Total04 Digital Version PDF

THE
ANATOMY
ISSUE 02
04
Hello and welcome to the celebratory issue of our free magazine total. Why
“celebratory”? Well, we’ll tell you. 3dtotal has been a top resource site for CG
artists and hobbyists for nearly twenty years, and in that time the internet and
the way people view it has changed beyond recognition! We've been aware of the
need to update the website; to appeal to the wider art community, improve user
experience, and continue to provide the valuable resources and tools that 3dtotal
users have enjoyed for many years.
Taking this into account, we've created a new site from scratch that encompasses
our values and affirms our commitment to the art community. This free magazine
is to celebrate the new and improved 3dtotal.com, and to showcase some of the
updated and innovative, cutting edge features the new site contains.
As a thank you for supporting us we have put together a collection of character

and anatomy focused tutorials to enjoy, and to give a taster of the fantastic
content 3dtotal will continue to generate to aid your creative endeavours.
What’s inside
04 | 3dtotal's new website
14 | Preparing for a life drawing session

By Kan Muftic
28 | The planes of the head

By Marisa Lewis
42 | Basic form and proportions

By Laura Braga
52 | Drifting free in space

By Almu Redondo
68 | The structure of the skull

By Rita Foster
Cover image © 2017 Kan Muftic
90 | Wings
By Eliza Ivanova
3dtotal’s
new website
If you’ve been following our development blog (www.blog.3dtotal.com)
you will be aware that the main 3dtotal website is undergoing some
major redevelopment. And if you haven’t, well where have you been?
For years, 3dtotal.com has been a go-to resource for tutorials, news,
and inspirational gallery images, but it hasn’t evolved too much with the
times. Until now.
06 | 3dtotal's new website 3dtotal.com | 07
3dtotal history
The last update to the site was in
late 2011, and before that it hadn’t
changed much in over ten years.
Digital art has come such a long

way over the years, and while
3dtotal has continued to grow too,
not only as a brand and presence,
but also with what we do for the
art community with our books and
other products, there was one area
we always felt we could improve,
and that time has arrived.
For those of you who were here in

the early 2000s here’s a blast from
the past, and for newcomers, we’re
sure it must be interesting to see
our humble beginnings.
Seven years later and it had barely

changed. We added new content
on an almost daily basis, becoming
a resource for textures and gallery
inspiration, for video tutorials,
interviews and making ofs. We Community galleries & Dedicated 3dtotal members will commitment to putting artists and
grew our collection of ebooks and presentation options know we have had a portfolio their artwork at the center of the
realized there was a need in the art Currently, the only artwork to section for some time but that it new website.
community for quality art books, feature in the gallery is artwork we was hidden away - we’ll be bringing
which is when 3dtotal Publishing have selected, meaning there is a this out front for everyone to use.
was born. whole submission and selection There was a prestige (we hope!) Top left: Our website back in 2003
process which we feel is outdated. to being selected for the 3dtotal
Eight years on and we are bigger This process was always limiting gallery, and this will remain in Bottom left: 3dtotal today
and more successful than ever, to the beginner. With all the the form of staff picks. There will
publishing a minimum of eight tutorials, ebooks, and tutorial be five top headers for exploring Above: Image showcase WIP
books a year, crowd-funding books available from 3dtotal, it the gallery: Staff picks, Popular,
with Kickstarter, printing a highly feels like a disservice not having Debuts, Recent, and Following.
sought-after anatomy figure range, with one of our books; who we is this sense of pride, and a desire a way for beginners to showcase These are self-explanatory, but
and even dabbling with card- and had helped overcome a particular to provide the art community with their work, to gather feedback, and excitingly it reveals the ability to be
board-game creation. As we grew, challenge that took them to the as much as we can to help them to continue their education side- able to follow your favorite artists.
we were humbled by the real-life next level. Artists who are now full- along their way, that is channeling by-side with the content available This isn’t particularly revelatory,
cases of artists who had started time in their chosen profession. It our passion into a new website. on the site. but we hope it indicates our
Tutorials & interviews

We will continue to host making
ofs and commission tutorials.
Maybe you’re a complete beginner
and a new tutorial appears that
explains perfectly how to paint
hair. Or maybe you’re a digital
painter looking to expand your
knowledge of 3D, and up pops a
3ds Max hard-surface tutorial to
get those creative fingers working.
Or there’s a speed painting guide
Many sites exist where you can

upload your work, so the challenge
for us is to offer features and
abilities that others do not. There where the artist has used an laid out, meaning we can optimize
will be your now-standard support interesting technique that could how they are presented so they are
for slideshows, videos, and 3D speed up your own workflow. as clear and helpful as possible.
models, but also something we We understand that, as artists,
are calling 20:20. You will be able recognizing how a piece came
to upload the different stages and/ together is often as important as Far top left: New 20:20 feature
or passes of your work to create a just enjoying the final image.
20:20 image with sliding bars. Far bottom left: Display your
images from every angle! One of This gives the illusion of 3D space As for the tutorials themselves, images with the parallax effect
Moving these bars around will the most exciting additions is the and depth by creating a moving we will add some further
display the different passes or ability to create a parallax image. ’camera’ position. This ’camera’ will categorization in the form of Above: New tutorials display
stages of the artwork, which we You will be able to upload multiple have the ability to move through difficulty level and how long it
think is a cool feature! We’ll also be layers of varying distances to the x, y, and z axis, allowing you to will take. We will also have much Near left: New options
adding Sketchfab’s embed ability, create a parallax effect within your really show off your artwork in a greater customization options for for article layouts
so you can showcase your 3D 2D or 3D image. unique way. how the tutorials themselves are
Left:
Highlighting
stand-out
quotes
Below:
New mobile
functionality
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Profile page
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Analytics
page WIP
Member profile particularly like in “Collections.” days, 90 days, to All time. These
Another cornerstone of the the site was a top priority and open on your desk besides your A 3dtotal account will also give We have gone for a clean, analytics will include:
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These allow the artist to connect team have been working hard you work like this, so it was an create a complete profile; from pages, but there will be options • Profile views
to viewers and other artists, and to achieve. Landing on the important change. your profile picture to social for customization and other ideas • Website click-throughs
give us an insight into their inner homepage will become a much shortcuts, personal website, and we are working on, to make your • Creation views
workings! It’s also an opportunity more pleasant and streamlined biography. You’ll then be able to profile page something you can • Number of likes received
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of 3dtotal and your members Once you have signed up, you’ll grabbing the viewer’s attention
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not great for mobile viewing, so those of you engaging in the build up your own personal social artwork, in graph and statistical to keep track of comments, but in
improving the accessibility of tutorials, with your tablet or phone wall, and saving artwork you form, that can range from 30 this new system you’ll quickly be
able to see the latest comments;

what advice, praise, or critique is
being offered.
And with the website click-

throughs, we hope that this figure
will just grow and grow, showing
you just how valuable a 3dtotal
profile is as a way to show off your
talents and get noticed! The rest of
the information is there to be used
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Jobs
Everyone wants to do their art for
a living, right? That’s the dream...
and we want to help that dream
become a reality. In line with our
greater community aspect will be We hope you like the sound of these changes. Many of them have
the opportunity for employers to become standard on other similar websites, but the ideas we have in
get involved; maybe they’ll want mind for the future will make 3dtotal a more unique experience. The
a lighting artist for a 6-month artwork will always be the core motivator, with presentation paramount,
project, or a full-time senior and we hope to give you a platform to show it in its best light.
character artist – well now they’ll
be able to let you know.
From your profile page, you’ll also

be able to make yourself available
to certain jobs, so employers can
contact you. Our aim is to help you
get ahead in the industry! If we get
great feedback on this, we have a
couple more ideas we can try to
streamline the process further!
Top right: Job advertising WIP
Bottom right: Job listing WIP

All images © Kan Muftic
Preparing for a life

drawing session
Materials and tools
Posture
Warming up
Line is everything
Concept artist Kan Muftic talks us through the practical things you need to know
and prepare before starting a figure drawing session.
By Kan Muftic
kanmuftic.blogspot.com
16 | Preparing for a life drawing session 3dtotal.com | 17
Materials and tools Top left:

Materials are important. They are your armor, your Ensure there
sword, and your shield. When you go into battle, you is padding
want to be equipped with the best materials, and you underneath the
want to keep them intact by taking care of them. The sheet you are
same goes for your drawing tools. You therefore need drawing on
to be mindful of them. Some will work great for one
thing and not as much for another. Certain pieces of Bottom left:
equipment don’t seem to agree with each other, while Newsprint
others seem to be a perfect match. I spent years paper’s smooth
trying to figure out what combinations of materials surface is
work best for the kind of drawing I want to produce. I ideal for figure
will address each of them specifically here. drawing
Paper Right: Henry

This isn’t just a blank piece of paper. This is your Yan’s drawing
canvas, your playground, and your big screen all at and my father’s
once. It is where you talk to your audience through watercolor on
the language of drawing. For figure drawing, we are the walls keep
looking for smooth, buttery strokes, and we therefore me inspired
need a very smooth surface. The ideal paper for this and serve as
task is smooth newsprint paper. It usually comes in a constant
loose sheets, but you can also buy it in a pad form, reminder to
which is much easier to manage. keep practicing
While drawing, make sure you have enough paper

underneath the sheet you are drawing on. This
means you will avoid scratching the rough texture
from underneath into your drawing, and it enables
you to draw very soft strokes. You should also fasten
your pad to the drawing board to avoid a “bouncing”
surface, which can greatly affect your accuracy to a
large extent.
Easel
I use an easel whenever I can for figure drawing.
A standing position is preferable to a sitting one
because it demands better control over your dexterity.
As you can see on the right, I have a simple easel for
my home studies, but there are various types found in
life drawing classes which are better suited for that
specific purpose.
Pencil types of sharpeners and just as As the long tip is revealed, refine
In my opinion charcoal pencils are many opinions on which ones to it by taking a piece of sandpaper
the best for achieving the painterly use; I would like to let you decide and moving the pencil forward
effect on newsprint paper. They for yourself and find the one that and backward, holding it at a
also reach a great range from you like to use. I personally like downward angle. Repeat this
bright to dark tones. I use 2B or 4B to use a scalpel for sharpening process until you have three or
pencils by General’s, or a 1710-B pencils, but other types will work four pencils in stock; one pencil
pencil by Conté à Paris. There are just fine. might break during drawing, so
plenty of other charcoal pencils you must be able to replace it
which you can try out to see if they Sharpening pencils is a crucial without losing your flow.
work for you. part of the drawing process. It
forces you to slow down and be in
Keep your pencils sharp, ideally the moment. If you rush this part, Above: Charcoal pencils with
with a long tapering tip. In order to you might end up breaking the tip long tapered tips are ideal for the
execute a gestural look, you need and having to start over again. methods you will use in this book
a full range of line thicknesses,
which is best achieved with this Therefore, slow down. Do not think Top right: Using a scalpel
shape of tip. about anything else but that pencil to sharpen a pencil
in your hand. Gently, layer by layer,
Sharpener release the tip from within the Bottom right: Smoothing the
Sharpening is more important to wooden coating. Keep spinning sharpened pencil with sandpaper
me than having an eraser. If my the pencil in your hand so that you
pencils are sharp, I don’t need to fix achieve a nice rounded surface
things as much. There are various that isn’t jittery.
Eraser Charcoal is a tricky beast – once

When it comes to quick sketching, it has found its home on paper, it
my personal advice is: Don’t use is reluctant to leave. Removing it
an eraser. In fact, the whole point isn’t easy at all. Very light strokes Above: A putty
of the particular style of drawing can be removed, but if you have eraser can
covered in this book is to be loose, carved something into your page, erase marks
yet confident – something that is you need to forget about it! without leaving
a challenge to achieve. Erasing rubbings on
should therefore be purposefully You can use an eraser as a drawing your paper
avoided as it removes both of tool, though. A kneaded eraser
those aspects. (also known as a putty eraser) is Right: Using a
great for picking out the highlights kneaded eraser
If you do need to use an eraser, and tiny details, but should be to create
however, another problem arises. used sparingly. highlights
Posture
After attending a workshop by
Henry Yan, posture was an area
that I was able to correct. It is
important to:
• relax your shoulders
• straighten your back
• unlock your knees
•k
eep your arm below your
eye line
I was unaware of just how tense

I was when I was drawing. Henry
told me to control my breathing.
Yes, breathing! How could I have
been breathing so badly while
drawing? Breathing calmly will
help to relax your posture and slow
down your approach.
Henry also told me to think before

putting down the pencil on the
paper. This literally changed
not only my way of drawing and
painting, but my attitude to life in
general. Approaching things in life
with mindfulness is the greatest
gift I received from my master.
Far left: My standing posture
Near left: A collaborative

drawing with Henry Yan
03
01 02
Warming up 03 Now start drawing ovals and Above left:

Now that you are breathing calmly circles. This is an exercise I learned Warm-up
and have a good, relaxed posture, from the artist Jeff R. Watts, and I mark-making
you are ready to warm up. I find it very useful for warming up
strongly advise doing the following my whole arm. Above right:
exercises before you start your Following the
drawing session as it will help 04 Finally, hold your pencil almost original lines
you to loosen up and prepare your flat on the page and start pulling
muscles for the task ahead. short, wide strokes across it. Top right:
Change the direction of the strokes Sketching ovals
01 Start off by drawing various in order to get more gesture in your and circles
lines: thin, thick, bright, dark, mark-making.
straight, and curved. Bottom right:
You can use this technique when Creating
02 Next, start tracing over these it comes to rendering anatomy in different types 04
lines, staying close to the originals. your sketches. of wide marks
“I'm just a beginner,
but found this book
easy to follow and
understand!”
CUSTOMER REVIEW
Figure Drawing
for Concept Artists
Accessibly written and lavishly illustrated by respected concept
artist Kan Muftic, this book celebrates the common ground
between traditional life drawing and the fast-paced world of
the concept art industry. Learn about the skills, techniques, and
mindset needed to make successful life drawings, how to capture
the forms of the human body on paper, and how to improve your
character and concept art with a dynamic approach to figures
and anatomy. Figure Drawing for Concept Artists offers a unique,
up-to-date perspective on classical skills, with the contemporary
practitioner in mind.
AVAILABLE NOW
shop.3dtotal.com
Artwork © Kan Muftic

The planes
of the head
Understanding and recognizing the planes of the head is a valuable tool
for any artist who wants to create well-proportioned and recognizable
faces. In this chapter we will look at how to break down the face into
its basic planes using a planar bust. We will then look into how this
translates to real faces.
By Marisa Lewis
instagram.com/marisa.draws
Photograph © Ollyy / Shutterstock
30 | The planes of the head 3dtotal.com | 31
Top left:
Male and
female planar
reference busts
Bottom left:
A planar
interpretation
of the male
head
Near top right:

Front view of
a male planar
bust in shadow
Far top right:

Using the male
planar bust to
quickly sketch
out proportions
and features
Bottom right:
Filling in
simple shading:
shadows,
midtones, and
blending
What is a planar of the head – and that is where groundwork for believable lighting
reference? using a planar reference can be and shadows. It is an approach
As the name suggests, a planar an invaluable complementary used in various degrees and styles
reference simplifies the subject approach to drawing. throughout the ages, by respected
into geometric planes, rather than artists such as Andrew Loomis,
specific anatomical detail. When By breaking down the complex Frank Reilly, and John Asaro.
trying to capture the nuances of shapes of the head into simple You can see examples of planar
bones and muscles, it is easy to geometry, you will be able to references and how they can be
lose sight of the big picture – the define the major anatomical used to plan out key shapes of the
form, lighting, and proportion landmarks more easily, and lay the head on these two pages.
Left: Note how parts of the

face are simplified into planes;
some areas are more detailed,
others are simple and subtle
Below: Do not just focus on

blocks and squares. There
are organic lines and flows
present even in a planar figure
Near right: Photograph

