: lobe, helix, antihelix, tragus, antitragus. First, we draw the auricle (general shape). Then we draw a C-shaped curl. Using shadows and light we create the inside of the ear.

Working on details and shadows

Now we erase the grid lines, we have the initial result. Further work consists of coloring and adding shadows. The face needs to be given more specificity. Cheekbones and the shape of the chin play an important role here. It is important not to turn a girl into a man who has a stronger chin.

How to draw a head step by step with a pencil, like real artists? For this we need soft pencil, with which we will apply shadows that give volume to the face. Contrasts and shadows can be used to highlight the desired areas of the portrait; to do this, you need to identify darker and lighter places. At first you can simply outline them, then start shading them. After this, the shading can be shaded using a piece of paper in the right places. Straight strokes will make the drawing angular and rigid.

Finishing touches

The girl's face requires special attention, as it is decorated with hair (hairstyle). It should look natural and suitable for this type of face. Beautiful flowing hair adorns female image. You can also add part of the shoulders and neck to it.

The highlight of each drawing is facial expressions and the depiction of emotions. This can be done using eyebrows. You just have to raise or lower them a little - your face will sparkle with new colors. Upturned inner corners of the eyes will help portray a sad, sometimes even crying face. A more embittered person can be portrayed by bringing the eyebrows down to the bridge of the nose.

Facial expressions can also be drawn by darkening the iris of the eyes and raising the corners of the lips. The darker the pupil, the more expressive the gaze. It’s difficult to put a smile on your face the first time, but even a slight lifting of the corners of your lips makes a girl look cute. Facial expressions help express a person's character. It is important to remember that you need to constantly train your skills, then a person’s facial expressions and emotions will be more accurate.

The composition of the sheet space has been resolved. Proportional relationships between the height and width of the selected mass of the human head were found.

Draw the midline of the person's head according to the position of nature you have chosen. This line will be vertical or almost vertical, depending on the tilt of the head. It must be carried out while it is filled, feeling the surface of the ellipse underneath it. The midline passes through the bridge of the nose, the base of the nose, the middle of the mouth and the chin. It is crossed at right angles by other auxiliary lines that pass through the orbital sockets, forming the axial eye, through the cheekbones, frontal bone, and chin.

The axial eye divides the height of the head into almost equal parts (facial part and cranium). The center line of the cheekbones divides the height from the chin to the upper center line of the forehead into equal parts. It is necessary to mark auxiliary lines taking into account the proportional relationship of the parts of the face to the whole, as well as the nature of the person.

All horizontal auxiliary lines must be drawn taking into account the chosen position and perspective. If the horizontal auxiliary lines are continued, they will converge at one point on the horizon line. It is at the level of your eyes, and the position of the nature in relation to you has been chosen. Now determine the position of the nature relative to the horizon line: above the line, at the level of the line, below the line.

Draw auxiliary center lines: the head is straight, without tilting. But even if the head of the model being drawn is tilted forward or backward, the horizontal center lines will still be parallel and converge to a point on the horizon line. With the exception of a model with a head tilt to the right or left: for it, the vanishing point of the horizontal center lines must be selected.

The drawing begins with the constructive construction of the frontal surfaces of the head. They correspond to the frontal surface of the cube (if the human head model is abstracted to a cube model) and the rectangular frontal surface of the podium on which the plaster model of the human head is usually located.

Draw the front surface of the frontal bone of the human head (as you did for the skull) along the center line. The width of the forehead surface is approximately equal to the distance between the centers of the eye sockets.

Next, determine the depth of the axial line of the eyes by examining the head in profile and understanding how much the surface of the forehead is moved forward in relation to this axial line. On this line, find the midline point; connect to the midline passing through the surface of the forehead. Then find the extreme points of the eye sockets on the center line of the eyes and connect them to the surface of the forehead. Thus, we got a “visor” that will hang over the front surface of the front part of the head.

Determine the depth of the center line of the cheekbones relative to the front surface of the forehead. Find reference points on the center line of the cheekbones. The zygomatic line corresponds to the widest point of the facial part of the human head. If you draw a head in three-quarter view, then one point will coincide with the contour line at its most protruding place. Another point will be located on the border of rotation of the front part in space, between the frontal and lateral positions of the sides.

It’s good if at this time you can imagine the design of the skull. Connect the reference points of the cheekbones with the outer points of the eye sockets on the center line of the eyes - get a platform that moves forward. Continue the midline until it intersects the zygomatic line, and then draw it vertically down. Look again at the contour line of the front part: it goes down, with an inclination towards the axial one. Draw two lines from the cheekbone support points downwards, at the narrowing, until they intersect with the lower part of the jaw. This will help us build the front vertical surface of the front of the head.

Place the front of the chin on the midline. The chin area will be “pushed” forward from the front surface of the front of the head.

Proceed to the constructive construction of the side part of the face mask. Imagine lateral surface cube and skull of a human head. Find the size of the zygomatic arch from the reference point to the ear. Draw a center line into the depth of the sheet, taking into account perspective. From the top of the forehead to the intersection with the axis of the cheekbone, draw a line to the ear, then down to construct the distal, inferior, and anterior portions of the mandibular bone. This way you will build the structural basis of a human head mask.

