- Lesson details
In this series, instructor Sheldon Borenstein shares with you his approach to figure drawing. Sheldon utilizes his unique and entertaining teaching style to make the often-intimidating subject approachable and fun. Sheldon breaks figure drawing into four parts: Gesture, Construction, Anatomy, and Technique (GCAT). Sheldon will cover Anatomy in this third part of the series. This lesson will focus on anatomy of the head and neck. Sheldon will use a variety of teaching methods to help you learn, including a fun lecture, demonstrations, and an assignment.
- Handmade Lead Holder with Cretacolor Charcoal Lead
- Faber- Castell Pitt Pastel Pencil – Light Ultramarine, Cobalt Blue, Burnt Ochre, Chromium Green Opaque, and White
- Conté Charcoal Pencil
- Strathmore Toned Drawing Paper
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our figure drawing experience. Once you get to construction everything stiffens up. And
you wonder, when do I get the life back in the drawing? The anatomy. The anatomy is when
it really starts to open up again. All anatomy has rhythms. Let’s get started with head
drawing. We’ll start with a lecture, and then I’m going to do some demos for you.
This is something I really love. You’ll start seeing how the rhythms take you through
with more of a rendered look. Here we go. Let’s move onto head drawing.
went over it very thoroughly. I want to review it a little bit for you right now. It’s
really crucial. Going back to Albrecht Durer, so right about that time. Now, that’s Durer.
They’ve been used throughout history. You’ll be able to see a lot throughout being used,
you know, the Gibsons, the flags, the Christies. But you want to make sure whatever you’re
drawing, the head drawing, every stroke you put down has to be with that rhythm chart.
Now, I saw strokes in this way. You guys are still working on the head drawing part.
So, here we go. Real slow. Center line. Eyes are halfway. Nose is halfway. Mouth is halfway.
You want to be thinking of the head as a box shape.
So you go back to the perspective lectures we did,
if you draw this X right here. This is where the middle of the head is in perspective.
That’s where you’re ear is going to go. We went over all this. Just a slight review.
This right here is very important. We’re going to use this a lot, this front circle
right here. What it’s going to do, it’s going to go right here. Now, this is a hairline.
Some of you have it. Then we have this circle coming around this way. Right there where
it turns? That’s your eyebrow. That’s where the peak of your eyebrow is, and it
goes into your eyes, into right here, the orbit of your eye right there.
Okay, that’s real important because this is going to set the stage for the rest of
the rhythms. Now, when I see paintings a lot people try to smear. They’re always smearing
where the nose hits the face. It’s really funny. They’re really good at talking. They’ll
say nose, mouth, ears. But then when it gets to where the nose hits the face they go “muah.”
You want it to be clean. You want it to have a nice, clean plane like we talked about in
the last videos. Right here, this rhythm is going to be where the nose hits the face and
then goes forward. Very important. But you don’t always see it in the line. You don’t
always see it in the tone. It could be very subtle, like a little temperature change.
So, we’ve got that.
Then we have another circle here, and that’s your mouth. You’ve got a half-circle here,
and that’s your chin. Then we’re going to go from the center here over to the ears.
That’s going to give you your cheekbones right here.
Then we’re going to come down this way, and that’s our eye socket. That’s going to go right here to your
cheekbone. There are your cheekbones.
And that’s your face. You know, it’s interesting, but the
face is the only part of the body where you can truly see the skeleton. It’s the only
part of the body where your muscles attach to muscles. No other part of the body where
your muscles attach right to the muscle, but in the face it does. We’re going to draw
that. Let’s have some fun.
So, remember, you’ve already gone through the gesture. Gesture is story. A face without
gesture is dead. I work in that, and they call it the dead stare, and you see it a lot.
It’s just this empty, dead stare. Typically found when looking at your college class as
a professor. A dead stare. It’s crazy. It’s cold. It’s dead. We want to start when we’re
doing our anatomy. We want to be thinking of the cranium. What’s inside of the cranium.
We want to start with that. The soul, the character. That will be the gesture. The structure,
remember, structure is very stiff. It’s stiffens the drawing, and that was the last
series that we did. The anatomy brings back the rhythms.
Remember what we talked about last time, the different tools that we get to use. This right
here is our straight. That shuts you down. That’s the straight. This right here is
your Cal-State cool, and this is your wave. I’ve been thinking a lot about these and
how they’re used in regular life. I figured out it’s all about emotion and speak. So,
when you’re working your way through your drawing and you’re ooh, and you want to
stop the viewer’s eye, you put in that straight. And it’s more energy. Look at that. That’s
energy. Do you see that? That’s gesture. That’s gesture. It’s how you put it down.
As we’re drawing, notice how I draw.
So, now getting back to the head, which is how we start. Here we go. There is your head,
right there. Rhythm chart. Sheldon, how do you say this in the classroom? I don’t know.
You’re going to hell. I know. I’ve got a timeshare. Okay, here we go. People always
ask, you get away with this in the classroom? I guess. They’re waiting to get in the room.
They’re all full. Whatever. Okay, so there you go. So you’re going to lay in that head.
This is laying in. Laying in a drawing. Okay, there you go. Now let’s put some muscles
on here. We’re going to do this for fun. We’re going to get the fun part out here,
and then I’m going to do some really beautiful renderings for you, and you’ll see it. Look
at that, score, ahh. Okay, here we go.
Now, let’s start over here. Epicranius. Oh my God. The epicranius is in the front.
If you want to know where the epicranius is, it’s right there. See? Boom, looking right
at you. Epicranius frontalis. That’s a really fun muscle. It’s going to go this way. It’s
going to go all the way to the end here. Coming on down. So that’s you’re epicranius or
your frontalis. It’s just wrinkles. Not on you young people, but you know, people
like me who are 112. We get wrinkles in there, you know, and you get that kind of stuff up
here, the epicranius. It’s kind of long and it comes down here. It stops at the top
of the orbit of your eye.
The next one we’re going to use are going to be the round muscles. The round ones are
pretty cool. You’ve got to think of your eye right here as a quarter. You have your
quarter. If you take the quarter and you stick it in your eye, that’s how big your eyeball
is. You got it? It’s not two nickels or two dimes and a nickel. That’s 25 cents.
We’re talking about a quarter. You stick that in your eye. That’s how big your eyeball
is. There is your quarter right here. Here is your nasal bone right here. Then inside
is the glabella, this little bump right there. If you see that on somebody you’re really
into their nose, man. Nasal aperture. Here is your nasal bone right there. This goes
down into your teeth. There is your maxilla, and this is your mandible down here. This
is your zygomatic process right here. That’s just your cheekbone. That’s just the cheekbone.
That’s going to come over here and go back.
There is the side of your head right there. There is a little bump back here which is
kind of cool. That bump will actually tell you how big the person was when they were
alive. This guy right here, this guy is dead, and we could see enough of him in our scene.
This little bone right there, that tells you how big he was. This bone has to support this
giant muscle to hold the head up. If I’m doing a reconstruction, I want to know how
big the person was. This guy here is actually in good shape, kind of like me. That’s why
we get along. Because I have a pretty good body, and I can tell right there.
So we have this little bump right here. Then you have your cranium right here. It’s the
cranium unless you’re Tweety. Little Tweety bird will call it a cranium. Notice that even
when I’m putting in the skeleton part I’m actually thinking of the rhythm chart. Alright,
so that’s our land right there. This is your front part here to the face. Okay, there
we go. That’s your skull.
Notice right here when I put the quarter in there it goes behind the nose. So many times
when I see people draw heads they put the eye too far out. Remember, right here is where
your eye starts. Here I can see it. Look at this. It’s way over here. It’s behind
the nose. Let’s make sure that when we put this eyeball in, it’s behind the nose, get
it? You’re going to be real embarrassed when the eye is floating way out here. Okay,
dude. So there is your eyeball inside this aperture, this actual eye aperture. This right
here, that is bone. This is soft. If you do that, ouch, that hurts. Just like I put down
the center line for the eye, I’m going to do the same thing here so I know how my eye
is going forward. Now, we’re going to go to the round muscles. These are the orbiculars.
Now, back when I was young in high school if we wanted something to be really cool we
called it tubular. Dude, that was tubular, man. And they’ll go, dude, that was tubular.
Today we’re going to call it orbicular. Whoa, dude. Yeah. I saw a movie the other
day. It was orbicular, man. Whoa, that was a good movie. Yeah, dude. orbicular, right
there. Yeah, it’s orbicularis oculi, so it’s orbicularis oculi. This down here is
your orbicularis oris. You’ll find this to be very important.
orbicularis oculi and oris. Both of them have these cuts inside so you can see. That’s
where your eyeball goes. And then this is so you can eat. That’s where your mouth
goes right there. The end of the mouth is going to line up to the center of the eye.