© Mangostar / Shutterstock
Far right: Finding some

of the same lines and
structures in a photographic
reference. Photograph
© Mangostar / Shutterstock
Studying the structure when you know what

planar head landmarks to look for. This is
You can use a planar model to invaluable for creating life studies
study the head from all angles, or stylized versions of your own.
blocking out all the major
geometry, proportions, and bony As you study, bear in mind that
landmarks, and plotting out the the “planes,” though flattened,
shapes of light and shadow. The simplified interpretations of
brow, eye sockets, cheeks, mouth, features, are not necessarily
and chin are key features to focus completely flat. A plane of the face
on, but the subtler forms of certain may have natural bends or curves
areas, such as the temples, should to it, but it is important to be able
not be forgotten. to recognize it as one piece of the
facial structure puzzle. Despite
Every human head is unique, and seeming like a robot at first glance,
by understanding the proportions a planar figure will still have an
and placements of these key organic flow to its features. Once
features you can create an infinite you have become acquainted with
variety of faces or capture any the planes of the face, you will be
likeness. Any head, whether in able to find and follow those lines
real life or a photograph, can be and rhythms in real faces a lot
broken down into a simpler planar more easily.
Left: Examples
of dramatic
lighting on a
female planar
bust, using a
pocket torch in
a dark room
Right:
Examples
of dramatic
lighting on a
male planar
bust, using a
pocket torch in
a dark room
Studying lighting catch the most light, such as the

MAKE YOUR OWN Another advantage of using a brow ridge, nose, points of the
RESOURCES planar reference model is that you cheekbones, lower lip, and chin.
If you work with clay or 3D, it can control the lighting conditions Remember that these parts can
can be beneficial to make your under which you are studying it. also contribute to the deepest
own planar head model. The shadows: dark eye sockets, the
process of sculpting in three You can use a lamp or small torch cast shadow of the nose, and the
dimensions will enhance your to create dramatic chiaroscuro- labiomental crease between the
understanding of the planes, like lighting scenarios from any lower lip and chin.
helping you to absorb that angle you choose. It is a great
information more deeply, and resource for making value studies Some parts of the face are
the resulting sculpture will with both traditional and digital rounded and subtle, such as the
be a useful resource that you media, or for quickly consulting forehead and cheeks, which will
can keep for future reference. when you cannot find a suitable often have no severe shadows.
photographic reference with Remembering to render these
the precise angle or lighting features appropriately will go a
quality that you need. Protruding long way to adding depth and
structures in the face will often structure to a face.
Also consider how bouncing are only working with one light Below: If you find the planes Studying different
or secondary light sources can source for your planar head, and confusing, try squinting and heads
subtly bring out the structures are assuming that some of the simplifying the values into larger A classically masculine face, such
of the head you are drawing. A figure is in total darkness, you groups. Bear in mind the strength as the planar model shown on the
faint reflected light can clarify the might be surprised by the subtle of your light source and how it falls right here, features a prominent
outline of the jaw or the underside secondary light that bounces off on the reference brow with deep eye sockets, a wide
of the nose in a naturalistic way the surrounding environment, jaw, and generally angular facial
that does not distract from the affecting the outlines and even the planes; meanwhile, classically
main light source. Even if you colors of what you see. feminine features are softer and
less angular, with a narrower nose
and jaw. However, there are no
hard and fast rules. Features and
proportions will vary across ages,
genders, sizes, and ethnicities,
but once you understand the
principles of a planar reference,
they can be applied to almost
anyone or anything.
Above:
This planar
model features
a heavy brow
ridge and
rugged facial
planes
Near left:
Comparatively,
this figure
has smoother
and narrower
features
Top left: It is a worthwhile exercise to

Photograph study real people with different
© Ollyy / facial structures and analyze their
Shutterstock planes and proportions. Features
such as cheekbones and jaw lines
Bottom left: are easy to pick out on a planar
Any face can model, but they are not always so
be broken clearly defined on a real person.
down into It is valuable to learn about the
a planar geometry and landmarks of a
structure: just generic head, while also studying
look for areas as many real faces as you can in
of light and order to learn both the striking
shadow, and and subtle ways in which people’s
the underlying features can be manifested.
forms of the
skull and Studying planar references is
facial muscles. not meant to be a substitute
Photograph for studying facial anatomy
© Ollyy / and muscles in more depth;
Shutterstock the two approaches should be
taken together to gain a holistic
Top right: understanding. Planar studies
Picking out key develop your sense of the head
rhythms and as a solid, generic object that
proportions interacts with light sources,
from a lateral while muscle studies develop
view, such as your understanding of individual
the zig-zag anatomical details and nuanced
profile of the facial expressions. Both are
nose and essential if you are to accurately
mouth, and reproduce facial expressions.
placement
of the ear
between the Near bottom left: Combining and
face and back applying the observations we
of the head have learned so far to a real head:
picking out the profile of the nose
and mouth, ear placement, and
the soft flow of the cheek and jaw.
Photograph © Ollyy / Shutterstock
“A must have
anatomical guide
for artists. When
you compare,
price and quality
it's the best in
the market”
CUSTOMER REVIEW
Whether you use pencil and paper, paintbrushes, clay, ZBrush,

Maya, 3ds Max, or Photoshop, our anatomical reference figures
are invaluable if you want to understand the form and structure
of the human body.
All figures are neutrally posed and of an athletic build, standing

between 16 and 34 cm tall. Cast in gray resin in order to
make the variation in the surfaces and directional flow of the
muscles easy to see and understand, the size and low price
tag make these models a perfect desktop reference, while also
maintaining the level of detail an artist requires.
AVAILABLE NOW
shop.3dtotal.com
We offer discounts on bulk orders for schools, universities, and other centers for education.
Please contact [email protected] for more details.
Basic form
and proportions
Human anatomy is one of the most complex things to depict, but is also
one of the most important areas to get right for the success of a project.
From correct anatomy comes not only the credibility of a character
but also the ability to convey their mood. We accomplish this through
gestures, posture, and movements of the character. For this reason
correct representation of human anatomy is essential to creating a
successful work of art.
By Laura Braga
laurabraga.com
44 | Basic form and proportions 3dtotal.com | 45
01
This chapter will explain the presence, but this model is • The width of the shoulders
rules to help us understand how definitely the most suitable and is equal to twice the height 02a
to depict the male body. We will usable to start studying this topic. of the head
start by breaking human anatomy
down into basic proportions using After studying the general • The length of the hand is draw horizontal lines as a base for (of the thigh and calf) will not tend
simple forms and lines. We will not proportions of the human body, we equal to the height of your image in order to show the to be perfectly vertical to the rest DON’T REPRODUCE
examine and illustrate a detailed will then move to the construction the head segments of proportions that we of the body, but slightly oblique THE LINES
medical study of anatomy, but of the body as a whole. have referred to so far. (fig.02b). Don’t just copy the correct
rather a set of simple rules that It is apparent that the height of forms; try to understand why
will help us to represent the Proportions of the the head is used as a consistent Building the human body with a Remember to keep the pose and how it is that the forms
functional nature of the human human body measure for the proportions of rough line mannequin allows us to supple rather than rigid. Even of the human body work in a
body, specifically applicable to To ensure we have the correct the human body. When rotating a quickly see whether we are using when standing up straight the certain way.
the realm of artistic illustration proportions for the male anatomy, model to represent him from other the right proportions for the body, body is made up of gentle curves,
and 3D animation. we can refer to simple standard angles (3/4, profile, and rear), we and judge if any proportions need not hard angular lines.
schemes that some illustrators must also keep in mind that it is to be fixed. This shouldn’t take too
We will study the anatomy of the use on a regular basis. These are critical that the proportions remain long. Mark the joints with circles The spine is important to get right Left: Front, 3/4, and profile
adult male body, with a standard as follows: the same (fig.01). (fig.02a). because it is the main support views of the male form
physical shape – it will therefore column of the human form and
be a classic, idealistic model. • The ideal height of the Basic line references We can also build the legs at this conveys a natural look to the figure; Above: A rough line mannequin
Obviously not all human bodies human body is eight times Keep these proportions in mind as stage, starting from the base. Note it is not straight from the side but with joints highlighted
reflect this kind of physical the height of the head you build the figure. It is useful to that the lines that define the legs has a gentle S-curve (fig.02c).
Using solid shapes –

front and 3/4 view
In order to simplify the anatomy of
our model, we will begin to build
the entire male human body using
only cylinders and spheres. Place
the spheres in the joints and in the
head; for the rest of the body use
cylinders (fig.03a).
It is important to use the correct