From the front surface of the frontal bone, we will continue the constructive construction of the cranium according to the idea. This is where your simple understanding of the shape of the skull, which you learned in the previous task, will be especially needed.

Pay attention to the shape of the head hairstyle. It repeats the shape of the skull, all its platforms; you just need to add thickness to the hairstyle. No matter how wavy the hair is, no matter how large the curls, they (in a generalized form) represent the shape of the skull.

The neck is shaped like a cylinder, sloping forward. This depends on the position of the cervical spine, which connects to the base of the skull. The neck ends with a sort of oblique section (with an axial line from the jugular fossa to the seventh cervical vertebra), which is located on a diamond-shaped area shoulder girdle. Do not get carried away in the future by identifying the sternocleidomastoid muscles in the neck - this will lead to destruction of the integrity of the form.

So we have completed work on constructive basis the entire human head. In other words, a foundation has been built under the future drawing, and the stronger it is, the more successful the subsequent work will be (ill. 72,73).

From the midline of the anterior surface of the frontal bone, draw the midline of the nose. Find the length of the nose, construct its front platform corresponding to the position in space of the front surfaces of the front part. Determine the depth of the nose, the base of which will be the front of the head. This is how the nose block turned out.

Don't try to detail the nose at this stage of the drawing. This can be done later, making sure that the nose block is perpendicular to the facial surface, corresponds to the midline of the person’s head, and has the correct slope of the facial platform. Otherwise, without making sure of this and losing a complete vision of the nose block, you will make your detailed work in vain. After all, it is easier to correct an error in the drawing of one generalized block of the nose than in the drawing of a nose consisting of many articulated characteristic volumes (Fig. 79,80).

This applies to the drawing of all parts of the human head. If you discover an error in a drawing too late, you still need to correct it. You cannot compromise with yourself, because this mistake will be repeated in the next drawing.

Next, start drawing the eyes. The eye is a ball inserted into the eye socket of the skull. Look at the picture: how is the place for the eye plastically organized by three surfaces (the side surface of the nose, the visor of the overhanging forehead and the inclined platform of the front part of the head)? Find the location and width of the eye on the secondary centerline. Draw part of the ball protruding from the eye socket, paying attention to the arcuate lines formed from the intersection of the ball with the hinged surface of the forehead and the front part. The ball separated the upper and lower eyelids from these surfaces.

Here I would like to draw your attention to the fact that a person’s head, like his entire figure, is symmetrical when viewed from the front. And we will mention the median center line more than once.

Draw in pairs, counting one or two. Don't draw one eye, but draw both at once; mark a reference point on the cheekbone - mark the steam room. They will be connected by a transverse axial line running parallel to the front surfaces of the head to a point on the horizon line, and there may be plenty of such lines in the drawing of the front part of the head.

Construct a shape block that includes the nasolabial part, the upper and lower lip, chin. The median center line runs along the anterior platform of this block, from the nose to the bottom of the chin. The width of the platform increases towards the chin and corresponds to the width of the front platforms of the form parts. The block is adjacent to the front of the head, and the nose rests on it.

After constructive detailing, bring order to the linear drawing. As in the human head skull drawing, remove unnecessary lines, leaving only the lines associated with the design of the shape. Prepare the lines for aesthetic perception. Apply the laws to the head drawing aerial perspective. The darkest line is the one closest to you. Consider the character contour lines and lines of surface boundaries.

We remind you that the borders of the sides of the head shape have a soft transition and different radii. The larger the radius, the less pronounced the boundary and the more difficult it is to determine. The lighting source, chiaroscuro helps. Change the lines of the shape's edges to a soft, blurred state. To do this, you will take only chiaroscuro from light and shadow; Be sure to use aerial perspective!

Confirm the above again at simple examples, because all this is very important, and without understanding it, you simply will not be able to competently continue the drawing.

Look at the hexagonal shape. No one will be able to see it as a drawn cube because it is not three-dimensional. It lacks the concept of volume, unlike the following geometric shape. There is exactly the same difference between the drawings of students who blindly copy the model and the drawings of students who have three-dimensional thinking.

In the next row we rounded the edge of the cube. The question about the presence of a vertical line instead of a missing edge has a negative answer, because the cube does not have an edge. There is no rib, but the sides remain in place. There must be some kind of boundary here, especially since there is a difference of 90 degrees between the surfaces of the cube! Even if this boundary is not visually visible, you must set it, otherwise at the stage of constructive analysis of the form in space, you will not be able to convey it as volume.

Now let's think of the rounded edge as part of the cylinder, or rather, its fourth part. If the cube is illuminated, then a boundary between light and shadow (or glare) will appear on part of the surface of the cylinder. The difference between the border between light and shadow on a cylinder from the same border on a cube is that this border is soft (blurred) and not hard.

If in a constructive drawing, at the first stages, in the places where the form turns in space, you indicate sharp boundaries instead of soft ones, and then, when modeling the form, round them off with chiaroscuro, will this somehow destroy the form? On the contrary, it will reveal. Form is always volume in space. Space is three-dimensional, which means that a form located in space is three-dimensional.

Form has boundaries of spaces. The question is: where are these boundaries in the shape of a person’s head, since it is all so round? This question can only be answered by your constructive analysis of the human head model, and the more aware you are, the more you will see.