Boom. Okay. These are going to be connected by levers called levators, so the levator
superioris, levator zygomaticus, minor and majors. These all real important when talking
to your friends in the dorms. And the dialogue goes something like this: Dude, I gotta new
girlfriend. She’s orbicular. And the other guy is going to go whoa. Now, everybody at
home do this. Are you watching? Whoa. It’s orbicular. Whoa. Do you feel your eyes pulling
down when you go whoa? You can feel it because your mouth is actually connected to your eyes.
It’s crazy muscle to muscle. When you go whoa and you pull your mouth down your eye
actually comes down and pulls the muscles down. So for you animators it’s going to
be very important. If you squish and you go yeah, yeah, and you bring it up like that,
then what happens is you’re pulling the mouth up with those levators, and everything
So, these round muscles here going into these lever muscles, these levator muscles are really
important. Levator nasi, levator superioris cause I’m bad ass. I’m the superior one.
Then the next one is the zygomatic minor and the zygomaticus major. How do you it’s the
zygomaticus? Because it’s on the cheekbone, man. What do you call the cheekbone? The zygomaticus,
right? The zygomaticus major and minor. So that’s right there. We’re going to call
these the orbicular muscles. No longer tubular. It’s whoa, dude. She’s orbicular, man.
Whoa. Got it? Okay. So those are your squishy muscles.
Over here you’re going to have your nasal muscles kind of going over. They sell products
like this to keep you from snoring. Yeah, right. They come out this way. This is going
to be cartilage. We’re going to break down each of the different parts in a second. Okay,
then this is going to be your depressor muscle. This is when you get depressed. You go, oh
I’m just bummed, man. Look at that. Artists get depressed a lot. I’m bummed. Dude. Those
are your depressor muscles. Let’s see. Over here we’re going to have some personality
muscles. This one is going to go like this. This is your procerus named after my daughter
because when she was a baby she’d put her eyebrows together like that. So they named
a muscle after her. It’s called the procerus. So, if you know anybody named Cera, they generally
probably do that. That’s their procerus. Isn’t that nice that they actually named
a muscle after my daughter? I was so flattered.
This one right here, you look at the people and they get this wrinkle in here, it looks
like corrugated cardboard. They named it the corrugator. A little cheeky but it works.
This is a little muscle right here. This is like an upside down comma going around like
that. Look at the rhythms, you see. It goes like this, what do you have there? Cal-State
cool. See it? Isn’t that bitchin’? This way and that way. Okay, so you’ve got that
happening here, here, here. This, over on this side—take your hand. Everybody at home,
are you watching me? Take your hand and putting it right here on the side of your head and
bite down. Feel it moving? That’s your temporalis, your temple muscle. It’s on the side, and
that’s right here. This is bone right here. This is your cheekbone. Then we’re going
to come down to this really big muscle right here, which is your masseter. Look at it,
you know, like dogs and certain people they’ve got these really big masseters right here.
I went to Starbucks on the way down here, and it’s like sports time. All their dads
are on their way to sports. Yeah, gotta be like me. Going to be a man, right. They’re
all in there and they’re all getting up early to do their sports. And the kids just
want to sit and draw. I want to draw, dad. No. You’re going to man just like me. I’m
a man. You want to see what a man looks like? Look at that right there, you see that? That’s
my masseter. Yeah. Yeah. I bite heads of chickens. I’m a man. Right there, there is your masseter
muscle. That is a nasty muscle.
Everybody do this and put it right here on your cheekbone. I can wait. Okay, you all
did it. Right there, take your hand and put it on your cheekbone right there. You’ve
got it. Now bite down. You don’t feel anything moving. Put your hand up here. Bite down.
Do you feel it? Yeah, it’s moving. Now put your hand down here on your cheek and bite
down. Wow, it’s moving. Your masseter muscle goes under your cheekbone and attaches up
here on your temporalis muscle. That is a nasty bite. The mammals can really bite down,
and the guys I saw at Starbucks today, I just said you just stay right there, man. It’s
jock world. You could just smell it, like yeah, sports. I’ve got a masseter right
there. I’m a man. So that’s where you get that big masseter muscle, but it’s very
powerful because it starts at the top of your head way up here.
So that’s up here going straight down.
This one here is your Arnold Schwarzenegger muscle. It’s not the exterminator, it’s
the buccinators. That goes across right here and it allows you to kind of go that way.
Alright, so that’s your buccinators. A very powerful muscle. That goes this way. Then
there is a cute little muscle right on top. We call that the Italian rice muscle. Risotto
is kind of good. I didn’t want to eat it at first. Like, you want some Risotto? Ewe.
Is it contagious? No, it’s good. It’s like Italian rice. Ewe. Then you taste it
and you go, wow, that’s good. You go wow and you smile. That’s the Italian rice muscle.
Or you can go ewe. It pulls your mouth that way. That would be your risotto muscle or
your risorius right there.
Look at what we’ve got going here, man. We’ve got lots of motion. We can go this
way, this way, this way. Look at all of these rhythms that we get to use. I can get depressed
and go this way. It’s really powerful. The reason why, as I stated again and again and
again, and I always will repeat myself because I can see you, and when your eyes glass over
or you look this way, you didn’t get it. The face is the only part of the body where
the muscles will attach muscle to muscle. What that’s going to do is that’s going
to literally give you an infinitive amount of expressions. Okay, so for you animators,
that’s really important. Your digital animators are going to have a lot of XYZ, LMNOP, little
things to pull. Okay, so that’s what we’re dealing with with this part. Let’s break
down each part and see how we draw these guys. Let’s do it.
Now what I want to do is I want to break the face down in
its features and show how to draw each part.
They call the eyeball the eyeball for a simple reason.
It’s round, so it’s an eyeball, which means it’s round.
If it were an eye square, if it were a square it’d be called an eye square.
It doesn’t rhyme. You couldn’t say, hey dude, you hit me in the eye square. It just doesn’t work.
If you had a square eye it’d be easier to look out of the corner of your eye. You see like that. We can do
the same thing over here. Here’s the eyeball. Usually there are two of them. They are one
eye apart. Your eyes are one eye apart. That’s even if it’s a cartoon character. So, one
eye apart, five eyes across. I like to put in the cross-hair.
So now I know exactly where I’m looking. We’re looking straight up.
So without even moving your head your eyes
can wander. You want to focus on getting those eyes going exactly where you want them to
go. Those cross-hairs are really going to help. If you want the eye to wander around
the room, you know follow you around the room, just do one eye straight and one slightly
off. As you walk around the room the painting’s eyes will follow you. It’s a nice little
trick. Okay, so this eye is kind of going up like that.
Then the top, this is where you’re going to put the color part.
Then inside here will be your pupil.
Notice when I draw the pupil I draw it to the side of this cross-hair.
The eyeball itself looks like this. It has this kind of a lens that goes over like this.
There is your pupil. Here is the color part right here.
Then your eyelid will go over the top.
This is real important. If I take the pupil and put it off to the side....
it gives it that sense of 3D.
Now, the shape of the eye is actually— a lot of times when I’m
looking at people drawing the eyes they look like this. Okay. That’s not an eyeball.
That’s a fish generally seen on the back of cars on the freeway. Sometimes they have
mouths and sometimes they have feet. When you’re driving if you blink really fast
you can watch these things animate it as they move across the freeway
and they attack each other. Not an eyeball.
An eyeball, the eye shape is a straight line and a long line, a long curve. Then we’re
going to go long and short. You’re going to get an axis that looks like this.
It doesn’t matter. It’s just going to be how much wider you make the eyes. Even when you have what
I call the crazy mom look. I get these parents that come in my school, and sometimes they’ll
have like the entire eye will be exposed, and it looks like this. That’s when I run
out the back. Go straight, round, round, straight. That’s the crazy mom look. That’s when
I run out and go, “Don’t kill me! Don’t kill me!” Okay, they come in like that.
They look like they’re crazy.
Another thing you’re noticing when I draw the pupil or the iris part, you know they’re
round and squared off a little bit. You’ll learn about this by doing a lot of animation
cleanup. See that? So it’s not perfectly round. Have a straight, have a round, a round.
Okay, just angle it off a little bit. Try to stay away from the perfect round. It’s
just kind of a boring shape. Square it off a little bit. Then you can go ahead and put
in your cross-hairs, your pupil. Now we go here. There is your eye.
We’re going to break it off a little bit here. Let’s draw one right here.
This is your tear duct. Straight. Round.
This is your eyelid. Your eyelid is soft. You know, it
kind of has this soft feel to it. It’s like whoa, man, soft. This area right up her where
your eyebrow is, that’s on the bony part. If I’m standing on that part of the face
it’s hard because it’s got the bony area right there. Then we step on down.
This is kind of a bony area here. Then we step onto the eyelid. That’s kind of soft and cushy.