cylindrical shape and orientation
when drawing the individual parts;
drawing an imaginary line down
the middle of each can help to
check orientation and placement.
At first we will use simple cylinders 03a 03b
02b Top left: The and then look at the right shapes
legs have a and volumes later.
subtle change
from hips to It will be easier for us to understand
thigh to calf and represent the body seen from
the front than from a three-quarter
Bottom left: view, but it is good practice to
The S-curve study all the positions and rotate
of the spine our model a full 360 degrees to
better understand all forms of
Near top right: human anatomy.
Front view with
solid shapes When rotating the model,
remember that the spine will
Far top right: not be straight as depicted in
You can see the frontal view, but will instead
more of the form an S-shape (fig.03b). This
S-shape of shape gives the correct posture
the spine in and allows the body to stay erect.
a 3/4 view Remember though that the male
body is not as curved as the 03c
Bottom right: female body (fig.03c).
The male torso
doesn’t have an A good trick for respecting the body’s limbs in full, even those can be sure that all the limbs will
02c angle change right distances and proportions that you cannot see at all, as if the be proportioned and positioned at
at the waist of the figure is to draw all of the model is transparent. This way we the correct height.
Using solid shapes – Top left: Note

profile and back view the S-curve of
We can best observe whether the the spine from
posture is correct from the side. As the profile view
mentioned, when we start working
on the profile of our model, we can Bottom left:
see how much more evident and The legs have
accentuated the S-shape of the a slight tilt
spine is (fig.04a).
Top right:
Special attention should also be Back view with
paid to the area of the basin that solid shapes
protrudes slightly forward and then
goes back near the pubic area. Bottom
We have to place a sphere for the right: The
articulation of the pelvis and legs, proportional 04c
and also include the buttock area. head
The legs, as well as the spine, will
not be built on a perfect vertical 04a
axis but will instead be slightly
tilted (fig.04b).
When we work on the figure seen

from behind, it will be helpful to
refer to the first studies we did to
build the front view of the figure
(fig.04c). 05
Using solid shapes –

head proportions The human face can be divided the eye must match the width of What I advise, and what I personally
Finally, we can also build and vertically into four equal parts the nostrils. We get the width of find to be very useful as well as
understand the correct proportions from the top of the head to the the mouth by drawing two vertical fun, is to start from the classic grid
of the face using geometric chin (in aesthetics this form will lines from the pupils. and then change the size of the
shapes as demonstrated in fig.05. tend to correspond to the height internal modules in order to create
Start by drawing a straight line of the ear), and another four equal Obviously this construction of different appearances depending
vertically down the center of the parts horizontally, from the root of the face is an approximation on the character that you are trying
page, and then a horizontal line the ears. akin to a classic model. Actually to create.
that intersects the first one. These every face is different and has
two lines will be the center of our The eyes are positioned at the different proportions. We’ll get a It will be fun and interesting to see
face as seen from the front. Place center of this imaginary grid and, completely different appearance how the face can change by even
the eyes along the horizontal line as a rule, the distance between just by moving the eyes out a slightly changing the size of the
and the nose and mouth along the 04b one eye and the other is that of bit, lengthening the nose, and modules that you have previously
vertical line. another eye. The inner corners of widening the mouth. built up.
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Artwork © Sandeep V.S
Drifting
free in space
“She just wants to connect, with anyone. Almost a year of drifting
free in the Pariah asteroid belt, and not one commuter... until
now. The transmission alarm sounds, waking her. She lurches
from her captain’s chair and peers at the forward screen, then
her comms. Is she seeing this correct? She rubs sleep from her
eyes and runs her hands through long, black hair, tying it up out
of her face. “Another mining class?” she smiles, beams. “Finally!”
She stands and pulls up the zip of her mining uniform, the Corps
Mining logo half-torn from her breast. Trousers hang slightly
loose from malnutrition. Barefoot had been the choice footwear
option for months. She breathes in and tries to look casual as
she gives the order to open video transmission. The forward
screen connects. It’s like staring at a mirror.”
By Almu Redondo
almuredondo.com
Narrative by Adam J. Smith | adamjsmithauthor.blogspot.co.uk

Artwork © Almu Redondo
54 | Drifting free in space 3dtotal.com | 55
Below: A diagram showing the most

important concepts drawn from
the brief and its interpretation
In this tutorial you will encounter structures.” To communicate Those first minutes with the
one of the most challenging and the greatest amount of story text are fundamental, so read
exciting scenarios for a character and personality, with the fewest through it with a notebook by your
designer: to design from a number of lines, should be your side to catch the first ideas and
narrative brief! This is the best objective, and this is what we will thumbnails that come to mind.
opportunity to bring extra depth aim to do in this tutorial. I will
to your characters through the go through different techniques It also helps a lot, if possible, to
use of subtleties, several layers that will help you achieve this, capture your initial ideas while
of psyche, and some fascinating starting with rough maps of ideas relaxed (in your favorite café for
back stories. and thumbnails in pencil, going example) and to read the text
through ink drawings and digital slowly. The best ideas come in this
For this reason, every small detail retouches, to the final color and state of relaxed attention.
counts and the challenge to make presentation in Photoshop. Are ALPHA STATE
a solid, relatable, and “living” you ready? Let’s dive in! In this case, I choose three Picasso said, “Inspiration exists, but it has to find you working.” What if we could actually switch
character is the most difficult but keywords from the narrative: inspiration on and focus it every time that we need to? Actually, studies of our brain waves have found
interesting part of it. Extracting from “miner,” “captain,” and “space.” we can!
the brief From these keywords are several
To help you achieve this, I To start with, and to get you into concepts that I want to associate It has been shown that our brain has five frequency states and one of them, the Alpha state, is the best
recommend you print and hang the creative mindset, highlight the with them (which I note in purple) one for creative work. When our brain is relaxed, it is also more focused. The amazing news is that we
by your desk the wonderful main words from the brief. Start and thoughts of how I would can trigger this state of mind with music, meditation, or breathing (and coffee always helps!). I practice
Walt Stanchfield mantra: “Draw writing or creating thumbnails of translate those ideas into practical this every day and it makes me considerably more effective, productive, and creative. I encourage you
ideas, not things; action, not the ideas, sensations, or feelings visual concepts for the design to research it and get the most out of it!
poses; gestures, not anatomical these concepts create in you. (which I note in green).
SWOT (Strengths, HELPFUL HARMFUL psychologists to define the