First build a grid based on the square. To do this, divide the square vertically into four equal parts, and horizontally into five equal parts (you will get the HAIR LINE, NOSE LINE and chin line). You can cross out the fifth part pencil or erase it with an eraser, since you will no longer need it.

Through the end of the segment, draw a vertical axis of symmetry, which, crossing the upper edge of the square, will give you a point - the height of the model’s head. Now find the eyebrow line by dividing the segment between the hair line and the eye line into five equal parts. A thin dotted line drawn through 1/5 of the part will be this line.

Divide the top edge of the square into five equal parts so that the third part is divided in half by the vertical axis of symmetry. Next, lowering the perpendiculars on the lines of the nose, eyes and mouth, as in Fig. , find the size of the eyes, the width of the nose and mouth.

Now draw in detail all the elements of the face, as well as the cheekbones and ears. Use a dotted line to outline the shape of the skull and, having given the desired volume, draw the hair.

SCHEME OF STAGED CONSTRUCTION OF A DRAWING OF A HUMAN HEAD IN PROFILE

Draw a square and divide it horizontally into four equal parts. You will get the hairline, eyeline, noseline and jawline respectively.

D Next, divide the square vertically into two equal parts. Divide the first vertical part into five equal parts and after 1/5 draw a dotted line up until it intersects with the eye line: you have the location of the eye in the drawing.

Divide the second part into 10 identical segments, and erase 1/10 due to uselessness. After the first three segments, draw a dotted line up to the eye line to determine the location of the ear.

Divide the distance between the hair line and the eye line into five equal segments and draw a dotted line after 1/5. This line is the eyebrow line. Divide the distance between the line of the nose and the line of the chin into three equal segments and draw a dotted line through 1/3. Thus, you have obtained the mouth line of the human head drawing.

Determine the height point of the head X, the point of the back of the head Y and the base points of the neck P and P1. Please note that back point base of the neck P1 is always located on the line of the mouth of the human head drawing. And the back of the head point U is always on the eye line. The shape of the skull flows smoothly through all these points. Stage D. Draw the outlines of the head and face and give additional volume to the hairstyle (maximum on top and minimum at the back human head).

A simple method for drawing a human head with a pencil

R head drawing consists of two intersecting lines. The first - the middle facial line - runs down from the bridge of the nose to the middle of the base of the nose and then to the middle of the chin; it goes up from the bridge of the nose

in the middle of the forehead and crown to the back of the head. The second line of the cross passes through the bridge of the nose to the left and right to the edges of the head through the middle of the eye section, as if enveloping the entire head with a horizontal hoop. Intersecting, these two lines form a certain frame that characterizes the position of the head in space in relation to the point of view of the drawer.

If, for example, the head is positioned straight ahead without tilting and the eye level coincides with the horizon line, then the drawing of a person’s head will look like straight lines intersecting at right angles (Fig. a).

If the head is positioned in front, but slightly tilted back, then the middle facial line will remain a vertical straight line, and the transverse line of the drawing of a person’s head will turn into an ellipse, the near part of which will be higher, and the back, occipital part, below eye level (Fig. b).

If the head is positioned in a three-quarter turn without tilt, and the eyes are still at the level of the horizon, then the middle facial line will look like an oval, and the crossbar of the cross will look like a straight horizontal line (Fig. c).

Having determined the position of the cross of the head in space by nature, it is easy to depict this position in the drawing in the form of a frame drawing of a person’s head, according to which the drawing of the head will be built from the desired angle.

The use of a cross when constructing a drawing of a person’s head in the initial stage of mastering the drawing gives the greatest effect, since many errors in the drawing arise as a result of incorrect determination of the position of the head in space. Only when you have firmly grasped the basics of drawing can you take into account the cross of the head without depicting it. Usually it doesn't happen so soon.

Proportions of the human head and body

Pavlinov P.Ya. For those who draw: artist's advice. M.: Sov. artist: 1965.

Chistyakov P.P. Letters, notebooks, memories. M., 1953.

Rabinovich M.Ts. Plastic anatomy of humans, four-legged animals and birds. M.: Higher school. 1978.

Kartser Yu.M. Drawing and painting. M.: graduate School. 1992.

Since the primitive era, a powerful tool in the development of science, technology, and the arts, together with language, its speech, words, and letters, has been drawing with its dots, lines, strokes, spots, strokes, shading, and images.

Drawing is the basis of all fine arts, and at the same time an independent branch in the form of final works with pencil, pen, brush, and so on.

A.P. made a great contribution to the Russian school of drawing. Losenko, A.I. Ivanov, K.P. Bryullov, P.P. Chistyakov. Chistyakov believed: “To draw means to think. Never draw in silence, but always set a task... First, you need to draw as you see and work it out in more detail. This is the beginning of the teaching of painting. Don't forget to draw a line through two points, all with calculation... and check with general form" (Chistyakov P.P. Letters, notebooks, memories. M, 1953. – pp. 359–442).