It’s like wow, floating. Whoa. Okay, so you’ve got that. Then we go onto the eyeball
and we step up onto that lens. Then we step back up onto the lower lid. This is real important
that you have this plane area here, and then you step up to the lower lid and then down.
Short. You’ve got this access like this, and then long.
When you’re drawing the lashes you want to group them. Try to animate them.
Don’t draw them all, just a few.
Now, the actual pupil part you want to connect to your upper lid.
There is a big question—I used to argue with my partner back in animation—when you
do an eye blink do you have the eye looking straight ahead and then lower the lid over
the eye and having it straight ahead or have the eye kind of come down with the lid? We
used to have a lot of fun debating that. I make the eye go down because, otherwise, you
get this real stoner look. But here we want to have a slight stoner look. It’s like, dude.
For anybody out there who doesn’t understand what I mean by stoner, just imagine
taking a dark chocolate Milky Way candy bar and an ice cold Coca-Cola, popping the Coke,
taking a bite of the candy bar. You’ll get stoned. You get a buzz. Just go whoa.
That means you’re stoned. There you go. We’re going to go like that.
This top lid shape goes down into this pupil.
Now, real important, our light, when it comes down this way it’s going to hit this lens.
That’s going to be your highlight. Imagine you’re in a swimming pool or you’re snorkeling
and you see the light rays going through the water and hitting the bottom of the ocean
or the bottom of the pool. The people standing on top they see these highlights, these sprinkly
highlights where the light is hitting the water and reflecting back. The people under
the water are seeing the water come down and hit the bottom.
Same thing happens with the eyeball. What we’re going to do is this is where your
highlight is going to be right here. Then the light continues and it lights the bottom
part of the eye way down here. What we’re going to have is our highlight here. You draw
it dark around the highlight. Then you lighten the bottom part of the eye down here. We’re
going to call this our highlight, and we’re going to call this our low light down here.
Okay, the two different lights. That’s going to make our person come alive. I even do that
with my cartoons. I put a highlight, and then I’ll put a nice little stroke on the bottom
with a shape just a little bit lighter in the color. And wow, it really brings everything alive.
Okay, so we’re going to have that coming back like that. A little bit of mascara down
here. Not much. Okay, our rhythm charts come this way. Boom, right here. That’s going
to be our dark. The eyebrow I like to think of as a box shape so we have a top and then
we have a side. Then we’ll soften it here a little bit.
Then we go back up into nose country.
Before I forget, if you go to a mall, you have two levels of the mall. To get from level
two to level one, you can either take an elevator or an escalator. So, when we’re drawing
you want to get from one plane to the next. So, if we have, let’s say, a box shape here...
I can do an elevator straight down or I can do an escalator and go at an angle. You’ll
be using this concept throughout the entire lecture series here.
Okay, boom. That’s what we’re going to use. You know when I get to the nose and I’ve got that shape
here, and I come in this way I might do an escalator coming down to the cheek with the
light. We’ll get to that. This looks like a nose. Here we go. This is a face.
Once you get this thing going you can have a lot of fun.
Okay, let’s move on to the nose.
Now, this part here is bone. That goes up into your rhythm chart.
We're going to then step down onto that rhythm chart here. That’s your side plane.
Boom, we’re on our cheek. Alright, so that kind of gives you some area here. Your eye
is going to be right here. Here is your tear duct. It’s going up and down. That’s our
person. So, you’ve got this hole right there, big hole. What you’re going to have covering
the hole is going to be cartilage. I had a buddy of mine who was in one of the wars,
had his face completely blown off. They had to rebuild his nose. They literally rebuilt
his nose. The interesting part was for about a year and a half he just had gauze over that
aperture. He would blow smoke—he’d smoke a cigarette and do
smoke signals out of that hole like that.
Really, all of this right here, this big thing, is just covering a hole. You want to think
of this as cartilage. This is very flexible stuff. It’s not bone.
This is bone. This is cartilage.
I have so much cartilage over the hole in my nose that it’s actually on
the stock exchange. You can actually buy stock in my cartilage because it continues to grow.
And you know what? Every year it continues to grow. It’s never gone down.
You have big cartilage here. That’s covering that part. Now, we want to get some air going in
there. We want to get the air moving into that hole. Let’s say we go on a trip.
What do you say? Want to go on a trip? Road trip. Let’s go.
Let’s go on a road trip. We’re going to go to Kansas. Get to central Kansas and turn
left. I’m sorry, right, left; the other right. We’re going to go right. We’re
going to keep going until we get to London. Now it’s London and it’s 3:00. What time
is it? Haha, you’re right. It’s tea time. So, we’re going to start with a cup of tea.
We’re going to go out to night so we don’t eat too much. What do you say we just have,
we’ll share a cup of tea. We’re each going to have a half a cup. So we’ll go this way.
I’m going to put half on this side, half on this side.
This coming down here is a triangle
shape which is your septum, which goes into your philtrum.
Alright. Now, what is in the center here? What does the center of the cup have? A hole.
What do we put in the hole? Right? Here’s our hole. It’s not a black dot. We paint,
we put like a black paint brush stroke. That’s not what we’re dealing with. It’s actually
a hole. We’re going to actually draw a hole.
A lot of students ask me, how big is the hole?
The only unit of measure pretty much that works all the time is how big is the hole?
This big. Okay. Always works. That’s your hole right there. We’re going to walk along,
step on down and go across. That’s the nose. Side view of the nose will be like this.
If you’re drawing the side of the head—my old teacher used to do this when I was really
young. He’s no longer with this. His name was Eddie Rayburn, one of the great animators.
He taught me from the age of 13 all the way to my early 20s. What we’re going to do
is we’re just going to do is we’re just going to go with an angle like this, and then
an angle like this, and then an angle like this, all the same angle. You’ll find that
it’s even the same for your nasal opening and aperture like this. It’s going to go
like this. It goes this way. This right here is your anterior nasal spine. If you want
to know how long your nose is, it’s three times this little bone. One, two, three. You
come out and that’s your nose, and then you go this way. Then here is your eye aperture
here, side plane. Zygomaticus going back. Eyeball. Okay, so that’s the side view of
the nose. Got it? Draw a lot of noses. They’re fun.
Now what we’re going to do is move on to the mouth. We’re going to go down. The mouth
is fun. We use it to talk. We use it to communicate. We use it to smile. We use it to frown. We
use it to eat. It’s really fun. So, for the mouth, there’s a really good way of
drawing the mouth. We’re going to draw a straight line. Then what we’re going to
do is we’re going to draw a cross-hair like this. Now what we’re going to do is we’re
going to draw a line from this. Now what we’re going to do is draw a line from this down.
Then we’re going to come in a little bit here and draw another one like this.
That's the shape of our mouth. Then we’re going to do a little moon. It’s going to overlap
the lower lip. This is how they got Tupperware. When you’re doing the Tupperware back in
the olden days they’d put this little lid on there, and the lid would overlap the lower
one. The way they used to advertise it is they would go ‘burp’ and they would burp
the lid. That’s the old Tupperware. Ask your mom and dad. What do you know about Tupperware.
Same thing here. They got that from the hips. The upper lip overlaps the lower lip like this.
Now we come here and we come up this way, and there is the lower lip.
Okay, so that’s there. Now, when you’re turning the head—okay, so that’s for straight-on,
but when you turn now what do you do? Now our line is here. This is going to be longer,
and this line is going to be shorter. All you do is just turn like this. Make the line
shorter and longer on this side and do the same thing. Do it kind of like your kite shape.
Come in a little bit. Cut off the bottom. Half-moon, triangle shape.
There you go. Now we have the lips on a three-quarter.
One of the things I like to do, I fly a lot, I’m always at the airport. It gets a little
boring. You know, you have delayed flights. I like to play do you feel lucky. What I’ll
do is I’ll draw this line as close as I can to this line here. Make it really short.
Then I say to myself, hey Sheldon, let me ask you a question. Go for it. Do you feel
lucky? Well, do ya, punk? Around this time people move away so you don’t have to have
a lot of people bother you because as soon as you get to the do you feel lucky part people
kind of like get out of the way. Do you feel lucky? Yeah. Well, do ya, punk? See, like
that. Then you go ahead and you put in this and you chop it off. Look, you get an extreme
three-quarter. Whoa, dude. See that. Do the AJ. The side view is really simple. It’s
just a triangle shape and then another triangle shape and then you’re good. There is your
side view. Let’s see, drawing the mouth, so this way.
So this, the upper lip here, usually it’s dark. Then this, if the light is coming this
way here is our planes. This is called the philtrum here, this circle area. This lines
up at the center of your front teeth. The ends of your nose lines up with your fangs.
Core shadow, cast shadow. On the weekends sometimes when I’m going out I’ll outline
my lips to bring them out to get kind of more of a, you know, make it look really nice.
