D R AW I N G P R O G R A M

Head Drawing Phase I:

Basic Head ConstructionLay-ins

OVERVIEW
What you will learn: We will attempt to memorize the basic construction of the profile, straight-on,
and three-quarter head. These concepts are the foundation for constructing skull, abstraction, and
Asaro head drawings. Pay special attention to the rule of thirds when measuring where the features
go. The basic shape is an oval or elongated ellipse. In my opinion, these simple lay-ins are one of the
most important.

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 D R AW I N G P R O G R A M
Head Drawing Phase I:
Basic Head ConstructionLay-ins

ASSIGNMENT 1: BASIC HEAD CONSTRUCTIONLAY-INS

This assignment will introduce you to the construction of a basic head in straight-on, profile,
and three-quarter view.

Part 1: Watch the video demonstrating how to construct a head. Then, look over the handouts
which will act as a refresher for you. I have included some key notes and helpful hints,
so look closely, and read over these handouts.

Part 2: Copy the handouts for the various head angles.

1) You may want to start with the profile pose as it is the most manageable. Use the handout
with my drawing and copy as best you can. This information will be used in the construction
of a great deal of your drawings and, ultimately, paintings.

2) Next, move on to the straight-on pose.

3) Now, attempt the three-quarter pose.

Note: You should draw these dozens of times. It is a good idea to occasionally put aside
your handouts, and draw these images from memory. If you cant draw them from memory,
dont worry. It just means you need to repeat the angles until you can.

Part 3: Make sure to work from the additional handouts. I have included several which build off
of these principles. Do your best. You are slowly building the foundation for more advanced
concepts to come. Dont rushit is not a race.

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 D R AW I N G P R O G R A M
Head Drawing Phase I:
Basic Head ConstructionLay-ins

When learning to draw the fundamentals, the student should grasp the simplistic essentials before putting on
the window dressing. Looking at the cranium, think of it as a ball flattened on its sides and a bit fuller in the
back than front. First, learn to construct this ball minus any of the features. Its important to initially construct
the ball and facial planes so they function as one unit. Once constructed properly, this unit can then be tilted
in any direction. You must learn to draw through the form. We need to develop the ability to feel the unseen
side of the head. It is extremely frustrating and inefficient to draw from one feature to another oblivious of the
skull and the placement of the features without it. Its necessary to construct the head in such a way that we
always are subdividing the whole into its parts rather than guessing at where they go.

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 D R AW I N G P R O G R A M
Head Drawing Phase I:
Basic Head ConstructionLay-ins

Of all head poses, the profile will likely be the most manageable. From this angle, there will be no need to match
up the eyes. This will save valuable time. The rule of thirds will still apply. Remember, the rule of thirds is
simply a springboard. Many people will not generally fit this rule. However, once you have made it intuitive
through repetition, you can then see deviations and quickly and efficiently alter your position to accommodate
the individuals uniqueness.

PROFILE

You can also use two ovals when con-

structing a profile. You will ultimately
draw upon many different methods of
construction.

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 D R AW I N G P R O G R A M
Head Drawing Phase I:
Basic Head ConstructionLay-ins

T H R E E - Q U A RT E R

Here we see the simplified head basic ball or cranial mass with the rule of thirds showing key measuring
points. Practice these left and right, three-quarter views until you can draw them from memory! They seem
basic but can still present a challenge as your hand and eye learn to coordinate with each other.

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 D R AW I N G P R O G R A M
Head Drawing Phase I:
Basic Head ConstructionLay-ins

STRAIGHT ON

Above is a simplified construction of a straight-on head. I find straight-on heads to be most challenging. Here
weve drawn our oval or, shall I say, circle. We then pull the face plane off the sides constructing the outer jaw.
Determine where the jaw turns heading towards the chin. Remember, all good drawing requires guessing or
visual estimation. This might surprise you at first but try to get used to it, because we most likely will need to
move things around a bit as they begin to relate. Make an effort to stay light on your pressure with the pencil.
The hand should glide on the paper in a relaxed manner. Always remember to breathe and relax. No death
grip on your pencil. Now you can start to determine the rule of thirds. The first third will estimate where the
hairline starts. Remember to take note that this is not the high point of the head. That point exists towards the
back of the cranium. The next challenge is to estimate your first third. It will take you down to the brow line.
This is not the highest arc of the eyebrow but rather across the top of your brow ridge excluding the high point.
You can now take this third and duplicate it to find the next point. This is roughly where the bottom of the nose
is. The last third should find you at the chin. Learn to trust your estimations. Ultimately, they are all you have!

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 D R AW I N G P R O G R A M
Head Drawing Phase I:
Basic Head ConstructionLay-ins

- TIP -
Practicing drawing large ovals using
the entire arm is essential when
drawing the head. For the sake of
simplicity, we will be drawing the
head at eye level from the three key
angles: straight-on, three-quarter,
and profile. Later we will include
more challenging angles as well as
above and below perspectives.

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 D R AW I N G P R O G R A M
Head Drawing Phase I:
Basic Head ConstructionLay-ins

Preserving the Traditions of the Masters

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 D R AW I N G P R O G R A M
Head Drawing Phase I:
Basic Head ConstructionLay-ins

Preserving the Traditions of the Masters

Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 10
 D R AW I N G P R O G R A M
Head Drawing Phase I:
Basic Head ConstructionLay-ins

Preserving the Traditions of the Masters

Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 11
 D R AW I N G P R O G R A M
Head Drawing Phase I:
Basic Head ConstructionLay-ins

Preserving the Traditions of the Masters

Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 12
 D R AW I N G P R O G R A M
Head Drawing Phase I:
Basic Head ConstructionLay-ins

Preserving the Traditions of the Masters

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