“In a drawing of a person’s head, the position of the head and neck relative to the vertical is first marked. And immediately the size of the face and neck, the location of the eyes, relative to the horizontal. Draw not with a line, but with a form, that is, draw a line, and not see the mass contained between two, three, and so on lines. When the total mass is correct relative to the horizontal and vertical, then you can begin to break down and draw smaller parts. Shading and chiaroscuro - the end of the matter. It starts with drawing shadows or spots. Take the strongest one and in relation to it bring into harmony other shadows, penumbra, half-light and light.”

ANATOMICAL STRUCTURE OF THE HUMAN HEAD

The external shape of the human head is extremely complex and varied (Fig. 1). At the same time, its structure is based on the same anatomical, structural structure for all objects, which determines general character plasticity of its forms, regardless of the individual characteristics of an individual.

The skull serves as the rigid base of the head (Fig. 2). It consists of a large cerebral section and a relatively small facial section. The rigid box of the cranial vault is made up of the occipital, frontal, two parietal and two temporal bones. Going down, the frontal bone forms the outer edge of the eye sockets, protected from above brow ridges. Below is the upper jaw with a pear-shaped opening to the nose and the upper row of teeth. From the sides, the jaw is covered by the zygomatic bones with the zygomatic arches extending back to the ear openings. From below, the skull is completed by the movable bone of the lower jaw with a paired joint at its base. The lower jaw bears the lower row of teeth and can be pressed against the upper row with powerful chewing muscles.

The facial muscles are divided into masticatory and not quite correctly called “facial” muscles (Fig. 3). The chewing muscles, attached to the bones, control the movement of the lower jaw. The “facial” muscles, intertwined with their endings into the soft tissues and skin of the face, allow the eyes, nose, mouth to function normally, and also express the internal emotional state of a person - facial expressions.

The bones of the facial part serve as the basis of its spatial structure; its external plastic shape is determined by a complex cover of cartilage, muscle and fat layer. Because of this, the shape of the cranial vault is relatively simple and static, while the shape of the face is unusually complex and mobile.

In order to more fully imagine the nature of the volumetric shape of the head (Fig. 4), it should not only be examined more closely from all sides (front, back, top and bottom), but also make so-called “characteristic cuts” in the main planes (frontal, profile and horizontal). The plate of the head is also recognized using a number of anatomical points-nodes (support points or beacons) and lines. So, for example, when viewed from the front, the shape of the head is determined by: frontal tubercles, brow ridges, temporal lines, orbital sockets, base and wings of the nose, corners of the mouth, chin tubercles, crown, parietal tubercles, angles of the lower jaw, zygomatic bones.

The beacons of the lateral parts of the head are: the crown, ear openings, the occipital, parietal, frontal and superciliary tubercles, the tip and base of the nose, the chin, the angle of the lower jaw, the top of the zygomatic bone and the upper edge of the orbit.

When viewed from behind, the parietal and occipital tuberosities, mastoid processes, auricles and protruding ridges of the occipital bone are symmetrically located relative to the midline.

When viewed from above, the forehead, wide parietal and zygomatic bones with the zygomatic arches extending back should be noted.

From below we will see a horseshoe-shaped lower jaw, widely spaced cheekbones and protruding brow ridges, the base and tip of the nose, and the lower edge of the eye socket.

The connecting link of the body and head is the neck, the rigid structure of which is made up of the seven upper vertebrae of the spinal column. The anterior boundaries of the neck and torso are the clavicle and the jugular fossa.

BASIC MOVEMENTS

The movement of the head (Fig. 5) relative to the body (rotation and bending in all directions) is ensured by the mobile atlanto-occipital joint, the flexible articulation of the seven cervical vertebrae, as well as big number neck muscles - regulators of these movements.

In Fig. Figure 6 shows different positions of the head in relation to the viewer. They help to understand the essence of the volumetric-spatial structure of the entire head and its parts. Looking at these drawings of heads in various tilts and turns, you should first of all pay attention to how visually they change reference lines its construction: median, profile, brow ridges, eyes, base of the nose, mouth and lower jaw.

The image of a human head has been in the center of constant attention of masters of fine art of all times. During the Italian Renaissance, an inquisitive study of nature, the accumulation and generalization of knowledge on human anatomy and geometry resulted in certain depiction techniques and led to the creation of a harmonious system for constructing the head.

STRUCTURE OF THE FACE AND ITS MAIN PARTS

Based on an analysis of the works of old masters and instructions from professors of the St. Petersburg Academy of Arts P.P. Chistyakov and G.R. Zalemana. Prof. M.I. Kurilko developed a diagram for constructing the head (Fig. 7) based on the characteristic anatomical features of the structure of bones and muscles. It is interesting to compare his scheme with the schemes of A. Durer and A. Golubkina. The diagrams are given, of course, not in order to draw them instead of a living form, for it is clear that no diagram is able to replace a living form that is extremely complex in itself, changing depending on individual characteristics. Diagrams are necessary as visual aids for a competent and convincing depiction of the head of any person.

In the diagram, the most characteristic supporting points for the construction of bones and muscles are selected from the extremely complex anatomical structure of the head. Their combination is the structural core of the three-dimensional shape of the human head, allowing one to clearly and correctly construct its visible plastic form. Knowing the anatomical points-beacons and characteristic guide lines, the painter sees more clearly the main structural elements of the form and will never get confused in the multitude of details; he will accurately and quickly depict it using lines and light and shade.