I’ll put an outline here, but I don’t outline all the way up to my upper lip over
here. I like to leave this area open. I find that when I put an outline all the way from
my lower lip up I look cheap. It gives the wrong impression when I’m going out. Okay,
so go here. I’ll leave this area here. If I’m painting I can allow some flesh color
to go in there, and it kind of warms it up a little bit.
Let’s see, teeth. Mouth that are open are very, very dangerous. A lot of times if I’m
doing portrait work I try to get the client talked into doing more of a closed mouth or
a very subtle mouth. When you do that, that big smile, after a couple years that really
kind of fun, big smile is going to end up looking evil, and it’s going to follow you
around the house. In the middle of the night when you’re walking through you’re going
to look at that portrait. It’s going to go I want to kill you. You’re going to end
up hating yourself in that portrait. It’s like ehhh, I’m going to get you. You’ve
got that kind of weird, death smile. I like to do more of a subtle smile.
This one here will eventually destroy you.
So we have this big, horsey smile here. Then here is your lower lip. Here are your teeth.
What you don’t want to do is draw in all the teeth because now you’re going to look
like a horse. Look at that. That’s like a horse or a really bad salesman. Somebody
smiles like that they’re going to sell you a car. Don’t buy it. I’ll get you the
greatest deal there is. We’ll make a deal, any one! Doesn’t work. So, what you’re
going to do is kind of start like it’s an orange. Remember when you were a kid and you
used to put an orange in your mouth, and you go up to your mom, and you go, look mom. You’d
smile and you’d have orange teeth. Yeah, you guys all know you did that. So did your
mom. So here’s this area here, and then you put your center line. You wrap around
the teeth. It’s going to be a big smile.
Now, how do we put in the teeth? That’s the real issue. Well, just put in the little
darks on the edges here. Maybe a little bit on the bottom, that’s it. Don’t do anything
else because you’re going to get really, really big teeth. If you’re painting you
can do a very slight halftone change closer to the front of the teeth, but you want to
be very careful. You’re better off just very slightly moving along the side like that.
Now, the other part is when you’re drawing along the top there is a little lip right
here before the lip. It steps up. You wouldn’t think that’s a big deal. That’s going
to catch some light right there. That’s a value change, and that’s a temperature
change right there. We’re going to step up. We’re going to walk along. We’re going
to step up. Then we’re going to go lips over the teeth to the lower lip and then come down.
You just practice this.
Everybody has lips except for men. Men don’t have lips. They don’t have upper lips. If
you’re going to draw a guy, you don’t want to draw upper lips. If you do it’s
going to be just a very subtle change in value. Drawing cops is really easy because they don’t
have lips at all. They just have mustaches. There you go. If you’re drawing a cartoon
character you just, you know, macho like that. Square lower lips. All guys have square lower
lips. It’s genetically engineered that way. Okay, there you go. There are your noses and
your mouths. Let’s move on to the last part of the face.
to do a little test. Okay, so you can ask the ear any question in any language, and
it will always answer you in Spanish. Alright, so let’s see. We’re international here.
Who wants to volunteer? Okay, I’ve got a hand right there. Where are you from? Okay,
so she’s from China. You’re going to ask me a question in Chinese. The ear will always
answer you in Spanish. Alright, go ahead. Let me hear the question. Okay, everybody
else be quiet. She’s really far away. It’s hard to hear. Okay, good. I got it because
I speak fluent Chinese. I will now have the ear translate it for you in Spanish.
Are you ready? Okay, here we go. So the answer to her question is Si. Okay. There you go.
Okay, so we need another question. Okay, you right there. Shh! Where are you from? France.
That’s cool. That’s really great. I’ve been there. It’s beautiful. And you’re
going to ask a question? Alright, go ahead. I’m listening. Alright, I got it, and because
I speak fluent French, I will now have the ear translate for you in Spanish.
Are you ready? Here we go. Si.
Pretty cool, huh? Let’s do one more. Okay, I see you. Yeah, you’re raising your hand.
Yeah, it’s funny. You’re doing this. Alright, it’s your turn. Where are you from? Denmark?
Oh my God, that’s great. I was in Copenhagen for two weeks. I used to walk down those walking
streets. I got to work there. Okay, so you’re going to ask me a question. Gotcha. Okay,
because I’m fluent in your language also, I will translate. Okay, that is going to be
a very important questions so we’re going to go Si, si. There you go. So, I just go
C, C, C. The ear is just made up of a bunch of C’s. Alright, so we’re going to go
this way. If you come to LA, and everybody should, and you just go like this, this is
the Hollywood Bowl. The Hollywood Ball is like a ball, and you have the orchestra here.
All the sound can go out. It goes whoa. Everybody is all sitting over here. I’m usually way
up here in the nosebleed sections. That’s your ear. Just turn it to the side and then
all the noises come in. It’s just kind of like when you go hello?
So the side of the ear will look like this. There you go. That’s your ear. If you’re
animating the ear, don’t do one of those in-between weird morphy things like that because
it gets a little strange. All you want to do is go from this one and then make it turn
a little bit and then snap it to this one. But this gets a little bit strange. That’s
the ear. It’s really just a bunch of C’s.
The neck is important because it supports your head. Your head is important because
it’s your head. This is the head. This is the neck. What’s wrong with this guy?
His head is going straight up. We don’t want the head to go straight up. We want the head
to go forward. We’re always, no matter what, we’re going to bring the head forward. It’s
really important. We’re going to go there. Are you okay? Are you going to be alright?
So you want it to go that way. It’s really crucial. This right here is the pit of your
neck. If I say pit of the neck that’s this. These are your clavicles. This is your scapula
back here. This is your humerus. Not funny. If we count 1, 2, 3, 4, 5, 6, 7 right here,
that’s C7. That’s your cervical vertebrae. That’s 7. That’s a landmark. This is real
important. You want to remember that because I’m going to constantly be touching this
when I’m drawing. Other than that, this is your rib cage right here, and this is your
area right here. We’ll get to that in a second.
What we want to focus on right now is the neck.
This is your first rib right here. It’s really important. You don’t want to break
this. If you do then you’re typically what we call DRT. The term DRT mean dead right
there. Okay, I learned that from my business partner. DRT is not a good thing. You don’t
want to have that. But I do have a buddy of mine who broke it. He got in a car accident,
and he broke it. Boy, I’m glad he was the one that didn’t die during that. This is
real important. Your neck is going to come out from this area right here, which is your
first rib. When we’re drawing the head and we’re drawing the neck—
so this is where the rubber meets the road. This is where the issues come in. You have to be able to draw
a skull out of any position anywhere in the body.
Years ago, when I first started in animation, there is a character in the film. They’re
all having trouble getting her face. It was a strange position, and it ended up on my
desk. I just drew a skull. That was it. I can draw a skull in any position. I drew the
character as a cartoon character’s skull. Once I got the skull in the right spot, I
just put her face on top of the skull and it was done. I did the thing in like 10 minutes.
But they spent over a day or so trying to get that pose right. So please, let’s get
to the point where we can just block in a skull really easy. I think one of the things
that we have to remember is that, like it or not, if you’re studying with me or if
you’re studying in here, you’re a descendent of Vilpuu, the best. If you’re studying
with Vilpuu you’re knowing your structure, and I’m lucky enough to have been with him
for 36 years and counting. I study him every day. You’re going to know that skull. If
you’re my student, and I’m a descendent of him, you’re going to know that skull.
Okay, so you put that in.
Now, the key is that this comes out this way. There is your neck. It goes at an angle. Then
you get your rib cage going like this. I like to think of the rib cage, and we’re going
to get more into that, is as a straight here and a curve here. Here we go. Now, the neck,
we’re going to have a little floating bone right here, and that’s called the hyoid.
It’s just this floating bone in there. Now, we’re going to walk on down the street,
and we’re going to see, oid, it’s oid. Hey, yo, oid! How are you doing? You want
to say hello to oid. We don’t say hell-o. Hell-o, Joe, how are you? Hell-o, Sue. You
don’t do that. What do you say? Hi. Hi-oid, hyoid. This one here will be right coming
down this way. It’s going to come on down, and this one is going to come from back here,
and it’s going to go by, and it’s going to be the stylohyoid, so the stylo has hi
to oid, and that will be your stylohyoid. Then you’ll have one coming here out this
way, and that will be called your omohyoid. Omohyoid. Omo-hyoid. Yo, hyoid. So you have
our hyoid, your omohyoid, your styloid. You have another one in there. It’s called your
thyrohyoid. They are just a bunch of these little tiny rubber bands all going by that
bone and going hyoid. So you’ve got that. So that’s a big one.
Another big one over here—my favorite one is he omohyoid. Watch. Ready? Look at that
right there? Mine is strange. Don’t get excited. I’m not going to go this far off.
