In this lesson we're going to take a look at the proportions of the head and no matter how you stylize
these proportions they're absolutely critical for achieving an authentic manga style.
Look they may look pretty straightforward on the surface but there really is a lot of nuance to them
and there's a lot you can do with these proportions really Mangus cell heads are one of the key identifying
things about manga style.
So unlike the body where you can get away with sort of bending the proportions a little bit here and
there creating some proportional deviation here and there the head you really want to strive to stick
to these proportional rules.
Otherwise you veer into territory where it doesn't quite look like manga or it looks a little bit weird
a little bit strange and it loses a lot of its authenticity.
All right let's droite jump straight in to the proportions of the hit.
And we just start with the front view on the left.
The first thing we want to know when we're drawing out this proportional guy is we want to start with
really a circle just a big nice circle.
Right.
Now don't be afraid to work in your two stage work flow.
Be nice and rough in the rough stage you can see the rough lines that have done behind these Clean Lines
be rough.
And we're going to start with a circle and then what we're going to do is define the line which is really
the top of the eyes and this should usually fall around a third of the circle if not half of the total
height.
But in this instance let's go around a third of the circle and we get to define this line over here
and then we're going to add in our jaw line and chin.
Now this drone on and chin can take a bunch of different looks and appearances.
But in this instance we're going to go with a very sort of common look which is the low cheek look.
So we're going to add this in and really you can extend it longer.
You could make it a little bit shorter a little bit wider.
It's not going to affect the proportions really it'll change the line if you do make a little bit longer
or a little bit shorter.
But you can adjust that by checking that the online is falling between halfway between the top of the
head and the chin.
Right and that's how you know your line is in the right place.
Now we need a second line to help us determine the actual vertical height of the eyes and that is then
determined by around one third of the lower section of the face so if we mark out sort of roughly one
third we can find that we have the lower line section and it gives us a good height the placement in
Mangga is pretty pivotal.
We want to make sure the eyes are big but not too big because they really are what are the key expression
mechanisms of mega-store drawings.
So we have the Azia add a third and that is the line right there and we want to remember this is half
of the space and this whole section down here is half of the space as well.
So that helps us to fund this line over here at the top of the US.
Now the ears themselves the ears are falling within that space themselves as well.
So that is take the heart of the eye.
And if you've done idealistic proportions you will really see this quite a lot of significant differences
here from the manga stuff ization of the heed to what we would really do in a normal kind of realistic
type of stylisation.
So we want to the placement of the nose the nose.
In this instance is really just a dot over here and its place just below the island somewhere just below
the island.
Of course it can take many different styles it can be a little kind of an L-shaped or a little ridge
but we want to under emphasize the nose in this particular stylization is spatially from the front view
and then the positioning of the mouth falls itself around a third of the remaining space between the
nose and the chin.
So its the top third over there and that is the mouth line.
Right.
And then the spacing of the eyes themselves.
You dont have to draw them this neatly when you're doing your proportional diagrams.
Just draw them as circles but the spacing of the eyes roughly one eye with a way
roughly one week away from each other.
If not one in a third even and then the placement of the eyebrows is just above that line.
When you're placing the neck.
This does vary depending on the age of the bulkiness of the character.
Generally speaking the neck is within the little cheek bones on the sides yes you can just place in
two neck lines there.
Now once again these proportions may seem trivial and we're actually going to deep out of the proportions
of the eyes how to draw the nose and how to approach the mouths etc. Especially as well that is the
key thing to remember is that the head proportions are much more strict than the body proportions really
invest time and learn these proportions because moving them and slightly can really detract from that
old thing.
Take a look.
Let's move on to the side profile of the head and once again we start with a big circle.
And there's a particular technique we can do to really get the front of the face reading what we want
to do is criticize into line here down the circle and then create a slightly angled line just a bit
greater than 45 degrees maybe around 60 degrees and get that line in like that and that can Extreme's
down to the line that's defining our bottom of chin which we can then pull in and what we want to do
then is place the on line the top line and also around a third you can see that these measurements are
duplicated from the front of the face so if you learn the front of the face you'll really really have
the same measurements for most of the elements on the Sadhvi and you'll see that suddenly the nose takes
on this three dimensional appearance in the side view and that is really quite strange when you think
about it.