Based on the schemes of masters S.V. Tikhonov proposed his own diagram of the human head, related in more detail to the anatomical structure (Fig. 8). It shows the system of the brow ridges, frontal tubercles, glabella, and back of the head.

Of greatest interest is the structure of the face and its parts (eyes, nose, lips and ears). The rigid base of the eyes is the orbital sockets, located under the superciliary arches of the frontal bone (Fig. 9). This complex spatial structure is formed by four bones. The outer edge of the orbital cavity, having a backward bend, forms the fifth supporting point of the orbital foramen at the junction of the frontal and process of the zygomatic bone. The outer edges of the orbital sockets are not located frontally in the skull, but are turned somewhat to the sides and tilted forward. The spread of the upper edge is less than the lower one, therefore, when viewed from above, below and from the side, the line of the orbital foramen resembles a figure eight in outline.

The eyeball is placed in the orbital socket. The anterior part of the orbit and eyeball is covered by a band of the orbicularis oculi muscle, which includes the thickness of the two parts of the eyelids (upper and lower). The shape of the outer edge of the opening of the eye socket is close to a rectangle, and the eyeball has a spherical shape. Therefore, the corners of the orbital foramen are not completely filled, especially the inner upper corner. The upper edge of the inclined orbital socket partially overlaps the eyeball.

The iris is covered by the upper, more mobile eyelid and the less mobile lower one (Fig. 10). The palpebral fissure between the eyelids, starting at the lower inner corner of the eye opening - lacrimal, ends slightly below its upper outer corner. With a normally open eye, the upper eyelid partially covers the lower part of the iris of the pupil. The thickness of the upper eyelid, passing over the convexity around the pupil, rises somewhat, due to which the bend of the upper eyelid always follows the movement of the pupil. Four rectus and two oblique muscles of the orbit give the eyeball greater mobility. Each pupil, following an object, can move up, down and to the sides (Fig. 11).

The rigid base of the nose is the nasal bones at the top and the edge of the pear-shaped opening of the upper jaw at the bottom; the body of the nose itself consists of cartilage and one underdeveloped nasal muscle (Fig. 12). Because of this, the nose is inactive. The glabella is formed by a flat, trapezoidal platform of the upper bone with a wide upper base, lying between the brow ridges at an angle to the frontal surface of the forehead. Going down and going somewhat back, it connects with two nasal bones, which together form the anterior rectangular platform of the nose, located at an angle to the glabella. The lateral surfaces of the upper part of the nose, formed by the processes of the upper jaw, have the shape of rectangles extending from the nasal bones back to the cheek.

The shape of the middle section of the nose is determined by the pyramidal cartilage, enclosed between two triangular cartilages. Attaching to the nasal bones and going down, it forms a triangular platform of the front part of the nose, the lower part of which is lost between the two pterygoid cartilages of the tip of the nose (Fig. 13). The fracture between the nasal bones, pyramidal and pterygoid cartilages gives a different character to the profile of the nose (humpbacked, straight, snub-nosed).

The frontal surface of the tip of the nose is determined by the anterior part of the pterygoid cartilages, their lateral parts form the turbinates of the nasal wing and their lower sections, in which the openings of the nostrils are located. The construction of a complex shape of the lower section of the nose should be based on anatomical beacons. These are the junctions of the triangular cartilages and several points that define the nasal septum. Since the base of the nose is located on the horseshoe-shaped, in terms of bone, upper jaw, the wings of the nose naturally extend back from the protrusion of the nasal bone, the attachment point of the septum and the orbicularis muscle.

The complex plastic shape of the upper and lower lips is formed by the thickness of the orbicularis oris muscle, which lies on the upper and lower bony arches of the jaws and teeth (Fig. 14). Lips are the most dynamic part of the face. This is explained by the mobility of the lower jaw and the relatively free attachment to the bones of the orbicularis oris muscle, a large number the muscles that control it (Fig. 15). The main spatial shape of the lips is due to the horseshoe-shaped shape of the bones of the upper and lower jaws, on which the orbicularis oris muscle is located (Fig. 16). The peculiar configuration of the red border of the lips is the result of the action of the fibers of the radical muscles intertwined with the orbicularis muscle.

The fibers of the buccal muscles, being included in the inner layer of the circular muscle, are tucked inward and create vertical folds at the corners of the mouth. The fibers of the quadratus muscle of the upper lip are attached to the outer layer of the orbicularis muscle, turn its thickness outward and raise the red border of the upper lip upward.

The two quadratus muscles of the lower lip are also attached to the orbicularis muscle, turn it outward and pull the red border of the lower lip down and somewhat to the side.

The ears are located on the side surface of the head and have an extremely complex spatial shape (Fig. 17). The auricle is formed by cartilage covered with a thin layer of skin. The outer edge of the shell is called the helix. Inside it runs an antihelix that bifurcates upward. In front of the auditory opening, protrusions separated by a notch are placed - the tragus and antitragus. The lower part of the auricle - the lobe - is without cartilage. The auricle, attached to the temporal bone by tight ligaments, is motionless.