This is all the skin you’re going to see. I know you want to see it. See that right
there? There we go. Okay, right there. Okay, so that’s kind of cool. So we’re going like that.
Then we’re going to have from this bone back here this huge muscle.
Actually, they call these the neck strap muscles. It’s really funny. We all learn our anatomy. We
spend all this time learning our anatomy. You’re looking at the people who really
know it, the medical examiners, and they just call it the neck strap muscles. That’s really funny.
This will be called your sternocleidomastoid muscle so we’re going to go, let’s say
mastoid, which would be up here, like the masseter area. Then you’ll have your sternum,
which is your breastbone right here. Then your clavicle which is right here, so it’s
sternocleidomastoid. So it’s three. We’re lucky on this one because it actually tells
us the name. Let’s do a front view. I think probably the most important thing to know
about the neck is that you’re drawing it coming towards us. You’re going to put a
cylinder like this going back. The shapes as we go back to the construction area. Those
are interchangeable. If you need a cylinder, put a cylinder. If you need a box, put a box.
I was lucky enough to study with Steve Huston at Warner Brothers, and he’s kind of Vern
Wilson trained. Vern Wilson was very much into cylinders. I walk on both sides of the
street. I don’t care. I use whatever it needs. I’ll interchange the cylinders and
the boxes. Just, whatever you need to find a side plane, do it. Okay, so we’ll go like that.
These are all modern masters. We’re so lucky to have them. Every day I study their stuff.
Can you draw a skull out of your head? Now a stoner laugh. I get it. Draw a skull out
of your head. Alright, there you go. Cheekbone. Okay, so there you go. There is your skull.
You have your neck out here. There is your vertebrae. Alright, come in here. Here is
the pit of your neck here. You draw it out. Clavicles. Again, you have a floating bone
here, and you’re all going to say hello to oid. You’re going to have these muscles
that are just coming down. They don’t have to be overly accurate. Remember, we always
discuss that we’re doing only LA anatomy. If you look it up the dictionary, what is
LA anatomy? It’s superficial. So if you say to this anatomy, hey, let’s do lunch,
and they say yes, good luck. If you’re on the East Coast and you say let’s do lunch,
they’ll do lunch. Kansas, absolutely. LA, good luck. Yeah, let’s do lunch. Yeah, right.
When it snows. So, let’s all go by and say hello to oid. Styloid, thyrohyoid, mylohyoid.
The mylohyoid is going to go from your voice box here. It’s going to pull out and attach
all the way over here toward your shoulder. That’s what allows you to make your noises.
That pulls on your larynx area. Omohyoid like that.
Then you’ve got your big one going from the back, so when you draw the neck it’s
really important that you visualize yourself drawing from the ear and pulling down. Your
sternocleidomastoid, you’re going to go from your ear all the way down like this,
all the way to the pit of your neck. Then that’s going to come out on you collarbone.
This right here is called your acromion process. That’s your acromion right here. I like
this right here because it keeps my bra strap up right here. It never goes past. When I
wear a halter top sometimes it goes like that. Then my humerus is here. Let’s do LA laughs
for humerus. I taught at a private school. Yeah, there you go. Private school laugh.
So that’s right there.
Real important, this is your first rib. Your rib cage wraps around that first rib. This
is crucial, and we’re going to get into this on the torso. I don’t want you ever
drawing the torso all the way out to the shoulders. You’re going to stiffen up you’re drawing
like you’ve never seen before. The reason why is because they’re connecting, they’re
drawing all the way out here. You can’t do that. I designed the cemetery for them.
So here is your tombstone. I’m going to go back to the skeleton. You walk along on
the grass, there is your grass. See, there you go. You’re going to draw the rib cage
here. Then you’re going to build everything else out. The rib cage is going to wrap around
that first rib all the way up here close to the neck. I’m saving you guys. I’m going
to help you out by keeping your drawing stiff. Unless you want it stiff, and that’s your
own business. That’s up to you. Hey, we don’t talk about it. We’re going to come
this way, and then we’re going to come down, and that’s your sternum. So this comes out
like that. This all has to do with the neck.
Behind there is a muscle way back here, and that’s going to come down, and it’s going
to attach this way. We’re going to share that with the back. There is your shape. It’s
going to go head, neck, back, shoulder. Your rib cage is here. All of this is floating.
You get to do all of this wonderful kind of motion, but it does not affect the rib cage.
I’m going to say that’s pretty much the neck when you’re drawing it. You’re just
thinking of a cylinder. Leonardo da Vinci. What did he say? Remember last time we got
a phone call from him? What did he say? He says learn all your anatomy. Throw it away,
and draw three shapes. What the neck is going to come to is finally just a cylinder. But
that’s pretty much what you’re going to do with the neck. Most important part is going
to be that it’s going forward. You make it go straight up
you’re going to get a very stiff drawing.
get a little more serious. Let’s go ahead and draw the muscles and the rhythms and see
how it all applies. You’re going to see the chart, and then you’re going to see
the skull. Then you’re going to see the muscles and the finished face all on one drawing.
Hopefully, that ties it together for you guys and makes you fall in love with head drawing as I have.
We’re going to slow down a little bit. This is where it’s going to get a little bit
interesting. You can see the other side of me, the serious side. These are going to be
the tools that I’m going to use for this. This is the Pitt pastel. These are wonderful.
It would be Faber-Castell Pitt pastel. Then I’m also going to use for the black this
Conté a Paris. We’ve got Germany and France going here. This one should be pretty good.
I’m going to use all the different colors because we’re going to do hopefully some
serious anatomy. I want to do a lay-in, fairly light. Now I’m going to do three heads all
in a row, so this is where the scribble shape and form is how important.
I’m going to go half of a head here for the skull. What I do when I do my lay-in is
I go this way. We’re going across the top. Eyes, nose, mouth, chin. That’s my lay-in.
With everything that I showed you guys, there it is. That’s it. We’re going to leave
this. I want to show you the whole process here, so we’ve got that. Now we just draw it over.
Guess what. Here it is again.
Look at that. Straight across. It’s all the same.
This is what is so important. So many people around the world draw. But how many of them
get to do it for a living? The reason why is we get to do the sequential drawing, where
you can do the same drawing over and over and over again. This is going to be skull
with rhythms and planes. This is going to be muscles and then the face.
This will be any kind of notes I need to do.
Alright, so here we go. Like a ride at Disneyland. Come on, everybody. Here we go! Rhythm chart.
I forgot to do something that’s really important. Some things are very, very important and can’t
be overlooked. I am going to dedicate this anatomy series right here to a gentleman that
I’ve never met in person, who I’ve only talked to in texts. His name is Hasan, and
he is in the Emirates. If you go to Kansas and turn right and keep going. I was at the
airport one morning. All of a sudden I get this text on my phone. It was him, and he
was asking me questions. He got me at the right time. I was just sitting there. I go
to the airport. I teach at San Jose State. Every Friday morning I get to the airport
early. You can always tell the frequent fliers because we’re there really early. I find
a corner, set up a little studio, and I draw. And there was his text. His name is Hasan.
If I didn’t get it right, well, you know who you are. I wish all the students had his
form of dedication and his passion.
One of the things that I’m looking for most out of my students these days is passion.
Are you in love with this? So you see? Wow, this is beautiful. You can really see it.
Okay. Alright, rhythm chart.
Draw really slow.
The rhythm chart I’m using is Reilly.
At my school, which this is now an off-shoot of, we actually teach it all. I take credit
for none of it. If I invented all this then I get to go to the Vatican and all the museums
and grab all their work and say it’s mine. Since I can’t do that, I take no credit
at all. Okay, so you see that there? We get to do the same thing here. Never forget who
your mentors are. Give credit where credit is due. Those are my mentors which are lots.
But, my life changed when I met Glenn Vilpuu when I was 19 years old, and we’ve been
together ever since. He is my friend and my mentor. I love him more than chocolate—well,
more than air and almost as much as chocolate. How’s that? Here we go.
There’s your lay-in.
If you can do them all the way across over, over, and over again.
Now, let’s go ahead and draw some anatomy. First we want to do the rhythm chart. Let’s
make sure this is darker. Let’s go black on this because it’s going to be very mechanical.
I’m putting these arrows-don’t be afraid to draw arrows when you’re putting in your
lay-in. When you look real closely at my drawings you’ll see arrows in there. It’s all about rhythms.
Those are your rhythms. But they’re also your planes.
Your planes are like your planes and subplanes and facets. This will be a major
plane. This will be a subplane here. Then the little guys in there would be facets.
Those are your rhythms and planes.
Okay, so this is called your frontal bone.
We’re going to take that over to where the eyebrow turns.
The rhythm goes inside like that.
Oh and by the way, Hasan, the one that we’re dedicating this to, he is a New Masters student.
