Figure Drawing Lesson 016 - The Journey to 3/4 view of Human Skull - Part 4 - Figure Drawing Storyboard Guide (Part 1/3)

Figure Drawing Lesson 016 - The Journey to 3/4 view of Human Skull - Part 4 - The Structure of Man (Part 1)

Learn to Draw the Human Figure From Your Mind with Riven Phoenix

This visual storyboard guide for Figure Drawing Lesson 016 - The Journey to 3/4 view of Human Skull - Part 4 provides step-by-step figure drawing instruction with annotated frames and detailed descriptions.

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Hey guys, my name is Riven Phoenix, and welcome to the Structure of Man, Learn to Draw

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of a Human Figure from your Mind Training course.

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Okay, so from the previous lesson, we had gone through this exercise of really helping

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the mind so it can start to understand how to use these very simplified formulas to

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start to create a human skull in a three-fourths view, and here we basically accomplished that

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goal.

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Right?

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We proved the concept, the power of using formulas to force the mind to see how this construction

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is created and from within those formulas, be able to really take out all the things

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that we need and simplify them so much that we can just draw it out like this, right?

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So in the original idea of Da Vinci, where we had looked at his drawings, right, we had

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looked at this drawing here, right, so we could say that through, in his drawings, what

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he's trying to state through this drawings is not only the power of the formulas, but

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he's also getting to this idea of being able to just draw a free hand without any effort,

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right?

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And this is being accomplished by using formulas because we got the mind to see how this skull

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is structured, right?

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It's not really possible to look at a human skull in 3D form and just draw it in somehow

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remembering, right?

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We're just going to be able to look at it and draw it, but in order for us to be able

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to draw it from the mind, we have to go through this process, meaning that what Da Vinci

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is saying is obviously true and here we can see the proof of this that we're proving

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it also that when we created our own formulas, we were able to do the same thing.

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So now the next thing that we need to do is that we just need to draw out the human skull

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in different angles and really just get the mind used to the idea of how it's going

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to solve, let's say, drawing the skull from the front, from the three-fourth view again,

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from the side and looking away from us, how about when it's tilted up and when it's tilted

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down?

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So that's what we're going to do.

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And the thing to learn, to take away from these exercises is the experience of how

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you went through the solving process of getting the mind really used to that idea, right?

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It's coming down to be able to speak your ideas in sentences.

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So if someone asks you, how are you drawing?

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The human skull, you can actually explain to them from a mastery point of view that this

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is how you do it.

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So to start out, what we'll do is over here, I'm just going to draw the front of the

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human head.

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So I'm going to, let's say, we can do it about this big here, right?

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So let's do it kind of like big over here, like this.

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So we can fit about maybe three or four skulls on this piece of paper.

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So here I'm just going to draw out a circle over here first, right?

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I'm just going to be sketchy about it, right?

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So now the thing about the idea of the formulas is that we really not interested in the measurements

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of it.

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We already know how to measure all the locations vertically, right?

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And we know that as soon as we draw the circle, right, it's going to give us the width of

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the skull, right?

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Because we already proved it over here that we don't even have to measure anything.

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You just need a ball shape, right?

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And you can do different variations on it.

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You can stretch the ball a little bit if you wanted to.

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So once we have this, we really can now just divide this ball in half, right?

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Here we're just creating the mind to see.

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And then if we take a look at this divided in half, we know that just this section, we

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need to translate it about here.

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Now this is where you can even go down if you wanted to.

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It doesn't really matter, right?

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Obviously, you're not going to go down here.

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If you're trying to do kind of like realistic figure drawings, you would definitely have

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to come around here, right?

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If you want to do different character designs, you can come down here or even long get it.

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You can experiment with that idea.

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So let's say here's my initial idea here, right?

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To see how we're doing because we have the power of the formulas, we can mess around

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with them a little bit.

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So once we have this, we know that we just need to find the center of this hole from

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here to here to find the center and this is going to be the center line to where the

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eyes are supposed to be.

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Now notice how I'm being sketchy about everything over here, right?

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And I know that over here, if I divide this in half from here and go down, I know that

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this is roughly about where the brow is going to be basically the same place where I marked

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the original line to divide this circle, right?

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So once we have this, we know that the jaw line is obviously from here, if I take this

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over here, right?

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The original idea was that if you divide this over here, then divide here, then come back,

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right?

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This will give you the jaw line, right?

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But we really didn't have to even divide it.

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So because the thing is that if you look at this, it's really just halfway here and

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just a little bit to the left.

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So over here, when we know this, we can just go a little bit to the left and do the same

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thing, right?

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This is we can now do it freehand, even simplify it even more.

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So once we come down over here, we know that it's going to turn over here, but we know

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it's going to be here, right?

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It's got to turn somewhere in here.

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So to understand that, we knew as soon as we had the brow area, if we took this height

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over here and divide it in half, we would get where the nose is supposed to be and we

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could now divide this into three different parts, we get the mouth area.

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So basically under the mouth, we can say that the jaw starts to turn just like this, right?

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So when you're drawing this, you want to look at this thing from the outer view, a top

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down view and make sure that you're basically just doing it right over here.

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I know that this is where the mouth is going to be, okay?

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So we're looking at how to do the front.

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So once we have this, we know that over here, right, we got the brow area, we divided

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this in half, really just got this line over here, where the temple is going to be.

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And we said that, yeah, the nose can be a little down, right, over here.

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So really, I'm just going to do the nose like this, right?

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I'm just showing you different variations of it that you can adjust this.

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When we do the three, four, three, we'll basically do it here, but you can bring it down

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if you want it to, right?

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It doesn't really matter, right?

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Because you're going to have different variations with us calling it.

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So this part is really the easy part now, right?

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Because we had said originally from here to here, right?

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When you divide this in half, you got this.

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If you go in here, you make like a square, right?

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So you can just look at this, right?

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You can just eyeball this and say that, okay, well, I'm going to decide that the eyes from

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here to here, like a square is really just going to be here.

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I'm going to eyeball this around here, right?

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So look at the space over here that we will have to adjust this a little bit later on.

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Right?

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So it was really easy.

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All we know that because we had to do this box is really just a box shape.

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As long as the ratio over here comes down with the noses, the eye socket just needs to fit

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within this idea over here.

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And that's really it.

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Right?

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So when you draw these out, just make sure that they were pretty much proximity the same

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size over here.

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Keywords: figure drawing, figure drawing lesson 016 - the journey to 3/4 view of human skull - part 4, drawing lesson, art instruction, figure drawing tutorial, anatomy for artists, drawing storyboard guide