With a general rounded shape, the surface of the forehead has more or less pronounced five edges (Fig. 8). The frontal part of the forehead is formed by two frontal and two subbrow tubercles; the lateral surfaces are adjacent to it at an angle, bounded below by the superciliary arches, on the outer side by the temporal lines, behind the protrusions of the latter are located the temporal surfaces directed backwards.

The horseshoe-shaped lower jaw determines the plastic shape of the lower section of the head. The chin is placed between the two quadratus muscles of the lower lip. Its shape is formed by two mental tuberosities and a fatty growth between them.

There are three platforms under the lower jaw: one straight - from the chin to the larynx and two triangular lateral ones, located on its sides. These areas are limited on the side by the body of the lower jaw, in the middle by the digastric, and behind by the stylohyoid muscles, marking the lower boundary of the interface of the head and neck in front.

The rounded surface of the cheek, formed by a large number of soft tissues, is divided into three sections, expressed by peculiar fractures of the zygomatic and masticatory muscles. The front part of the cheek is limited by the lower edge of the eye socket, the lateral surface of the nose and the zygomatic muscle.

application

This is enough difficult lesson, so it may take you quite a lot of effort to repeat it. If you didn’t succeed in drawing the head the first time, don’t despair and try again. Try your best to complete this lesson. If it still doesn’t work out, you can try to complete the lesson “”. But I believe that you will succeed.

What you will need

In order to draw the head we may need:

• Paper. It is better to take medium-grain special paper: beginning artists will find it much more pleasant to draw on this kind of paper.
• Sharpened pencils. I advise you to take several degrees of hardness, each should be used for different purposes.
• Eraser.
• Stick for rubbing hatching. You can use plain paper rolled into a cone. It will be easy for her to rub the shading, turning it into a monotonous color.
• A little patience.
• Good mood.

Step by step lesson

Different parts of the human body and organs should be drawn with a certain degree of realism. Academic drawing requires this. Also, he strongly recommends drawing the head from life or, in extreme cases, from a photograph. This is the only way to achieve high realism and elaboration.

By the way, in addition to this lesson, I advise you to pay attention to the lesson “”. It will help improve your skill or just give you a little fun.

All complex drawings must be created using forward thinking and vision. The subject must be more than just a form on a sheet of paper. You must draw it three-dimensionally, that is, creating it from simple geometric bodies as if they were on top of each other: here is a ball on a cube, and here are two balls next to each other. All living and non-living things on earth consist of these primitive forms.

Tip: create a sketch with as thin strokes as possible. The thicker the sketch strokes are, the more difficult it will be to erase them later.

The first step, or rather the zero step, is always to mark a sheet of paper. This will let you know where exactly the drawing will be located. If you place the drawing on half of the sheet, you can use the other half for another drawing. Here is an example of marking a sheet in the center:

In various specialized institutions ( art schools, for example) it is recommended to study complete structure the head - from the muscles to the hair - so that you can draw it correctly. But there is one little secret here: even if by some miracle you manage to learn on your own absolutely all the terms even indirectly related to the structure of the head, you still will not be able to draw the head as it should be. And all because such establishments have at their disposal a large number of supervisors (teachers, in the sense) who correct and guide students during work.

Our task (before learning to draw portraits) is to independently (without teachers at hand) learn to coordinate our actions, understand the very essence of the drawing process, be able to see our mistakes and correct them correctly. That is why we will go a little beyond the standard familiar system and begin to formulate points of a kind of instruction that will help us solve our problem:

First, we need to understand the process of creating a head on paper

And finally, learn how to draw a head correctly without unnecessary stress, understand the essence of this process and be able to eliminate your mistakes

Well, dear amateur draftsmen, are you ready? Are you ready for work? Then go ahead and sing (it’s advisable to hum it mentally, there’s no point in alarming the neighbors!)

To get started, we, as always, need to find everything we might need. In this case, it is an easel, charcoal, A2 paper, nature, a chair (or a paper clip - it depends on your nature of envy...). For real, we catch a restless and trusted friend, or we convince the grandmother with her knitting to move to your stool, or we ask the grandfather to tell us about something interesting (we work hard in the process, of course). If you have diligent brothers and sisters, you can find them too. But, you shouldn’t start drawing a head by drawing the head of your favorite parrot... In extreme cases (well, very extreme - if there is absolutely no way out and there is not a single living soul nearby), you can use a ready-made reproduction or a photo (which we mount on the easel in the upper left corner). Everything is? Is there any nature? Let's continue, or rather, start drawing.

Drawing a head with a pencil

First of all, we make constructive sketches with charcoal - and even if it doesn’t turn out very neatly, don’t worry, these are just sketches:

We are looking for the basic ratios of the proportions of height and width - for this we compose the shoulders, neck and head on paper. Here we have our eye working hard.

Now we need to find the volumes of what we have assembled separately (head, neck, shoulder girdle)

Remember how at the very beginning, when you were still a novice draftsman, you worked in sweat to draw three-dimensional cubes, cylinders, etc. ? So, look at your nature and understand that this is not a head, but just one of the varieties of form. Right now we must realize and perceive that the head is an inanimate object, then it will be easier to draw.

The next step will be to observe your nature and sketch this very volume of the head. You shouldn’t immediately draw tiny wrinkles, bristles and eyelashes - it’s better to pay attention to the fact that we are drawing a three-dimensional image, not a flat one. And from this it follows that we need to feel the volume of the head, feel all the protruding parts of the face and head in general.