I’m seeing some great work, by the way.
You guys post stuff and it goes to my email. A lot of times you look at it and
you go okay, but wow. Recently, we’ve gotten some amazing stuff. So it’s all paying off.
I give credit, of course, to all those great teachers you guys are studying with.
Alright, so light is going to come here. This is the lower part of the orbit. We’ll call that
the orbit of the eye. Then this area right here is the maxilla. That’s over here.
This is your nasal bone here. How is that for a creative name for this? Nasal bone.
How do you get more creative than that?
The model that we’re drawing, she has a very narrow nasal aperture here.
Her anterior nasal spine will be straight out of—she looks like—she doesn’t have a hook nose.
It’s not going up or down. When I’m working I look up every bone, every muscle, everything.
Even if I know it, I look it up.
I think one of the worst things you can have as an artist
is arrogance. Don’t do it. I’ll destroy your career.
Even if you think you’ve got it perfect, look it up.
I have a whole library. I’ve probably got about 2000 books or so
in my library at home in my studio.
And then I've got this thing, I don’t know, maybe you’ve heard of it—it’s called the internet. I’ll
look up everything on the internet. Then I’ll look it up two or three times,
and then I’ve gotten what I want.
Okay, so we’re looking into the skull.
This is going to come…we’ve got this nice little suture here. That’s the nasal bone.
That’s going to go right into the frontal bone. It’s going to go like this.
Don’t be afraid to say you don’t know something.
I have employees, that’s the first thing I teach them. If you don’t know it, say
you don’t know it. Once you get taught then you know it.
I have a business partner in arson. Fire Graphics, LLC is our company.
That’s the one thing we say. We know what we know. We don’t know what we don’t know.
We don’t have a problem saying that. There’s too much at risk.
Okay so that’s the top part.
Let’s have a little fun. I have all these colors I get to play with.
See the rhythm?
That’s what we’re looking for. You can fake everything but rhythm. You ever been
to a concert and the people behind you are clapping and they have no rhythm? Boy, that’s
when you want to do a homicide. They’re destroying everything. Rhythm is everything
when it comes to the art. Okay, now we’re going to do the zygomatic arch. Zygomatic
bone. There we go. This is where the face turns.
This is a big deal when trying to figure out who a person is.
Let’s go on back. Think of it as a box shape.
Then this rhythm pulls down into what is going to be the maxilla. Boom, nailed it.
Maxilla. That’s where your teeth are going to go. Don’t draw the teeth. Draw one. End
up looking like Halloween here on my head. Notice how every stroke falls on the rhythm
chart. See that? Okay, so we’ve got that. We’re going to come down here to what is
called the mandible. It’s funny. They told me don’t ever work on a skull that doesn’t
have a mandible. When do you ever get a skull that’s found that has a mandible? That’s
the first thing that goes? They get taken away by animals and stuff. The rhythm chart
allows me to do that because I just follow in the rhythm. The reference I’m looking
at is a female, so I’m going to go round here, and I’m going to go narrow here like
that. It was round over here.
Dead air. Dead air, dead air, dead air. This is for all those people out there
who think that I’m all long winded. I sit in my studio at home. I can go for days without
talking to anybody. I only call two people. I call one of my students who is my mentor,
and I call Dave Master, who is my true mentor. I’m in my studio working. Pretty quiet.
So when I get into my classroom, watch out. Then it gets crazy. I worship my students.
I love my students. I want to see them do well, and I want to see them live their dreams.
That’s, I think, the most important thing for a teacher, especially one who has already
lived a lot of his dreams and done a lot of what he’s wanted to do. Certainly not stopping
because I work in all kinds of different careers, but can you make it? Can you live your dreams,
man? That’s what you want.
Okay, so that’s the skull. Let’s put some reflected light in there. In the
painting world we’re now going to connect our darks. Put in our reflected light and
tie it together. Then on the technique side we’re going to do a lot of different techniques,
and painting will be one of them.
We’re going to use a warm and tie our cores together.
Okay, so that’s our skull.
muscle. I’m going to do muscles, and then I’m going to show how it applies on her.
Epicranius or frontalis. They’re going to be all different. One of them call it the
frontalis. Here, okay, this is good. Frontal belly, frontalis of epicranius. But another
reference is just calling it frontal belly, occipital frontalis. I’m going to tell you
guys something. I’m working with some of the greatest MEs, medical examiners in the
country. I don’t meet them. I just work on their stuff. And you know what? They’ve
all got different, they all call it differently.
Alright, so we’re going to do this muscle side first.
And then her brow is up here.
So, this is going to be her orbicularis oculi. It’s round.
Light is going to come in at this part.
Remember, even though it’s wrong on the reference that I’m looking
at—it’s so wrong—we’ve got to make it right. It’s going to go this way. There’s
that, that line that is so important. This is low. This is high.
Okay, so no matter how wide or how narrow your eye is, you’re still going to have that same line going there.
You’re going to find that everybody is only about 20% different than everybody else.
Okay, so that’s your orbicularis oculi.
Alright, so you see it? I’m going to do all the muscles and then apply it to the other side.
Okay, now we’re going to go into the procerus, which is going to be going this way.
So, procerus is going to go pretty high.
Then the corrugator will be right behind that.
Most important thing is look over here, and you’ll see how it follows
the rhythm chart. I’ve had a lot of doctors in my class. They don’t draw too good, but
they know their anatomy. But, they don’t draw too good. So, it’s rhythm. What you’re
going to find right here is some of the skull showing through. That’s the shininess of
the skull. Alright, so frontalis, procerus, corrugator. Very round muscle. Orbicular,
man. Dude, that’s orbicular.
Okay, now we’re going to move to the side of the nose. Anatomically, what you’re going
to have is coming down the side here will be your levator superioris. Yes. Got it. I’m
testing myself while I’m doing this. It’s fun. So, that’s the levator, and that’s
going to go all the way down to your orbicularis oris, which is way down here. Let’s move
down here and draw that one. So, under the nose right here—I’ve got to make sure
I’m not drawing on the other side—is going to be your orbicularis oris, which is another
round muscle. (10:20) Okay, so we have two round muscles. We’ll come back to that.
Let’s do these levators. Here is that. Remember, guys, I told you earlier about where the lips
are. You have that kind of plane before it hits the lips. It’s right there.
Alright, we’re going to call this one the levator nasi or transverse. See, they’re
all different. Transverse part of nasi muscle. Yeah, levator nasi. I got it right. I don’t
want you guys freaking out. I literally read autopsies. Getting pretty good at it. I go
right where I want to go. I also read a lot of depositions and all kinds of legal stuff.
And boy, I’ll tell you, they use all different kinds of names. We’re going to call that
the levator nasi.
The next one is an ego one. This one has a big ego. It’s a big one. That’s why it’s
called superior. This will be your levator superioris, and it’s going to be a big one.
It’s all the way down here. Little cast shadow there for fun. Again, all rhythm chart.
This is connecting this muscle with that muscle. That’s orbicular, man. Whoa, dude. That’s
orbicular, man. When you say whoa and your bring your mouth down, your eye falls down.
Alright, now the next one will be your levator zygomaticus minor. There it is. The part where
I’m going to have my challenge—that’s when you’re going to watch me sweat a little
bit—is when I’m doing the lower arm and the lower leg. When I’m drawing that I’m
mostly thinking shapes. When I’m in the torso I’m really focusing on the muscles.
When you get down to these Pinocchio muscles, really it’s just shapes. You don’t really
see them that much. That part we’ll have some fun. Then, of course, when you’re dealing
with pronation and supination then everything kind of swaps up a little bit, so it’s fun.
We’ll have a good time with it. Some advice for you guys when you’re out there in your
classes, your teachers are going to come in with examples to draw from. They’ve been
practicing those to make sure they have it right. Tell them, thank you, but draw this.
Give them something else to draw from so you can watch them sweat. You’re not going to
learn until your teacher is sweating. I’m just going to grab a handful of poses to draw
from, and I’m going to sweat in front of you guys. That’s when you’ll see the teachers
really working and sweating. If it looks real easy, what are you going to learn? It’s
like, look how bitchin’ I am.
Okay, so here is bone over here. It’s actually surfacing. Then we’re going to put in the
levator zygomaticus major. (16:04) Okay, so you’ve got that one. Everything on the inside
of that—we’re kind of going deep. That’s going to connect down here to our orbicularis
oris. Now, on the side going across this way will be a fun nasal muscle here. I think it’s
just called the nasi. Yeah, transverse nasalis. Kind of those things you put on your nose
if you have a cold or something. I’ve never done it. It kind of pulls the cartilage apart.
Anatomy is fun. If I could do my career over again as a doctor, I’d probably want to
be a medical examiner. You know, getting in there and figure it all out. Who would know,
going from Bugs Bunny to that? So you see all that? Got it?
