Head Drawing and Construction
Introduction to the Skull and Abstraction
Head Construction and Invention
Perspective Forms of the Face and Features
Facial Features
Bonus Lessons
In this final critique, Michael gives feedback on your facial features project submissions, focusing on feature placement, perspective, and form.
Newest
Ben Whitfield
16d
@Michael Hampton really appreciate the critiques especially the second critique. I want to improve my understanding of the planes of the facial features. I have watched all the course videos a few times but I am still not quite understanding them. Do you have any other resources that can help me grasp this?
I am really enjoying your method of teaching by the way. I have all 3 of your courses here on Proko and would enroll in anything else you put on here.
Thanks
•
16d
Hey Ben, glad to hear it. Sorry, additional resources for which aspect? Features and planes? If so. I like the anatomy for sculptors book on the head for that. They do a really great job breaking the features down.
@marije
7mo
maybe a stupid question but I don't really know how to start with the ball. Is it under the ears? under the nose? or under the cheekbones? I just can't figure it out. Can anyone help me
•
7mo
Hey Marije! Starting with the ball is Step 1 in this process. I would re-watch "4 Steps to Draw the Head from Any Angle" earlier on in this course. The "ball" is the cranial mass.
@lightsdesu
7mo
Thank you, Michael Hampton! I was excited when proko announced your classes about construction. Im enthralled with your style ever since I picked up your book 4 years ago. There is a lot of beauty to the construction, and learning your process while hearing your mindset was highly beneficial! thank you for your time, Ill implement your feedback!
@joshhrnnd
7mo
Unfortunately, I missed the deadline to submit my work for critique, but hopefully I can get some feedback still? Thank you so much Mr. Hampton for these detailed courses! They are one of the best head drawing lessons I've seen on this site. Looking forward to more courses you'll hopefully be teaching in the future!
Amelia T.
7mo
Hey @Michael Hampton! Thank you so much for this course! I have a question regarding likeness and I'd really appreciate your input on it:
When trying to "transfer" likeness, as in, studying a face but then trying to redraw that same model's face in a new pose, what are the most critical things to pay attention to? Obviously it's best to keep in mind everything but, are there specific areas or proportions that make or break likeness?
•
7mo
Hard question. I would pay attention to the overall shape of the face/jawline and then focus on the spacing between the eyes (distance) as well as more specific distance measurements between the features. What your describing is actually not a practice I've ever done so take this with a grain of salt. Sorry to not be more helpful.
Nicholas P
7mo
Congrats to those who have finished the course. Can't wait to finish it myself once I complete my university assessments.
@lucastoonz86
7mo
This was great! Especially that first demonstration, that pose was tough to figure out
Course by Patrick Jones
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About instructor
Educator, painter, writer, and art historian. Author of Figure Drawing: Design and Invention.
