A look at the Head in Perspective!

The main thing here is learning how to draw the head in perspective at eye level. This means that the character’s head is just right in front of you.

As well, the purpose is to look at all the facial features and how it links up with what you have learned so far in regards to basic shapes and feature guides at eye level.

So, let’s start off easy by visiting our skull.

1. Returning to the skull

As you recall, the skull diagram in the previous lesson gave us good guide lines on how to proceed measuring the head. You will need these shapes to help you figure out how the head in perspective will look like.

The most important part of this diagram is to focus on the ‘+’ intersection. That is, the middle part where the horizontal and vertical lines divide the circle into four equal quadrants.

This will be your starting point for figuring out where to draw the facial features.

2. The front profile

The first two profiles will be done with zero point perspective. This is just to give you an idea of the overall shape when looking at a head that’s directly in front of you.

I have also placed some two point perspective guide lines to outline for further reference for the other possible perspectives that we will deal with later wards.

With your guides, continue to paint the face using the skull as a reference point.

If necessary, you can paint over the skull diagram if it will help you look at the position of the features better. Use your guide lines!

3. The side profile

Should you ever need a reference point, always look for that ‘+’ intersection. From there, you can map out the rest of the features to draw the head in perspective.

The point of this exercise is to get you to imagine the head from a different perspective points and in space. Close your eyes and see where the bulges take place: the forehead, the nose, and the lips.

See where these points intersect on the guide lines.

How is the head related to the sphere in general? Try to find these snapping points on the sphere. For example, I see one around the ear, the top forehead, the eyes, and the protrusion of the rest of the facial features from the sphere.

4. The three-quarter profile

The last bit of profile we will deal with is the three-quarter view. This particular view shows how the head will look like in one instance that is neither front nor side orientated.

As such, there are so many possibilities that can be achieved with this profile.

Remember the two point perspective grid that I placed in the background? Well, you’re going to use this grid.

Now, what I have also done is create an oval in the sphere. This is basically my direction of focus. In other words, all I did is simply ‘turn’ the sphere to the profile I needed. The ‘+’ intersection should also follow.

In addition, I have also drawn a vertical line hitting the surface of the sphere so I can use it to reference the side profile.

Now, what you need to do is to draw your head in perspective from the three-quarter view outlined with your sphere.

Use all the reference points you can as it’s not easy!

Notice how I also used the two point perspective guide lines to point the facial expressions, although hardly noticeable but important nonetheless, to the right vanishing points.

The difficulties of doing three-quarter perspective are apparent when you start. What does the skull look like? Where are the features protruding from? What features is the profile hiding and distorting?

Reference the front and side profiles to help you with this digital drawing! It’s not easy and you will have to work on it.

Use references whenever you can and really study it. Imagine the guide lines in these references.

After this, we will learn how to draw these three main profiles from other different perspective vantage points!

In the meantime, have fun with learning and perfecting this basic foundation I have outlined for you!

Return from Head in Perspective to Paint Faces.
Return from Head in Perspective to the 2d Digital Art Guide.