How To Draw Faces From Different Angles - See more about How To Draw Faces From Different Angles, how to draw anime faces from different angles, how to draw anime.

• How To Draw A Head From The Side
• Loomis Method

Instructor How many facesdoes the following shape have? Pause this video, and seeif you can figure that out. All right, I'm assuming you paused, and I'll see if we canwork through it together.

And I'm gonna actuallytry to color the faces. So, we have this face over, whoops, let me do itin my, this other tool, so we have this faceover here in the back. So that's one face. So that's one. Then you have this face right over here, also in the back. The only way we can see this is because they've drawn itso that it is transparent.

So that is the second face. Now you have this triangular face on top. So let me color that in. So you have this triangular face on top. So that's going to be our third face, third face. And then you have thistriangular face on the bottom.

That's gonna be our fourth face. That's going to be our fourth face. And then the key question is are we done? Looks like I've colored allthe ones that I can see, but there's one a little bit tricky here.

There's the one that we areactually seeing through. There is the face, there's, let me pick a color, there's the face out frontthat we can see through so that we can see facesone, two, and four. So that's actually goingto be our fifth face. The way they've drawn it, it'slike it's made out of glass, so we can see faces one, two, and four. But that is our fifth face. And so this thing has five faces.

All right, let's do another example, but instead of faces, we're gonna think about edges. So how many edges doesthe following shape have? Pause the video, and see ifyou can work through this.

Okay, let's work throughthis together now. And I'm just gonna count these edges. So the edges are where two faces meet. So this is an edge right over there. So that's one edge. There's an edge back here, we can see 'cause it's transparent.

That is our second edge. We have this one over here.

That is our third edge. We have this one over there. That is our fourth edge.

Then we have this one over here. That is our fifth edge. Now we have this here. This is our sixth edge.

Let's see, all we have left is this one, which is edge number seven. And then last but not least, this edge of here, whichis edge number eight. And I actually found thisvery valuable to color 'em in to make sure that I wasn't missing an edge or double-counting an edge. So this thing has eight, eight edges. Actually, if you're curious,just for extra practice, how many faces does this have? Well, we can count those as well.

This has one face back there, another face back there. So that's two faces. And then you have a thirdface, which is the base, this rectangular face. So that's three faces.

And then you have yourtwo faces out front. You have this face that we're seeing through, and then we have that facethat we're seeing through.

So even though they're askingedges, just for practice, we figured out that thisthing has five faces, one for the square base and then four triangularfaces for these sides to make this square pyramid. So it has eight edges and five faces.

.In two previous articles we’ve looked at, as well as. In this third and final part of the series, we are going to examine facial views and camera angle and how to select and use both to your advantage and to flatter your subjects. Let’s start by defining these terms. Definitions or descriptionsSimply put, facial view is what portion or angle of the face that is showing towards the camera.

How is the subject’s face turned or angled relative to the lens, and your position at camera.Your camera angle is where you place your camera, in relation to the subject in so far as the height, distance, and angle to the subject’s face.Sounds pretty straight forward right? It is, however, small differences in either of the above can produce undesirable results. We’ll dig a big deeper into that in a bit, stay with me! Facial ViewsFirst let’s look at the 4 mains Facial Views used in portraiture. Full face is where your subject’s nose is pointing directly towards the lens. You see equal amounts of both sides of their face.3/4 view is where your subject turns their face just slightly in one direction until you cannot see the far ear any more.2/3 view is there the subject has continued to turn their head until the line of the nose is almost touching the outline of their cheek on the far side.

Be careful not to turn them past that point so the nose breaks the line of the cheek. It’s not a rule, but it is not nearly as flattering that way.Note: notice her earrings in the image above, and how it is not showing below her jawline in the one below. When she turned her face just a little more, the earring looked like it was coming out of her face so I had her remove it for this image. Watch for things like this as the facial angle changes.Profile is where the subject’s face is turned almost exactly 90 degrees from front, basically their nose is pointing sideways. You should only be able to see one side of their face and not the eye on the far side, in a true profile.Note: once again watch for things like earrings and hair hanging down under the chin, which can look a bit odd. I usually brush hair back and have them remove an earring if it doesn’t look right and looks like it’s dangling under the chin or neck.Camera AngleWhere you place your camera makes a huge difference in how your subject appears in the final image. Keep in mind these are not hard and fast rules.

Use them as guidelines and starting points, then use your judgment as each person is unique. Portray that how they wish to be portrayed. When you learn these tips and see how they work in practice it becomes easier and easier to know how to approach each portrait.

A high camera angle (above their eye level) will emphasize the face more than the body. This is good for a heavier set person, to help them appear slimmer if that’s desired (HINT: most women will NOT get upset if you make them look slimmer!!). A low camera angle (below their eye or even chin level) can make a person look taller, or seem as if they are more powerful. But, this is not very flattering for most people. You end up looking up their nostrils, and the body appears larger than the head and face, which is generally not desired by most people.

For group portraits of multiple people, camera position is generally about eye level, or slightly lower. This cuts down on distortion of the body parts, making them look oddly proportioned. For a portrait of one or two people, having the camera at eye level or slightly higher is the most flattering, for most people.LensesAs well as camera height or angle, which lens you select will also change the look of your portrait drastically. Think about what we know about different lenses. wide angle lenses: emphasize perspective, distorts things, makes them seem more three dimensional. telephoto or long lenses: compress things, isolate subjects, make them look less 3DThat’s all I’m going to tell you about this, I want to find out what I’m talking about by trying it out. Look at my examples below, then find yourself a person to photograph and use different lenses and see how it changes the image.Tell me what you notice about the examples here.