And that is largely because manga of faces and manga Manga the elements of manga faces the eyes the
nose the mouth are largely symbolic abstractions of the real forms so they're not actually forms you
can think of the eyes molek stickers.
Right.
And the strange changes that happened to the nose are just one of those things in manga.
They're not really rooted in reality nor is the side view of the math changing because front and threequarters
views of the head really largely have symbolic math not really math based on realism but rather a symbolic
abstraction of realism.
Nevertheless we'll get more into it.
But keep in mind Mangere faces and the elements of the faces really are more about symbolism and clear
communication of expression more than they're about super dynamic 3D forms that are based on the high
end anatomy.
All right.
But of course they are based on the anatomy but they're an abstraction of that anatomy.
All right.
So then once we've placed this angled line down we can then extend our nose shape.
And in this way bring it down and then begin to imply these shapes and the lines stay the same the mouth
land stays the same the nose lands dot here stays relatively the same in that instance.
Of course the ear line itself as well also stays the same.
Important to note the ear gets placed behind the center line over here
and then we can extend the neck down and extend a nice Reversi shaped curve underneath the action line.
Once we've drawn chin shapes and in the instance of the side views typically you don't use side views
that much but when the answers are the side you really learn this particular contour and you can then
iterate from there once you really are used to drawing this particular country in the side view.
Once again it's very symbolic.
And so you want to learn this in a rotating fashion or a parrot fashion as they say.
Now moving onto the eyes something quite critical about drawing the eyes in profile view and that is
that you want to have a very sort of flat top shape.
This one is curving a little bit but you have a very flat top shape and then an angled bottom line.
If you draw in any other particular way it's going to look wrong it's going to look weird you don't
want to draw it sort of inverse shape you know do something like this and try and bring it in.
It just looks strange looks like a front.
Once again it's symbolic.
So we need a symbolic side to the right and then you can simply just extend a seeker down the front
and a little bit of a closing line there just to close the shape.
But keep in mind this general shape sort of flat the top angled at the bottom.
B don't be afraid to be extreme with the angle and you can see that the bottom point of the angle and
the top or really within the islands area and then you just add the C-code to it.
What you can do as well.
So here are the triangular view.
Just take a quick look you can see there's a tri angled corner of this particular shape.
So these essentially are our proportions and really you want to strive to get everything in the correct
place go through this place in as many terms as you need to to get these exact positional markings down
discovered one more time.
We have the first half of the head here and the second half of the hit defined by the bottom of the
chin as giving us our top line and then our bottom line is one third down of the remaining space.
So we divide that remaining space and we get that third and we get our bottom line and once we have
this key and measurement everything else is pretty easy to work out from there.
The nose is just below the bottom line.
The Arzak steamed to the top in the bottom of the island.
The eyebrows fall just above the island and the ears are roughly the same height as the.
And then one third of the space between the nose and the chin we have the mouth and that is a separate
measurement there for that one food.
And then the neck falls down is generally a thin neck and female characters and young characters we
can take the neck to Ficca levels and all the characters.
And those are essentially the proportions which we didn't duplicate on to the Sadhvi of the face going
to the side view again.
We don't want to forget our scene to learn and then sort of 50 to 60 degree angle coming off our circle.
We bring an officer down to the chin line connected up just about halfway through you can add in the
Reversi shape for the neck stand down neck line there and then we want to learn the side view symbolic
contouring.
It may take some practice to get it to look right but really just learn that one off by heart.
I want to end again by saying this these proportions may look simplistic but don't be fooled.
It's very tricky to get them looking authentic.
Don't worry too much about the particular style of these proportional drawings we can use the hidden
proportional rules here to iterate on a multitude of manga styles.
I'm really looking forward to showing you the meat of the in depth level of these proportions that we
can take when we hit module 2.
So before we get there just know that you also have a demo of these proportions being drawn.
So if we look through that and I'll see you in the next lesson.