Draw, stop wasting time reading my scribbles - pencils in your teeth and go ahead, you must understand the very essence of the process. And as you understand, I will still be here.

In order to draw a head with a pencil, we need to hold on to something. These can be points that, if you look, are immediately visible - they mean the most protruding places in the head area. Next, you need to select the main planes - they are formed using various kinks in the shape.

The most prominent points and, accordingly, planes make up the structure of the volume of the head - these are design points. What stands out most clearly to our gaze are the cheekbones, the nose (or the nasal prism - after all, the nose is shaped like a prism), the forehead, the chin, and the balls in the eye sockets. To find the height of the head, we simply need to find the highest point on the skull and the lowest, most protruding point on the chin.

Now it is important to distribute the main light and shade. To do this, you need to squint your eyes and look at the nature, then you will be able to distribute the basic light and shade along the planes of the head. By the way, if you are good at distributing shadows along the edges of the simplest geometric shapes, then I’ll tell you a secret that it’s quite possible to fit the head into a cube, so... And act according to the same system of distribution of light and shadow.

The main thing you need to understand at this stage of work is that the head is the same shape, in which there are such characteristics as depth and width plus planes and edges (like a cube). That is, all the same patterns apply to it as before (I hope you remember, there was talk about active and inactive, distant and close).

Head shape

Let's move on to the next point. One of the previous paragraphs talked about the mysterious design points that determine the shape of the head. It is these points that give us the proportional relationships of the planes on the volume of the head. If you have realized the importance of these points, then with due reverence and trepidation we begin to examine, analyze and distribute them.

• The first thing that immediately strikes us is, of course, the orbital sockets and eye sockets.
• The second thing we immediately pay attention to is the zygomatic point on the left and right.
• Now it’s the turn of the frontal tubercles.
• Chin (or rather, the point of the chin)
• Mandibular angle
• Now one of the most important is the highest point on the skull of our nature.
• Finally, the temporal points

The parietal tubercles are the most convex, according to textbooks, along the width of the bone, which are located on the back of the head.

Well, that's all for starters with the dots - you need to draw them and remember them well, otherwise you will have to repeat this material again. Now look again at the picture above, see? In addition to dots, there are also colored lines. Are you wondering what they mean and what to call them? Patience, my dears, now we will analyze them too.

These lines are called axes, which, quite logically, schematically divide the human head into different certain areas. In the next picture, which is more “humanized” and not skeletal, we can consider both our points and axes.

The first line is red - it divides the head into two equal halves, in other words, this is the axis of symmetry.

The line of the superciliary arches, which divides the head into the upper cranial and lower facial regions, is highlighted in blue.

The green line is the one that divides the head into the facial and occipital areas and it passes exactly through the highest point of the skull and through the ears

The yellow line is usually used to determine the rotation of the head (you understand, this is very important for the drawing), that is, this is the axis of three-quarter rotation.

Neck cylinder on which the head is mounted

And one more axis, she turquoise color, which passes through the lower points of the ears and the lower line of the nose. It shows the lower part of the nasal prism.

BUT! All this is given to you, beginning draftsmen, solely for information purposes and so that you better understand the structure of the head. And we will learn to draw using an easier version of what was described above - these are blanks. So, let’s draw rectangular blanks in three positions at once: front view, side view and three-quarter rotation.

These rectangular blanks have everything we need: axes, points, proportional relationships different areas heads and, in fact, the most important thing - structure. That is, as an example, proportional relationships, the height from the level of the eyebrows to the level of the lower line of the nose is equal to the height of the ear, or the mouth and the lower corner of the jaw are located on the same line. But here, too, the laws of perspective can be applied: that part of the face that is closer to us retains its original size and shape, and that part that is further away (in a turn, for example) will be a little (a little dear artists, a little, and not as always...) distort in size, become smaller.

Consolidating the result of drawing the head

Now the finale: we consolidate what we just read. To do this, we will need to work together with the blank. Now our main assistant in drawing is a blank, it’s like a template, a kind of prototype of a real head. It's much easier to learn.

You are already drawing a person’s head, that is, the composition has been outlined, the place for the head, and the main volumes too.

The second step will be to find the proportional relationships of the head, its shape and character. This will be the sketch of the base of the head, our simple blank.

Now the vertical axis - they are really itching to divide the head into equal areas (well, not necessarily equal - it depends on all sorts of turns and angles). This axis is determined by the location of the nose and gives us two important points: the highest and the lowest.

Since we are also determining the rotation of the head, we need to find the line of three-quarter rotation - it would be very useful for us. To do this, visually find the location of the zygomatic bone and draw a line through the zygomatic point. We'll deal with it later, so for now it's enough to just outline it lightly.

Now it’s time for the brow line. Here we just need to use our eye and determine how much space is occupied by the forehead and, and how much is the face up to the chin. Woo-a-la! Ready.

Now you need to select the line of the lower pyramid of the nose. To do this, it is better to use this pattern: the line of the brow ridges and the line of the lower prism of the nose divide the head into equal parts. But at the same time, you also need to take into account the features of the head being drawn.