Weaknesses, personality of their roles or
EXTERNAL ORIGIN
6
STRENGTHS
Opportunities, Threats) WEAKNESSES clients. This technique uses the PERSONALITY TRAITS OF
This is an exercise I have borrowed COMMANDER
SITUATION NOT VERY “Enneagram.” The theory states A LOYALIST CHARACTER
HERO
ATTRACTIVE
from my past experience as an POSITIVE that every person can be classified
PERSONALITY STRENGTHS WEAKNESSES
architectural designer, which is used DELICATE BALANCE BETWEEN by one of nine personality types HEALTHY LEVELS UNHEALTHY LEVELS
REAL
FEMALE AND STRONG TYPE
for urban planning projects. In this GROUNDED (although everyone has a little of
exercise you create a “SWOT board” each personality trait), and each ► S TRATEGIST ► S TUCK IN DOUBT
► SELF-AFFIRMING ► ENDLESS QUESTIONING
where you identify the internal and type has a main “fear” and a main
OPPORTUNITIES ► APPEALING ► VER-ANALYSIS
O
INTERNAL ORIGIN
external qualities of the design that THREATS “passion” that determines our ► RELIABLE ► OCUS ON FAILURES
F
UNUSUAL STRONG FEMALE
are potentially helpful and harmful. In FALL INTO STANDARD actions and reactions to the world. ► TRUSTWORTHY ► EEL PERSECUTED
F
CREATE A “REAL” CHARACTER “CUTE” CHARACTER ► SACRIFICING ► KEPTIC
S
this sense, the internal elements are
► REATOR OF STABILITY
C ► NXIOUS
A
based on the details in the narrative CONTRAST BETWEEN MAKE A “BORING” The Enneagram technique also ► TRONG BELIEFS
S ► ARCASTIC
S
HER SITUATION & HER CHARACTER WITH NO APPEAL
and are character-specific, while the theorizes that each one of us has ► EVOTED & LOYAL TO A CAUSE
D ► ELLIGERENT
B
PERSONALITY
external elements are caused by a hero and a demon side; we can ► B LAMING OTHERS
the wider context the design will be be the brightest hero when we are
viewed in. at our best, or we can be the worst
villain when we are under the most
Through evaluating the internal- stressful levels of our personality.
helpful characteristics of the design, Fascinating, right?
you will locate its strengths, and by
finding the internal-harmful elements You can learn more about this
you will learn where the design may theory and how Enneagrams work
have some weaknesses. By looking at www.enneagraminstitute.com.
at the external-helpful facets, you This theory is incredibly helpful for
can identify the opportunities that character designers determining
the design presents, and from the the character’s story arc and
external-harmful aspects you can inner conflicts. For this character
THE
identify the possible threats to the 5 THINKER I select personality type six, the
ENNEAGRAM
design’s success. observer, investigator Loyalist, and list her strengths and
Fear: uselessness
1 PERFECTIONIST weaknesses based
reformer, judge, critic
The four categories of strengths, 6 LOYALIST on this.
Fear: anger
weaknesses, opportunities, and skeptic, questioner
Fear: deviance
threats created by this exercise can 2 HELPER Borrowing from reality Sometimes just the position of Opposite page (middle and
connector, manipulator,
be referred back to and will keep your 7 ENTHUSIAST A very helpful trick to bring extra an arm, or the expression on bottom): SWOT grids show the
nurturer
ideas clear throughout the design adventurer personality to your character is a face, can be the trigger for
Fear: own needs pros and cons of the brief
Fear: pain
process. This in turn enables you to sketching real people in cafés and inspiration. This will then bring a
3 ACHIEVER
commit to that key concept that will 8 CHALLENGER bars. Try to capture the personality solid foundation to your design. Top: The strengths and weaknesses
performer, status-seeker
be the soul of your design. leader, maverick and essence of your subjects
Fear : worthlessness, failure of this character based on her
Fear: conflict
in quick, simple sketches. This loyalist personality type
4 ROMANTIC
Psychology artist, individualist
9 PEACE MAKER practice will help you drag ideas Opposite page (top):
You can use an extremely interesting mediator. Fear: conflict from reality to use as a base for
Fear : ordinariness SWOT grids show the pros Above: Go out and sketch real
technique used by actors and your character design. and cons of the brief people and distill their essence
Embracing contrasts Intelligent exaggeration For this character you could

Now it is time to look at the Cartoonish exaggeration can be explore broad shoulders and SWITCH TOOLS
construction of the character. Your your best tool to create mind- strong arms, square shapes and AND SWITCH OFTEN
design will need to have contrast, bending characters full of feeling straight lines. Balance them with You will find that there are many
not only in the basic shapes and story. However, it can look some angles and triangles to get times when it is extremely beneficial
and volumes, but also from poor if the exaggeration is done the feeling of strength, authority, to switch between traditional and
the inside-out. Often, the most without a clear purpose, sense and security that this character digital tools throughout the design
successful characters (especially of story, or direction. That is should exude. process. Each one of them has
in animation) are those where why it is important to have a strengths that you can use to your
the physical appearance is highly clear understanding of the story, However, keep in mind the key benefit when designing.
contrasted, or sometimes even personality, and world of your concept for the design. From these
opposite, from the personality. character before you begin to experiments choose a few that While the pencil gives you a nice
For example, the character Tyrion manipulate the character’s shapes have the best contrast of shapes balance between freedom and
Lannister is described in George and volumes. to develop the concept. commitment, ideal for the first
R. R. Martin’s books as small, ugly, stages of the design process, ink
and almost repulsive, but he has will force you to slow down and
the most attractive and seductive commit to each line you make. This
personality of the whole saga. makes your drawings purposeful
Arya Stark on the other hand is a and meaningful.
cute-looking little girl who hides a
dangerous personality within. Finally, working digitally gives
you the complete freedom
Contrasts between appearance needed to work in an intuitive
and personality is an extremely way, and generate amazing clean
interesting idea to play with. In this and finessed pieces. Different
case, I explore creating a large, techniques can help shape and
strong body that will contain a tune your brain when working — so
tender personality encapsulating a use them!
righteous heart.
Top: Create dynamic and

interesting contrasts between Proportions The ladder is an even distribution of personality through proportions.
the physical appearance of your Proportions, and relative the different body parts (generally For example, if you want to create
character and their interior self proportions, will help you most the head, torso, and legs) which the impression of a big head, the
when defining an appealing looks quite uninteresting. next part of the body — the chest —
Bottom: Apply intelligent character imbued with personality, should be shorter so the head will
exaggeration to your shapes and enable you to get the style of Sometimes inspiration will not look relatively bigger.
that reinforce the story the character. come, so instead you have to
generate random distributions The same approach can be applied
Opposite page: Generate rough Keep in mind that one of the most and then fill these in with the with exaggeratedly long legs and
silhouettes with interesting proportions important ways to achieve good three main body parts later. a short chest, or a big, hero-type
between the head, torso, and legs proportions is to avoid “the ladder.” Relativity is a key factor in adding chest and shorter legs.
“Combine different
Complex vs.
simple designs
types of lines to
The need for complexity or simplicity create straighter, more
of style is often determined by the
kind of production the design is
righteous characters
to be used for. Animation usually or friendlier, more
requires simple, clear characters to
save time and make the production
rounded ones”
posing of them efficient, especially
if it is a 2D animation.
More complex characters are only

usually affordable in videogames.
Often in these types of projects the
character animation is minimal or
in loops, and the need to quickly
read the acting silhouette is less.
In this case, I explore some more

design concepts, but they are not
successful. I have a hard time
focusing on the face and the Opposite page: Check for clarity and
actions of the character in these readability in your design. Getting the right
designs, so continue exploring amount of detail for the project is important
alternative ideas.
This page: Explore the difference
Soft and straight lines between a character dominated by
Angular lines, straight, broken, rounded lines and others by straight lines
or spiky lines; these can evoke
different emotions from more
flowing and soft lines. This can
be an extremely useful technique THE CHARACTER’S PERSONALITY
for character designers. You can For a long time in the process I toy with the idea
combine different types of lines to of contrasting the character’s personality with a
create straighter, more righteous more spicy Indiana Jones feel. This would make
characters or friendlier, more the character appear more adventurous, cheeky,
rounded ones. The type of line that and playful. However, while it is fun to make the
is most prevalent and the quantity drawings, I do not get the depth of the character
of other line types that are used can that I distilled from the brief, so sadly I put this
be the difference between a mean idea aside. Nevertheless, this adventurous idea is
and dangerous character, and a always my favorite personality to explore!
highly sensual, natural character.
Facial construction and half-divisions. The perfect brings the eyes closer together. • Leaning forward – accessible Body language
To give your character expression face does not exist in real life, but This is a trick that you can use to • Wider stance – even For learning about the many meanings behind human
you could apply a highly interesting through comparison you can see your benefit to bring maturity or more authoritarian body language, I highly recommend What Every Body
concept from caricature drawing. when a nose is longer than normal, wisdom to your characters. • Furrowed forehead – anxiety, is Saying by Joe Navarro. With this information you
This helps many artists learn what and what emotion and personality concentration, distressed can create high contrasts in the evolution of your
areas to exaggerate in a face and that offers. Furthermore, you can You can even use this method • Puffed up chest – character’s body language throughout the narrative.
how manipulating features can tell imagine a triangle in the face by to make your characters appear territory dominance
a story. mentally drawing a string between more appealing by giving them You can see here how the character’s body language
both eyes. The string pulls down wider spaced eyes like a child, or might change as the story unfolds. At the beginning
Start from a base of the “perfect” in the middle to form a deeper make them more mean-looking of this character’s mission (top-left) she is positive
face, with it divided into thirds triangle as we get older which with eyes brought close together. and confident with her chin up, and an inflated chest.
She stands tall in a power position with her feet
spread, shoulders pulled back, a fixed gaze, and open
forehead. This all suggests that she is a character
with strength, ease, power, and authority.
• Wide stance – authoritarian
• Ventral front – confident By contrast, in the final pose (bottom-right) her

• Clear, raised eyebrows – positive shoulders are lowered and hunched forward. She is
• Smiley eyes – happy, positive looking down to the floor with low eyebrows and a
small mouth. This suggests she is feeling troubled or
doubtful, with strong worried thoughts and a sense
of unease.
This page: USING HAIR IN DESIGN