Okay, now we’re going to move to the side. Let’s see, coming down to the bottom—this
kind of gets interrupted. We’re going to come down to the side here. This is a depressor.
Alright, so we’ll have two. So, we’re going to have this depressor coming this way.
I had a medical examiner say to me once, I really didn’t give you much to go by did
I? I said, yeah, you were fine. All he said was the fleshy area on the arm. How’s that?
But for me it was enough? It was all I needed. I could tell him it was the digitorum superficialis
and digitorum profundus. He went, you’re right! I said good. Okay, so that’s one
of the depressors. We’ll call that major. We’ll call this one the little one. I don’t
want you guys freaking out on it. That’s the last thing I need. I’ve got some students
who are so good at anatomy they blow me away. Let me see your drawing. They’re good. Actually,
they’re better than good. A lot of times you’ve got students who are really good
at the anatomy, but they don’t draw very well. You’ve got to be able to draw
people that are alive.
Okay, now we’ve got this little one called the mentalis. That’s your thinking one.
That’s going to go this way. And I do anatomy for a living.
It’s what I do. I think the fun part is when they get people to testify against my stuff. That’s cool. They bring
in doctors to testify against my stuff. It’s so fun.
Here is a little guy, platysma. The platysma goes all the way down your neck.
On a horse that would be called the flea flicker muscle.
I guess if you have flies and you want to do that, because that is going to
go all the way down your neck. So, I guess it’s starting up here. But that’s your
platysma. It goes all the way down. It kind of covers your neck muscles.
Let’s head over to buccinator going this way. These I just do out of my head.
I've got these. This is going to make you go ewe. Depressed, happy, ‘ewe’ muscles. That’s
gross. So, the buccinator is grody to the max, dude.
Then right down the center will be your risorius.
Now, we’re going to our masseter which is a big muscle, man. This
is a huge muscle. That’s your masseter. That’s going to go underneath your zygomatic process.
Okay, so we’ve got this huge masseter coming down here, and it’s connecting kind
of with your buccinator. They like each other. They’re like, yeah, we’re cool.
The masseter goes all the way down and connects to your mandible.
Then what you’re going to get is this big, kind of, almost like take a piece of clay
and stick it on there. It’s called the platysma. It covers everything from here down. It’s
kind of weird. It’s like they said, you know, we don’t want to see all these neck
muscles poking out. We’ll call the platysma kind of a smoother. It kind of smooths everything,
so we’ve got that coming down like that. Coming out of the top of our zygomaticus is
your temporalis. These guys are connected and they’re dangerous.
This will be bite—oh man. Dangerous, dangerous.
Okay, so there are your muscles.
want to do much on the side of the nose. Eyebrows go up. Rhythm chart. Into the rhythm of her
eyes. She’s got pretty deep eyes. Her eye is actually pretty close to her brow right
here. I’m judging distances. Do a fun shape here, but be careful. There is bone here.
This opens up. Bring this up high. She has sleepy eyes which means that she has a very—there’s
a little tendon in there, a little bone. Her muscles are attaching low here. When you do
that they get these sleepy bedroom eyes. My other green broke, so I’ll go with this.
All the muscles are pulling down low so she gets this real sleepy eye. I look for that.
Then I know if the person has, you know, what their eyes look like. All I have is a skull.
I’ll go real down there. Let’s see. Here we work up. There is her upper lid. Doing
portraits is—I do them, but mostly these days as gifts. I got a call from one of my
clients, a very dear friend. He said my father is dying, and he’s in the hospital. I’ll
pay you anything to get some paintings done of him. Well, of course, I charged him nothing.
I did these paintings. In two and a half days I did three portraits. They showed his father.
The last thing his father saw were these portraits. He kind of came out of a little bit of a—he
was not really with it. He smiled and he laughed and he said that’s me. Then he died 48 hours
later. You know, as an artist to be able to do that. The last memory this man has, that
this man saw was my painting, and the last memory the family has of him happy was looking
at the paintings. And you know, that’s cool. As artists we get to do some really fun, we
get to do good things. So that was good.
Then at the funeral they had the paintings there. I wasn’t there. I had to work. Then
the uncle came in, and he wasn’t doing too well. He was like in his 80s. When he saw
the paintings he smiled and he laughed, so I really think I capture the guy. And that’s
the gesture. So gesture means life. We don’t want to just do a portrait that is just a
copy. I really researched this man and asked questions to find out what he was really like,
and then I did the paintings. Apparently, I did well because it worked.
These are rhythms. Okay, so you see how these rhythms are falling? Here too. Now, where
the nose hits the face, it’s usually a little cooler. I’m going to throw this in. Now
we’re going to do the top of the nose here. Remember what I said earlier about how if
you’re at a mall you either work with an elevator or an escalator? I’m going to use
an escalator. I’m just going to take from the top of this nose down to the cheek just
like that so people know that they’ve made it down to the cheek. I can use the green
of the paper for the halftone of the nose, but where it hits the face is the most important
part, and that will be the nasi. This is your zygomaticus here. Zygomatic arch here. Then
for pretty girls just a little bit on the nose. You don’t want to do too much.
When I do a portrait I ask a lot of questions. I did a portrait of a retiring, big-time priest,
a monsignor I guess you’d call him. I don’t know. He was retiring and I was chosen to
do his portrait. Boy, did I ask questions. I brought in his parishioners and people from
the church, and I just let them talk. I can get people talking. I just let them talk,
and I kept asking them questions about their lives and stuff. Finally, when they were all
preoccupied, I said, why would anybody want to be a priest? Boy, did I get the answers.
It was so cool. They fell right into my trap. They said, well, you know, he’s very kind
with the children and very tough with the adults. When I painted him I gave him very
stern eyes, but then I gave him a very, very kind smile. I wasn’t there when they presented
it, but they had a big presentation. They had it up on the stage with a covering off,
apparently there wasn’t a dry eye in the house. I got it. Nailed him. Again. That one
I got paid for, though. Okay, so we’re bringing her down.
Now let’s go to the lips. Go to her mouth. She has very, very chiseled features. I do
a lecture in my college class, the difference between cute and foxy. A cute person is going
to have very round features. This mouth, this is going to line up with the philtrum. Her
nostril is going to line up with her fangs, and the end of her mouth is going to line
up with the center of her eyeball. So foxy, a cute person is going to have very round
features, and a very foxy person like this one is going to have very sharp features.
She’s very chiseled, we would call her. Then here is this part here we’re talking
about where there is that little plane right there. It picks up the light. The light is
going to come, pick it up here. When we get an accent here she has kind of a slight smile
to her. Always checking your proportions. Light is going to come down, hit the top plane.
Move her lips right here. I want to get a core shadow in there. Let’s pull a little
core shadow here. A little reflected light down here. She has kind of a little pout,
so we’ll go like that.
Be really careful with your halftones when you’re drawing a pretty woman because what
you’re going to get is you’re going to continue to age them. If you want to age somebody,
just go to the rhythm chart and accentuate it. You’ll continue to age the person. Leave
this area open here. Leave this area open here. Put a little highlight right there if
you want. But she’s got it right here. We’ll give her a little bit there and a little bit
here. Little bit of a, little turning plane there.
Okay, so we’re going to come here, accentuate her chin. That’s fine. You always want to
draw pretty women. Anybody can draw an ugly old guy. Pretty women, boy, that’s where
it’s tough. So my painting teacher, Brian Eastman—great, great, great painter 100
years ago—so Brian, if you’re out there call me. I’m on the internet. You are the
best damn art teacher. He made me just do romance book cover stuff nonstop. So I fell
in love with Pino. Draw pretty women. They’re really hard to draw, and boy, you’ll learn.
Okay, so now we can combine line with tone if you want. She’s got really high cheekbones.
Way up here. This is line, look at that. Just pretty line. She’s got a really strong masseter.
Ooh, look at that. This woman, she’s tough. The neck is going to go from behind her ear,
so I’ve got to go all the way up here, find her ear then find that bump behind her ear
and draw from that and bring it down into her neck. Okay, so we’ve got that.
Behind that she has a trapezius. She’s got brown hair. When you’re doing the hair you’re
more interested in shape. You want to let the flesh tone into the hair. Her hair is
combing this way. Just take your tool and comb her hair. But don’t do it too much.
Don’t do too much. Don’t draw all the hairs. You want to go to shape and then what
Bill Perkins taught me is the joy of texture. Line as texture. He changed my life as an
artist. Reflected light. Let’s do that. Let’s take a look at her hair, and we’ll
go with shape and just texture, just line as texture. It’s just beautiful. All my students, they all
know who Bill Perkins is. I have hundreds of students a week. Just texture.
