Feedback welcome. My own critique is that (1) I feel like I'm starting to get a handle on how to CONSTRUCT these front view heads; but (2) none of them looks recognizably like the model and I'm hoping by the end of the course I'll be better at that.

I'm an abstract landscape painter and collage artist who (after decades) finally decided to get serious about learning to draw. This was SO HARD for me! I tried the snail first—stopped when I caught myself automatically filling in areas with shading. Then I moved on to the boots. Which made me imagine Egon Schiele, frantically trying to make more drawings in the days before his death from influenza at the age of 28, saying... "I will never have time to finish these shoelaces!" Not sure I have the right temperament for drawing, but I'm determined to persevere.

I'm calling the Norman Rockwell master study done. It was intimidating and humbling to walk in his footsteps, but I'm glad I made the attempt.

That was a dense lecture! Just want to recap because a lot was covered. Please if I'm wrong anywhere, let me know. For This Step 6: Key Planes and Forms of the Skull First, the Side plane of the skull: defined by the Temporal Fossa using for points to get height and width A. Define the height of the Temporal Fossa (FT) i. Place brow line and wrap along surface - everyone's brow line is different, moving up or down, straight, pointy, or non-existent - placing it marks the transition from the front of the skull to the top of the skull ii. Wrap the base of the nasal aperture line - defines the bottom extent of the TF B. Define the width of the FT i. Place the Temple - most often visible as the pointy end of the brow as it turns the corner to the side of the skull ii. Place the back of the head C. draw the ellipse that fits in this space and divide into four: up and down, front to back: D. Place the ear, using 5 lines into a D shape or C shape, depending on how you think of these things E. Locate the TMJ, the joint between the base of the skull and the mandible/jaw, and the auditory mietus, together they look like a little number 8. It is under the bottom of the ear. - it will look different depending on whether the jaw is open or closed. Study this to see how it moves IRL. - use this as a framework to add the the jaw, which begins at this structure just in front of it. F. Add the Jaw, noticing/deciding the angle of remus relative to the mandible: more up and down, or longer deeper angle? Gender differences may help applying from the average. G. Add the Cheek and cheekbone - Offers the Loomis rhythm as it makes a nice solution - top of ear, in a long c-curve that ends at the front end of the mandible - divide with a line from the corner of the jaw up to the c-curve to give the gesture of the angle of the cheek itself - the Cheek Bone itself can be added - extend a line out from the top of the TMJ to the base of the nasal aperture line just in front of the plumb line from the temple. - Add a second line up to the wrapped line fro the bottom of the eye-socket/top of the cheek bone. - makes a nice triangle place holder for later refinement - Turn the corner and show the front plane - add a couple nice s-curves up from the side plane of the cheekbone to create the edge of the socket H. Time for the Plane of the eyes - socket's are angled up from the outside to the keystone on either side. - this gives planes of the forehead for free by extending these lines up through the brow-ridge. - add the keystone I. Now can add the nasal aperture, the extent of the cartilage, and the planes of the nose itself J. Add the denture Sphere - orientation of the face - what do the teeth and lips add to the features of the face - adds the mass of the chin below the denture sphere, - again this will assist in placing the averages and we can go from there Next Features: Defined by Pockets of fat - Discusses the Canthral Ligament, the connective tissue that gives the angle of the eye - This tilt is what we usually ascribe to the aesthetic beauty of the figure. - ROOF Fat