Avoid trying • Closed fists – intensity As the master animator Glen Keane says,
to draw the • Forward – ready to act the hair is an extension of a character’s
perfect human • Lower eyebrows – personality. The design and movement of the
face and intense conflict hair can tell the audience as much about a
instead inject • Arms akimbo – character as the face or hands.
personality intense authority and
with territorial dominance In the case of this character design, the hair
imperfections shows the most blunt, honest, and fluid side
of her. It creates big, simple gestures by either
Opposite • Shoulders hunched floating in the air, or falling down to cover
page: Apply – low confidence, her face when she has deep and insightful
body language negative emotions moments. It can act like a curtain to hide her
concepts • Leg touching, from the world while she is lost in thought,
to create “pacifying” but it is also practical, unkempt, and natural.
the correct discomfort – anxiety It suggests she has been isolated for so long
sensations and • Ventral denial that she has forgotten to take care of herself
actions within – trouble and simply allows her hair to grow disheveled.
your characters
Far left: Cast

an imaginary
actor to help
create an extra
dimension
and more
believability
Near left: Fine

tune your final
image to get
the best pose
and design
Right: Final
image © Almu
Redondo
Acting and gesture dimension of reality and help moment, and the drawings can be
In general terms this character make the design more solid. cleaned later if needed.
has an air of quiet authority. She
is not explosive, but thoughtful. For this character, I imagine a Final design
How would she react in a conflict? personality that’s somewhere Often, the smaller, rougher
With quiet and peaceful security, between Ripley in Alien for her thumbnail in the corner of a
an analytical thought process and fearless commitment, Sarah sketchbook (or even on a napkin)
a Zen-like approach I think. She Connor from Terminator for her can hold the best design and
keeps her nerve and her presence strength, and Brienne of Tarth from balance of proportions. This
evokes respect in others. Game of Thrones for her fortitude. is the case for me with this pose, before she becomes isolated demands cold colors, unlike a compensate for her internal depth,
character design. So, taking the in the asteroid belt station. vibrant red which would show the and give the color palette a final
She is a strategist, decisive, the You can show this development by final line drawing, I adapt it to the real strength of her on the inside. punch, an occasional red-pink
first one in line, and protective. creating drawings that are looser, proportions of this tiny sketch Final color touch helps to balance the color
Once there is a clear sense of and closer to animation roughs, (right). It is important to choose The choice of colors was clear to For this contrast a cold palette harmony. To finish, add some
who the character is as a person, with no need for them to be “on the most appealing final pose or me in this design from the very of blues and purples (a color simple lighting and final texture to
it is possible to theoretically cast model.” This will keep the energy one that tells a lot of the story. In beginning. A very quiet character associated with high positions bring the design to a semi-finish
an actor to give you an extra and essence of the narrative this case, I choose a very heroic with a deep emotional dimension in society) will be suitable. To that could be shown to the client.
“It’s simply amazing!
The book has hands-
on tutorials on
designing characters
and gives new
ideas to focus your
character design”
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Artwork
© Pernille Ørum
The structure
of the skull
Though most of the human skull is covered by muscle and fat, there are
still some key points that are clearly seen on the surface of the face.
Knowing the location of these bony landmarks can help you visualize the
skull beneath and give you a better understanding of the construction of
the human head in general. When it comes to drawing and painting, they
are also important because they often create hard-edged shadows, which
help make a piece of work look more three-dimensional.
By Rita Foster
ritafoster.blogspot.co.uk
70 | The structure of the skull 3dtotal.com | 71
In this chapter we will examine

the standard proportions of the KEY LOCATIONAL
skull to help you more easily place TERMS
the landmarks. We will then take There are a few anatomical
a closer look at the landmarks terms used in this chapter
themselves and how they impact that it will be useful for you to
the face on the surface. be familiar with.
Standard measurements Anterior view:

of the skull View from the front
As a general rule we can apply a
basic measurement system to Lateral view:
the human skull which can help View from the side
you to identify landmarks when
beginning a piece of art. These are Superior view:
more like guidelines rather than View from above
fixed dimensions since the shape
of every human skull and face Inferior view:
differs slightly. View from below
Imagine a horizontal line extending

along the top of the skull, a second
horizontal line along the bottom
of the mandible (the lower jaw),
and then a third horizontal line
that runs through the center. The identified, it will then be easier to Above: The skull
horizontal line that runs through block in the major shapes of the divided into
the center of should align with the skull, which will greatly reduce the halves and thirds
orbital cavities (eye sockets). The likelihood of creating a skull with (anterior view).
skull may then be separated into uneven proportions. Artwork Milunkic/
thirds. The first third will run from Shutterstock.com
the top of the skull to the brow, Thinking of the cranium and
the second third will go from the mandible as two separate aspects Top right: The
brow to the base of the nose, and of the head can also be helpful in skull (lateral view).
then the final third will run from the terms of simplifying the forms, as Artwork Milunkic/
base of the nose to the bottom of it means you can block out the Shutterstock.com
the chin. cranium as a simple circle in the
anterior view or an oval shape in Bottom right:
In the images here you can see the the lateral view. In the anterior Rough guidelines
skull divided into thirds and halves view, marking a vertical center can be used to
from anterior and lateral points line also helps to ensure that the roughly sketch
of view. After these standard proportions are even on either side out the forms
measurements have been of the skull. of the skull
Frontal bone
Parietal bone
Glabella
Temporal line
Nasal bone Parietal bone
Temporal bone
Orbital cavity Temporal line
Maxilla
Zygomatic bone
Zygomatic arch
Frontal bone
Mental
protuberance
Mandible Glabella
Nasal bone
Orbital
cavities Zygomatic
bone
Frontal bone
Maxilla
Orbital cavities
Glabella
Temporal line
Temporal fossa
Mental
Nasal bone protuberance
Zygomatic bone
Mandible
Maxilla
Zygomatic arch
Mandible
Mental
protuberance
74 | T h e s t r u c t u r e o f t h e s k u l l 3dtotal.com | 75
Infraorbital Maxilla
foramen
Nasal
bone
Glabella
Zygomatic
Zygomatic
bone
bone
Orbital
cavities Frontal
bone
Zygomatic
arch Zygomatic
arch
Foramen
magnum
Occipital
bone
Parietal bone
Differences between
male and female skulls
There are a few differences to keep
in mind when drawing male versus
female skulls. With a female skull,
you will find that the weight and
size is generally smaller than that
of a male skull, and the cranium
itself will tend to have a more
bulbous shape.
A male skull is squarer, which is

most evident when studying the
shape of the eye sockets and the
mandible. The glabella (the area
between the eyebrows, above the
nose) is also more prominent on
a male skull. In general, the bones
of a male skull are thicker, heavier, Top left:
and wider than that of a female Female skull
skull. However, when it comes to (anterior view)
construction, male and female
skulls can both be divided into Bottom left:
thirds as described previously. Male skull
(anterior view)
Superciliary ridge
The superciliary ridge (or brow Near top right:
bone) is located at the base of the Superciliary
frontal bone of the forehead and ridge (three-
just above the orbital cavities. Its quarter view)
prominent protuberance makes it
easy to identify. Its curved shape Far top right:
helps to support the muscles Superciliary
which control eyebrow movement. ridge (anterior
This bony landmark often stands view)
out straight away, especially in
male skulls, and as light comes Bottom right:
down from above, a hard edge is Note the dark
usually cast against the orbital shadow cast
cavities, as you can see in the by the brow
male portrait sketch. over the orbital
cavity. Artwork
© Rita Foster
Nasal bone bridge, the nose is then formed by the shape of an individual’s nose
The nasal bone is actually made several sections of cartilage which can differ dramatically from
up of two separate bones fused create the shape of the nose you person to person.
together in the middle to form the will be more familiar with.
upper part of the nose. You will also notice a slight plane
You can see the cartilage overlay change on people’s noses as the
This is often referred to as the drawn in the image below. Once forms change from the nasal bone
“bridge.” At the bottom of the the cartilage is taken into account, to the cartilage.
Top left: Nasal

bone (three-
quarter view)
Far bottom
left: Nasal bone
(anterior view)
Near bottom
left: Nose
shown with
cartilage
overlay
(anterior view)
Near top right:

Nasal bone
(lateral view)
Near top right:

Nose with
cartilage
overlay (lateral
view)
Far right:
Here you can
see how the
nasal bone
and cartilage
help form the There are three basic planes of on the opposing side. This will construct when viewed from the
planes of the the nasal bone, and when the help to ensure that you add three- front. In the portrait below you can
nose. Artwork light shines onto one of them it dimensionality to a facial feature see the three planes of the nose
© Rita Foster creates hard edges of shadow that can be quite difficult to more clearly.
Zygomatic bone
The zygomatic bone (cheekbone)
is another bone that can be seen
on the surface of the face relatively
easily. It is another landmark (like the
superciliary ridge) that supports the
border of the orbital cavity and also
extends up along the lateral side of the
skull. In an anterior view of the skull
you will observe a concave portion
between the zygomatic bone and
maxilla (upper jawbone) just beneath
the bottom ridge of the orbital cavity.
You can see the superior and inferior
views of the zygomatic bone on the
right-hand page to give you more of
an idea of how this bony landmark
affects the outline of the skull. Zygomatic arch
The zygomatic arch is another
This area is another point where part of the zygomatic bone which
shadows will usually occur when the extends along the side of the skull
light shines across them. Highlights and connects to the temporal
can also sometimes be seen along bone (shown in the image on the
the top of the zygomatic bone. left). The temporal bone itself will
Cheekbones vary, and can be more form part of the side and base
prominent in some people and less of the skull. This is the point (the
prominent in others. Temporal bone temporomandibular joint) where
the mandible is connected by
muscles and ligaments to the
Near top right: Zygomatic cranium area.
bone (lateral view)
When viewing the zygomatic arch
Near bottom right: Zygomatic as an undulating form beneath
bone (anterior view) the skin, there is a definite ridge
that stands out and creates a
Middle top right: Zygomatic separation of planes in the face. It
bone (superior view) is helpful to remember the shape
of this bone in order to establish a
Far top right: Zygomatic convincing structure of a human
bone (inferior view) head. You can see the superior
and inferior views for reference on
Bottom right: Zygomatic the next page.
arch (lateral view)
Mandible
The mandible forms the lower part of the
skull and is connected to the cranium by
powerful ligaments and muscles, one
being the masseter. There are a series of
ridges in the bone allowing attachment
of muscles, which in turn allow the jaw
to function for tasks such as opening
and closing the jaw and chewing food.
One of the main differences between
men and women is the shape and size
of the mandible; men tend to have larger
and squarer jaws than women, and the
mental protuberance (see next page) is
more pronounced on men.
As the skeleton develops in utero, there

are many individual pieces of the skull
Far top left: that are not fully fused. These bony
Zygomatic arch pieces and the seams between them
(superior view) do not seal until young adulthood,
and even then the skull continues to
Near top left: develop throughout a person’s life. For
Zygomatic arch example, the mandible is composed of
(inferior view) left and right processes (projections
Mental protuberance
from the bone) that fuse together and
Bottom left: harden after birth into the bone that
Mandible we recognize as the lower jaw. On the
(three-quarter mandible, the seam (which creates a
view) slight ridge) where the two halves meet
is known as the mandibular symphysis.
Top right: Around this seam you can then see
Mandible the mental protuberance, which helps
(anterior determine the size and characteristics
view). Note of a person’s chin.
the mental
foramina In an anterior view of the mandible you
and mental will also notice two holes on either side
protuberance of the chin, just below the teeth. These
are called mental foramina (openings).
Bottom right: They supply a canal for nerves to travel
Mandible through to the lip and chin.
(lateral view)
Far left: Sketch

AVOID PERFECT in which you
SYMMETRY can see the
Though the human body is impact of the
developed in symmetrical underlying
parts, the left and right halves zygomatic and
of our features are never jaw bones.
perfectly symmetrical; as with Artwork ©
our hands and feet, the two Rita Foster
halves of our skulls are not
perfect mirrors of each other. Near left:
Adding asymmetry and subtle Orbital cavity
differences between the left detail (three-
and right side of the face will quarter view)
add a level of authenticity and
realism to your work. A truly Below: Orbital
symmetrical face will always cavity (anterior
strike the viewer as uncanny view)
and even alien.
If you look at any face, you

can find a midline down its
center. From here, imagine Orbital cavity
that each half of the skull Each orbital cavity is situated
has its own unique bone between the nasal bone, the
structure, and that seemingly superciliary ridge, and the
symmetrical surface features zygomatic bone. One orbital
of the face (such as the eyes, cavity is about as wide as the
philtrum, lips, and chin) are nasal cavity is long. This landmark
not perfectly mirrored. By is particularly noticeable as it
doing this you will be able to creates a shadow in the upper
capture better likenesses and inner region where the nasal bone
invent more natural-looking meets the superciliary ridge. In
faces. As you can see in older people the orbital cavity may
the sketch on the left here, become more noticeable on the
the hairline, structure of the upper outer edge and along the
This portrait is a good example can see how the shadow forms nose, lips, and eyes are not zygomatic bone.
of how the zygomatic bones underneath the zygomatic arch perfectly symmetrical.
and mandible can have quite a and around the maxilla. You can
pronounced effect on the surface also observe how a highlight is
of the face and the covering skin. formed along the bottom of the
With the light coming from above orbital cavity, which we will go on
and in front in the drawing, you to discuss next.
There are three different notches Top left: Orbital

in the bones surrounding the cavity (lateral view)
orbital cavity which are there
so that arteries and nerves may Bottom left:
pass through. One is located in Orbital cavity
the brow bone; it is called the (three-quarter
supraorbital foramen (foramen is view)
the singular term for foramina).
There is another on the lateral Right: In the
side on the zygomatic bone called drawing here you
the zygomaticofacial foramen. can see how the
Another is located just below the zygomatic portion
orbital cavity, in the maxilla; it is of the orbital
called the infraorbital foramen. cavity produces
Thinking about the functionality a highlight. You
of these foramina will help you to can also note
remember that the eyeballs sit in how definition is
the orbital cavities; if you keep this created by the
in mind it should help your eyes nasal bone. Artwork
look more realistic rather than as if © Rita Foster
they are protruding from the head.
Supraorbital foramen
CONSTRUCTION TIP
Shading is a very important aspect of drawing. When light hits a surface, shadow begins at the point where
form turns away from the light. It begins with the darkest part of the shadow called the core (soft edge),
Zygomaticofacial
turns into reflected light (lighter) and then a cast shadow (crisp edge). The cast shadow is a result of form
foramen blocking light. It is easiest to block in all the edges of the shadows first to create guidelines for shading
the entire piece. That way you have all the shadows mapped out before you commit yourself to hours of
shading work. As the subtle forms of the skull are quite complex in areas such as the orbital cavities and
Infraorbital foramen
nasal bone, visualize the angles of form and the way they project out or become concave. Imagine the tip
of your pencil as a tiny ant crawling along these forms in a series of lines which will soon become shading.
Anatomy of the
Human Head
The Artist’s Guide to the Anatomy of the Human Head is an
essential reference guide designed to help you not only
understand anatomical forms and features but also to learn how
to accurately and effectively portray emotion in any character-
based artwork. Written and illustrated by leading artists from
a variety of disciplines, including 3D modeling, illustration, and
fine art, the visual aids and insight offered make this book a
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Artwork © Rita Foster

Artwork © Eliza Ivanova
Wings
“Instinctively touching her back, she felt coarse feathers bristling
through her skin, like acupuncture needles she was once
compelled to touch. That had been weird, but nothing compared
to this. She pulled on one nascent shaft and felt her skin peel
towards it. It was stuck, but she got the feeling that if she pulled
a little harder, it would pop, and come out in her fingers.
In the mirror, she shrugged her shoulder blades and feathers,

black – highlighting the opalescence of her pink skin –
blossomed like a blast of sudden spring. They grew, forming
wings, knocking toiletries from shelves and slamming like a fist
against the window pane.
The window. The sudden urge to open it was overwhelming.”
By Eliza Ivanova
elizaivanova.com
Narrative by Adam J. Smith | adamjsmithauthor.blogspot.co.uk