The important part is going to be here where it hits the head. We allow the flesh tone
to enter inside so, you know, she has that organic. We can put a little bit more texture
here. Just beautiful, beautiful motion. We’re combining line, tone, and texture all in the
same drawing. Now, if I was doing this without teaching, I would have my headphones on listening
to the same music that I’ve been listening to since high school, and I would be lost,
completely in another world. And I think that’s probably as much as I’m going to go.
In the words of Vilpuu, “It takes two people to do a painting; one to do it and one to
take it away before the artist ruins it.” So, I think we’re going to stop.
a nostril shot in the film industry. A lot of times they used it in TV on a lot of the
old TV shows. You look right up the nose. I don’t like them. I mean I couldn’t get
away from them because the animators were doing them, you know, like why do you need
those? So, deep down in there will be the neck, the actual vertebrae. This is the pit
of the neck right here. Then over here we’ll do a quick drawing so you can see. You don’t
really have to put in a lot for the neck. It’s make the person look really strange.
The important part is this landmark right here, which is the pit of the neck. Right
here is going to be a bone, and it’s going to be the hyoid bone. We can learn anatomy
from a book, and it’s important that we learn all the muscles,
but we want to use the muscles.
Let’s go ahead, we’re going to do what’s called the digastric. It’s a little one,
and then you have your mylohyoid. These are coming from up here, and they’re working
their way towards—this is under the chin, and they’re working their way towards the
hyoid. Everything is just saying hello to oid. This will be your mylohyoid. Okay, so
that would be the mylohyoid. It’s down deep in there. Then underneath that, right on the
top it would be your digastric, it’s going to go this way. Again, you don’t need these.
You’re never going to use them on the job. Then if I need this then I just look it up
on that thing called the internet and then I just draw it from there. If a medical examiner
is calling out for it then I just go ahead and look it up.
I look up everything anyways. Even if I know it I look it up. You know, sometimes a word
looks familiar. I had one, I’m like, that’s a pretty docile word. When I looked it up,
it was the thing that killed the guy. Like, oops, I think that was important. The devil
is in the details. We have our mylohyoid here, and that’ll be our digastric over here.
Then everything else is going to just come along and say hello to oid. Let’s go with
the sternohyoid. It’s going to come around this way. They’re deep. They’re not muscles
that you’re really going to see a lot of. I can see it on here because she’s got her
head all the way back. I guess a woman like her would be a sword swallower in the circus.
That’s when you get your head back like that. Here we go. Okay, we’ve got that.
Here is going to be your esophagus, the stuff you use to breathe and eat with.
Most of all, it’s the rhythms. Okay, so you’ve got that one. There is a thyrohyoid.
That’s small. Let’s see if we can find that one. There it is. That’s over here,
and that’s going to go this way. Again, if you’ve got somebody where you can see
this, the person is pretty lean like this model, but they’ve got to get their head
way back there. I’m lying in bed this morning figuring out how do I want to do the neck?
There is not that much necessary. Okay, so we’ve got that. You can see this big one
here. You’ve got these ones that are going off to the side, your scalene muscles. Those
are pretty cool. So, that will go this way. So that’s a cool muscle.
We’ll go right down the center.
Oh, I like this one. This one sounds good. The splenus. It sounds like it should be in
your crotch. You all have your splenus. Or it could be in your stomach near your spleen.
But they stuck it in your neck. So that’s there. Let’s see, omohyoid is really fun.
That’s going to go through all of these, and it’s going to poke out over here. That’s
going to go from your larynx on out. Boom, right over there. Omohyoid allows you to go
“eeeee.” It pushes your larynx out and let’s you make noises. That’s a good one.
Then the one that you’ve all been waiting for, the big one, and this is what they call
the strappy muscles. This one is going to have an origin way back here, and you can
see on her as coming back towards us. It’s going to go this way. It’s going to go all
the way like this. Then one of them is going to attach to your sternum right there, and
the other one is going to part. It’s going to attach to your clavicle right there. Okay.
They actually tell you. When you’re dyslexic as an artist it’s always fun, so you always
get it wrong. So let’s see what they say. Sternocleidomastoid. Okay, so sternum is here
so we’re going to go like this.
So many of the students think they have to be perfect. I’ve got to tell you, working
as a professional, if you’re like one of these perfect types, I don’t want to work
with you. Actually, I won’t because I’m not perfect. Nobody I work with is. What happens
is you drive us crazy. Sheldon, you always did it like this before. Now you want to do
this different? I did it different like this because—you know, it’s like be quiet.
You know, you’re allowed to make mistakes. It doesn’t have to be like that. Nobody
that I work with, and I work with the best in the world.
None of them are perfect and they don’t claim to be.
Alright, this is a beefier muscle up here. As long as at the very end, you know, when
it gets to the screen. Actually when it gets to the screen I’ve never seen a movie that’s
been perfect. There’s always a little mistake. People actually like to go in there and look
for the mistakes. You know, it’s really fun. You know, where they leave a hat off
and then it’s on again, or something is on a table and it jumps off.
That happens all the time.
Alright, this is attaching to your mastoid bone here. For me, as long as when my stuff
hits the courtroom, you know, whenever they’re using it, if it’s right I’m happy. But
along the way I hope we get to make mistakes. We’ve got to really look at all the different
ways. You know, it’s more than one way to skin a cat. Whoever came up with that saying
is a real sicko, but there is more than one way to do everything. Alright, so we like
that. Big muscle. Okay, then it’s going to split. There is like a second one here
which is going to go to your clavicle. This is the big muscle that you guys are mostly
seeing, and they call these the strap muscles.
Under your clavicle is a muscle called the subclavius, and in my anatomy tapes they’ll
say that what it’s used for is unknown. One of my good buddies is a back surgeon,
but he used to be a veterinarian, and he worked on race horses and animals. Then he changed
mammals and went to the human. I asked him, why do we not know what the subclavius is?
He says, oh we know. Cats use it to climb trees like this. He goes when was the last
time you climbed a tree like this. He goes because we don’t use it so much anymore
it’s kind of going away. That’s kind of the evolution. You don’t use the muscle
and it kind of goes away. So that would be like all my muscles. So that’s underneath
there, the subclavius, but there is an artery under there that’s really important.
If you’re going to do an embalming, what you do is make a cut there and put the fluid
in and all the way through. But you’ve got a nice big artery under there. It’s pretty
cool. Then if you do an autopsy you’re just going to cut this way and that way and down
the center. It’s the wide cut. You can really get to everything from there. Kind of some
nice little dinner conversation you guys can have. How to dissect the body the fastest
way. Okay, so that’s kind of where you’re at. Then back here you’ll have your trapezius,
and that will actually give you your neck shape, you know
a lot of it coming around like that.
Let’s take a look, let’s just draw the neck and see what it looks like. Let’s just
do a drawing. Okay, so here is the chin. What are you going to get? You’re going to get
a line here, and then we’re going to come down here like that.
You can feel this muscle here, which would be your sternocleidomastoid muscle, and then
the second one coming here, and then you have an omohyoid there, just hidden core shadows
and cast shadows. And here’s the important part. We’re going to use the wave and guide
the eye, and that’s really what our job is as the artist is to tell them where to
look. We’re going to go up this way, and then we’re going to come up like this. We’re
going to animate on our way down and go like that. This is more important than this.
Guide the viewer’s eye.
I’m going to sing you a song. You tell me what play it’s from. Okay, you ready? Just
go for it. The first thing that comes to your mind. You tell me what Broadway play I’m
singing. Don’t cry for me, New Masters Academy, because tonight I’m going to have a Big
Mac. Not just a small one but a large one. It’s not your problem. It’s just my stomach.
What play was that from? If you said Evita you’re right. And I never said anything
that had to do with Evita. It says “Don’t cry for me, Argentina.” Never said Argentina.
People recognize rhythms. You can put any word you want in there.
Okay, so this is all about the words, the rhythms.
to do the same for yourself. Find a master drawing that you like and put some tracing
paper over a drawing on a book, or if you have electronic media just put a layer on
top of it in Photoshop and trace over it. Remember that we here at New Masters Academy
have the most extensive model library, and if you want just go in there and pick out
a model and draw from that. The whole idea is that you understand the assignment and
you get to now draw it yourself.
Free to try
Watch the whole lesson with a subscription
23m 59s2. Introduction to Anatomy of the Head/Face
15m 4s3. The Eyes
18m 14s4. The Nose and Mouth
19m 13s5. The Ears and Neck
10m 39s6. Demonstration 1: Rhythms and Planes of the Face (Model: Bridget)
16m 15s7. Demonstration 2: The Skull (Model: Bridget)
26m 33s8. Demonstration 3: The Muscles of the Face (Model: Bridget)
17m 29s9. Demonstration 4: The Facial Features and Hair (Model: Bridget)
14m 10s10. Demonstration 5: The Neck (Model: Catherine)
1m 2s11. Assignment