The next stage is to find the line dividing the head into the occipital and front parts. We already remember that it passes through the ear opening and the highest point. Now take a closer look: at the intersection of the three-quarter turn line and the previous line there is the temporal point that we outlined earlier. If you can’t yet see the shape of your head, then correct all the lines using your eye.

Well, we already have enough points and lines to start marking the nose, the place for which has already been cleared and found.

The same thing is with the ear - and there is a place for it (it would be strange if this place did not exist, you will agree). Its height is equal to the distance between the line of the superciliary arches and the line of the lower prism of the nose, and it itself passes through the line dividing the head into the front and back of the head. Better look at the drawing, I think it’s clearer than all these twisted phrases.

There is very little left...

The next stage is the search for the cheekbones, but since they are sandwiched, one might say, in the lines, it will not be difficult to find them. And the corner of the lower jaw - it is located at the intersection (again at the intersection) of the line of the mouth and the line dividing the head into the back and front (you understand what I mean). Well, now even he can find his mouth

It remains to find a little, and among this “little” there is a place for the eyes, the superciliary tubercles (well, the places that especially protrude on the eyebrows - I’ll decipher). And now it’s time to look for frontal bumps (that is, protruding points on the forehead). Finding them is no less simple; you just need to draw lines from the brow ridge to the most convex points of the forehead. TA-dah! You already have frontal bumps. But in order to understand them better, you need to tie these points to highest point and to the temporal ones.

And finally, if the angle allows us to see the parietal tubercle - the most convex part on the back of the head.

Now spin the blanks, use the lines and points that you remember. For example, something like this:

Review that again. what we have already gone through here, and rotate the blanks taking into account all the design details. To begin with, it would be good if you get blanks in three familiar positions: profile, front, and three-quarter.

Have you played enough? Are you ready for some scary serious work? Catch your nature and return it to its place. Now we will gradually transfer what we learned on blanks to our long-suffering nature. Look at it with new eyes. Examine the head from all angles and try to evaluate it as an inanimate object, to understand its “structure”... Abstract from the person of the head’s bearer.

The next task is to simply transfer all the previously studied constructive axes and points to an already living, quite curious one, asking questions like “And how? Looks like it worked out?" Of course, not literally - visually (I'm afraid your nature will not be funny at all if you draw on her head and face with multi-colored pencils).

Now that you're on a diligent search, I'll tell you something about proportions. The ideal proportions are considered to be the so-called “Greek” proportions, because it is the inhabitants Ancient Greece allocated perfect proportions bodies. But the ideal proportions are somewhat different from those that each person has - it is these discrepancies that allow people to maintain their individuality. But you can check the correctness of the proportions by connecting all the most important parts of the face or constructive points located one opposite the other - their connection will pass through the ear hole.

Practice

Now the practical part - we transfer our knowledge to life drawing:

So, we are working on the composition, finding a place for the head, neck, and shoulders. We work according to the principle: the indent from the edge of the paper (tablet) in front of the front part (front!) is greater than above the back of the head, and at the top the indent is less than at the bottom.

Now we find a place separately for each subject of the composition: the neck, shoulder girdle and, accordingly, the head.

Remember our blank? Now we draw a blank, but taking into account all the proportional features of our nature. Do not forget that our neck is not just a strange rectangle, it is a cylinder - that is, it is voluminous, as are the shoulders.

The blank is already in place, now we work with it using the following sub-points:

• a) Find the lowest and highest points using the axis dividing the head into two equal parts.
• b) Three-quarter turn line - remember this one? Since it passes through the zygomatic point (of course, you haven’t forgotten this yet!), We will first have to find this very point and outline it.
• c) Further along the plan is the line of the brow arches. It can be drawn along the level of the eyebrows (a little further) and plus one more detail, which we will arbitrarily call the break point of the brow ridges. This point is located exactly where the eyebrows change their direction.
• d) Now it’s time for the bottom line of the nose prism. We carry it out as in the case of the brow ridges, at the level of the nose, only further. Unfocus your gaze on your nature, do not look specifically at it. And try not to change the angle of your observation.
• e) The temporal point, which is quite clearly visible in our nature. There are as many as three points located on the same line (temporal, high and ear opening) and it fits the shape of the head
• f) Ears and nose. The height of the ear has already been found using lines, but we take the shape from our nature. The nose is a little more difficult. You need to outline the total volume of the nose schematically with a pyramid and then deal with the features there. But! Not a single form in our nature lives on its own; it passes, crawls and flows into something else. Smoothness, comrades, and plasticity, remember this - the nose, for example, connects to the brow ridges.
• g) We complete the search for the zygomatic points (yes, it lasted all this time!).
• h) Determine the place for the mouth and find the angle of the lower jaw based on the shape
• i) Finally, we find a line for the eyes, which goes somewhere along the corners of the eyes. In order for them to be drawn correctly, there must be enough space between the eyes for one more (it is not necessary to draw a third eye, but it is better not to draw it at all)
• j) And now we come to the frontal tubercles. They are found using lines that you draw from the brow ridges to the most convex areas of a person's forehead - these lines are located symmetrically to the central axis. And from them we draw lines to the temple points and to the highest point. Hurray for us!

I think the question: “How to draw a head” was at least a little cleared up for you, thank you for being with us!