Advanced Head Drawing | Part 5: Shape Design

[New Masters Academy]

Materials

• Sharpie Markers
• Faber-Castell Polychromos Pencil – Sanguine
• BIC Ballpoint Pen – Blue

[Matthew Haverly]

LOVE this entire course.  🙂

I have picked up a very cool pleasing trait in your drawings of women, and I see it in particular in the second draft of this sketch.  Very often, you go generous with the volume of the hair on the back/top of the head.  And it has a strong almost angular quality to it back there.  Every time you do it it really looks pleasing.  Love your drawings – and the way you do hair is just fascinating and over the top.  It makes me wanna just stop the video right there and pick up my pencil and draw draw draw.  It is also interesting how even if the female has one or more features that veer towards and almost “masculine” trait, you add that volume to the hair on the back and BAM – it is just over the top.  Maybe it would be fun to take up hair styling on the side.  HAA HAA!  Great drawings and instruction.  Super high class, high quality.  I can see a difference in my drawings and how I am getting more of an idea of the drawing in shorter amount of time right at the beginning, which is always the most terrifying part for me, and how drawing from extreme angles seems to be coming a bit less tense.  I’m also just shocked what you can draw with a cheap ball point pen.  I see your ball point pen drawings and wish everything i drew could be just that.  🙂

[Matthew Haverly]

[Drawing of Mongo]

LOVE the “vertical” quality you put into the lines.  GREAT idea.  So so many great ideas in one course!  🙂

[Matthew Haverly]

“Shape Design” is my favorite section so far.

Section 7 demonstration – The “Brown school” of portraiture you mentioned.  The “work within the shadows”.  I like  the generous amount of shadow in many of these drawings, and how areas of them are flamboyant (like the hair), sections more box theory, and sections with more detail and sections with less.  This is all characterized as “Brown school”?  I want to find out more about this.   I can tell I’m gonna have to watch this course many times – LOVE it.

[Matthew Haverly]

“Remember, it’s always, it’s probably the most important lesson I could teach you in
advanced drawing.
It’s always someone else’s fault.
If you’re advanced as you are, by definition if you’re watching this course, then it’s
never your fault.
It’s always somebody else’s fault, so find someone to blame.
Then you could also charge more if you’re a working artist for the pain and suffering.
It was their fault.
They did it to you.”

 

[Brittney Bach]

I have no idea what he was talking about in this video! Does he want us to draw the same reference with different features?

[Daniel Daigle]

Hi Brittney, I believe Steve intends for you to use primitive forms to construct the facial features. So you aren’t drawing some one else’s features, you are pushing the features you see closer to boxes or egg shapes or cylinders etc. while keeping the face looking like a face.
Steve is very subtle about doing this, you hardly notice it at first, but its what makes his artwork so easy to read I think.
I hope this helps 🙂

[Brittney Bach]

So i try to draw the features with more curves and angles? Like the nose and stuff? Because I dont know how to change someone’s whole facial form.

[Daniel Daigle]

Hi Brittney

Maybe think more 3-dimensionally. You could approximate the nose with box forms, spheroids and cylinders. But that doesn’t mean you have to draw the entire primitive form, maybe you should at first though.
I recommend these lessons, but keep in mind that the instructors are always thinking about 3-dimensional forms. No line should be consider a line on a 2d plane. A line is meant to represent a curve in 3d space that suggests a larger 3d form

https://www.nma.art/videolessons/head-drawing-1-with-charles-hu-part-5-facial-features/

https://www.nma.art/courses/constructive-head-drawing/

https://www.nma.art/courses/structure-of-the-head-for-beginners/

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