92 | Wings 3dtotal.com | 93
Left: The tools

used for this
project
Top near right:

Placing the
first few lines
Top far right:

Foundation
elements
Bottom near right:

Starting to craft
the scene
Bottom far right:

First background
lines
Drawing tools Adding key elements references and pay extra attention
For this illustration project, I Once I am happy with the to the smallest details, like the
have limited my choice of tools character’s face and general filigree on the mirror frame, and
to the bare minimum, which is a pose, it is time to start building not just improvise them.
mechanical pencil (I usually use all the elements of the illustration
HB or 2B), a couple of blending mentioned in the narrative extract, Background
sticks, and an eraser. It’s an easy the most important of those being composition
set of tools that I can carry with me, the wings. They need to feel huge As a precaution against mistakes,
and gives me enough versatility and powerful, yet painful. For now, I only draw a few lines for the
to achieve a highly detailed I will just outline their basic shapes window arch (the window being
illustration almost anywhere. for scale. a pivotal piece of imagery in the
story). This way I can visualize the
The first marks Setting the scene entire design before committing
After carefully choosing about ten The foundation of the illustration to the finer details, in case I want
different references for the torso is laid out and now it’s time to to make major changes early
pose, overall body position, props, figure out the overall mood of the on. Thinking back to some of my
and background, I begin by laying piece. I want to achieve a Victorian storyboarding classes in college,
the first marks down. These initial Gothic feel, and the mirror is the I decide to tilt the window frame
lines are the most important for first prop to include elements from to create a slightly diagonal
me. In this case, I want to capture that time period. layout. Diagonals in film and
the woman’s worried face from the cinematography are used to
very beginning, to confirm that my Victorian furniture is very detailed, enhance a dramatic moment, such
references are suitable. so I make sure to check some as this one.
Completing the anxiously waiting to do. The mirror the anatomy in my references,
base scene is the most intricate prop and also but I simplify it into larger light
At this stage, it’s time to lay a central point of the sketch, so I and dark shapes while still being
everything out and “mess up” take extra care in making sure I anatomically correct.
the scene. In the description, the stay true to my references. In the
girl’s wings knock over whatever background, I leave the window The wings
is on the cabinets around her, so I frame simple as visual contrast to The wings are the centerpiece of Far left:
pepper in some books, papers, and the mirror. the story, so I want them to be the Adding all
small objects to create the visual centerpiece of this illustration. I the props
busyness I imagine. I also change The shading begins add an extra layer of graphite to
the mirror from being propped Now that the foundation of the them to make sure they are the Near left:
against a wall to being on a stand image is built and all the props elements with the highest contrast Refining the
in the middle of the room. This are added and refined, it is time in the composition, guaranteeing details and
allows me to add some extra detail to shade. I always start with my that the viewer’s eyes will go line work
behind the mirror and hint that biggest blending stick, which has directly to them. I go through a
the room is large and continues enough graphite left over from process of laying a foundation of Top right:
beyond this illustration. previous drawings to build a first shading with the blending stick, Shading with a
layer of tones. As with the line then going over it with the pencil, blending stick
Developing detail work, I begin with the girl’s torso, then blending again. I add extra
Once all the props are added to which is one of the image’s most definition around the highlighted Top right:
the image, I decide to dive into important elements to establish areas to make them stand out Shading
the Victorian details I’ve been first. I do pay close attention to some more. the wings
Finishing the shading

Here I have laid down most of the
base shading. A mental note that
I always have when making an
intricate piece like this is not to
overdo it. Throughout the years,
the blending stick has allowed
me to develop an eye for what to
shade and what to keep simple, in
order to not create visual clutter.
Using the stick is a quick enough
method to block out large areas
of light and dark, and decide on
the focal point of the piece from
the beginning. The blending stick
applies thin layers of graphite
that are also very easy to erase if
an image begins to look like it is
overly shaded.
Refining the details

The blending stick allows me to
achieve a spontaneity of shading
similar to using charcoal. This way,
when I go back to focusing on the
small details, I’m not exhausted by
tedious crosshatching. I continue
refining the Victorian filigree on
the mirror, which is an almost
meditative activity. Going back and
forth between using the blending
stick and the sharp point of the
mechanical pencil greatly speeds
up my illustrating process.
Far left: Shading (is) everything
Near left: Working on some

of the finer details
Elements of design
Though I use references continuously, I try to have fun
with the shapes and “design” within the anatomy of
the body. This is a shorthand I have developed in the
past five years of constant sketching, and is also a
visual cue that this is an imaginary world. My intention
is not to make a hyperrealistic illustration, but rather
my interpretation of this imaginary scene, and it is
the small designed details and stylized flourishes
that give that impression. It’s a subtle but deliberate
choice that I make.
Visual balance
At this stage, it is very easy to overwork the shading,
because tonally similar elements increasingly exist
next to each other. Hence I keep the wall and window
simple, even when adding more detail to them, while
the girl, mirror, and floor remain visually busier to
achieve a cluttered effect. A strong sense of value
and silhouette is very important to me, and something
I have learned to respect religiously through my
experience in film and animation.
Left: The overall design of the values and shapes

adds to the fantastical nature of the scene
Above: Finding a balance with shaded elements

Left:
Bringing the
outlines back
into the image
Right:
The finished
illustration ©
Eliza Ivanova
Revisiting the outlines pop. If I need to blend something of erasing there, until it feels that
Some of the outlines have been back out of focus – such as the I will only overdo it if I continue. I
lost after substantial smudging, stool in the foreground, which stop the moment the image feels
so I take the opportunity to bring I feel is battling with the wings’ like the right balance between
some of the details back to the contrast – I can always go back in being detailed and sketchy, and
forefront. I redraw the filigree with my trusted blending stick! also graceful and delicate. As a
patterns, the window pane, the final check, I hold the drawing in
messy curtain folds, and the books The final image front of my own mirror and judge it
in the foreground. Above is the final result. My last there, because seeing the reversed
pass is less about drawing and image is like seeing it with fresh
It makes the whole image crisper more about assessing the overall eyes that haven’t gotten used to
and helps to make the elements look. A little hint of detail here, a bit each and every line.
“I couldn't be happier
with this product,
and I look forward
to continuing my
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CUSTOMER REVIEW
GRAPHITE is a quarterly publication featuring inspirational artwork, interviews, and tutorials on

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Artwork © Daniel Landerman

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THE

As a thank you for supporting us we have put together a collection of character

14 | Preparing for a life drawing session

28 | The planes of the head

42 | Basic form and proportions

52 | Drifting free in space

68 | The structure of the skull

Digital art has come such a long

For those of you who were here in

Seven years later and it had barely

Tutorials & interviews

Many sites exist where you can

able to see the latest comments;

And with the website click-

From your profile page, you’ll also

Top right: Job advertising WIP

Bottom right: Job listing WIP

Preparing for a life

Materials and tools Top left:

Paper Right: Henry

While drawing, make sure you have enough paper

Eraser Charcoal is a tricky beast – once

• relax your shoulders

• straighten your back

• unlock your knees

I was unaware of just how tense

Henry also told me to think before

Far left: My standing posture

Near left: A collaborative

Warming up 03 Now start drawing ovals and Above left:

Artwork © Kan Muftic

Near top right:

Far top right:

Left: Note how parts of the

Below: Do not just focus on

Near right: Photograph

Far right: Finding some

Studying the structure when you know what

Studying lighting catch the most light, such as the

Top left: It is a worthwhile exercise to

Whether you use pencil and paper, paintbrushes, clay, ZBrush,

All figures are neutrally posed and of an athletic build, standing

Using solid shapes –

It is important to use the correct

Using solid shapes – Top left: Note

When we work on the figure seen

Using solid shapes –

Narrative by Adam J. Smith | adamjsmithauthor.blogspot.co.uk

Below: A diagram showing the most

SWOT (Strengths, HELPFUL HARMFUL psychologists to define the

Embracing contrasts Intelligent exaggeration For this character you could

Top: Create dynamic and

More complex characters are only

In this case, I explore some more

• Ventral front – confident By contrast, in the final pose (bottom-right) her

This page: USING HAIR IN DESIGN

Far left: Cast

Near left: Fine

SOLD OUT! SOLD OUT!

• Ventral front – confident By contrast, in the final pose (bottom-right) her