What do you notice changing in each?How long does it take to master this stuff?One of the most comment questions I get asked by my students is “how long did it take you to learn all this stuff?” – the answer is two fold: 4 weeks, and 25 years! I say that with tongue in cheek but it’s true. I “learned” all the concepts and guidelines relatively quickly because I was in a two year photography program so I was completely immersed in it. It’s like learning a new language, if you move to that new country and you have to speak it all the time, you will learn a lot faster than only speaking it once a month. The same is true of photography.

So the best advice I can give you on how to learn faster, is to get out and photograph more often.The second part of my answer, the 25 years bit, means that I’m still learning. I’ve learned things from my students and other photographers and do so continually. Don’t ever expect to suddenly “get” it and you can then stop learning. It’s a process, and it’s ongoing.

As soon as you think you’ve learned it all, or you know it all then it’s time to quit because you’ve probably lost the passion. At least that’s my opinion. Call to action – practice at home ongoingThis is not an assignment but rather a suggestion to just start noticing the facial view and how to adjust your subject. If you sit a person by a light source such as a window, you can see that just by them turning their head towards the light, it will also change the lighting pattern that falls on their face. See how this information can then be used to your advantage once you know the basics.Different facial views will be flattering for different people.

Experiment and see what works best for each person you photograph. Have the person sit and just turn their face and see how the shape of their face changes and how the light falls on them differently.While you’ve got your subject for the last exercise see if you can slip this in too. Take 5 images of your subject from different camera levels. Don’t change your lens focal length, or distance to them – just camera height:. one at slightly below their chin. one at slightly below their eye level.

Cinematographic movies are made in the style of the movie 'Sin City', where the whole picture is gray, but some colors are present. The game has become much more colorful and interesting. Video review Prototype 2 reviewPrototype 2 Free Download is the rare case when developers take into account the remarks of gamers and correct their mistakes made in the original game.

one at eye level. one at slightly above eye level. one at quite a bit above eye levelWhich is the most flattering angle for that person?

From which angle would you most want to be photographed? Naftoli January 5, 2013 04:45 amDarlene, great article!

How To Draw A Head From The Side

With perhaps 1 small nitpick in the second paragraph u write 'A handheld meter is an incident meter ' this is not necessarily true. Although not as commonly used today in film days many photographers would carry around handheld reflective meters to determine the cameras exposure and to evaluate the tonal range of a given scene.Also when u replied to doug u wrote 'It does seem like the light should add together but it doesn’t work that way. If your main is f11 and your fill is f5.6 you’re shooting at f8 to get a good exposure usually.'

That doesnt make sense to me at all. If ur main light meters at f11 how can u not be at least a stop overexposed when shooting at f8??. Darlene August 31, 2012 03:22 pmHi TishWow thanks so much for your kind words! I've been doing this a long time and it actually took me quite a bit of thought to write it in detail because it's so instinctual for me now.

In doing so I wanted to be as detailed as possible, and I'm so glad you've found them helpful. I will be writing more articles for Digital Photography School soon, around one a month so keep your eyes opened. They probably won't all be on portrait photography though, I may change it up a bit and based on what readers of the sight want.Thanks again. Tish August 31, 2012 07:54 amDarlene, I just finished reading through the this and the last two articles.

Thank you so much!!! If you had a book, I would buy it. I have been doing photography for some time now and still have a hard time 'knowing' how to acheive the look I want without doing a ton of trial & error shots and at this point it is based mostly on intuition. I've read books and researched these subjects, but so far your articles are the best explanations I've read! It finally is starting come together for me. Thank you again!PS - I like the homework assignments you include too:). Darlene August 17, 2012 02:06 pm@matthew - I've been doing this a long time, I'm pretty sure I know what most average people want;-) I actually prefer average looking, slightly overweight clients - to those that look like Barbie and Ken because Barbie's usually know they're gorgeous to making them look good, by their standards is harder.As to your other questions.

Bouncing off the ceiling isn't the best type of portrait lighting because you'll get dark eye sockets, especially for people with deep set eyes. Indoors, try and find a natural light source like a window and use available light. See my other article on lighting patterns.1 - very hard to do with glasses.

Get them to tip them forward a little. Or worse case scenario, shoot one image without glasses and photoshop their eyes in from that shot later. But I prefer not to have to do that.2 - I wouldn't do those angles on someone with thick glasses for those reasons.

Loomis Method

Darlene August 17, 2012 12:02 pm@Scottc - keep practicing, it comes!@matthew - I use autofocus. The new focus screens aren't as easy to do manual as the old film cameras that had a split screen. I can't focus manually very well, that or I'm just getting old LOL. Just set your camera to use ONE focus point and aim it directly at the eyes of your subject. The nearer eye is the face is turned.@goeffreyk and @Nwanna - you're welcome, glad you find it useful.@ccting - that's very in depth but I'm not sure most people will go to such lengths.

For me, in portraiture, it's simply about making the person being photographed comfortable, and making them look good so they are pleased. Could you do more analysis - sure.

Is it necessary in most cases - probably not. I've never had a client return a portrait complaining that I didn't get their nasomental image right (whatever that means). Most people just want to be flattered, look a little thinner and a little younger.

If you can do that you'll please them. Ccting August 17, 2012 11:29 amThe history of facial analysis that I believe:1) Leonardo da Vinci has stated the proportion of body & head in 1490.I take photos of the belows & analyse for 2 weeks:a) foreheadb) eyesc) Front face elementsd) Frankfort horizontal Planee) Facial heights, horizontally and vertically, above, lower,f) units on faceg) skin tension lines test (important for emotion)h) Nasofrontal anglei) eyebrow position (important for makeup advice)j) eyebrow to ansal line (makeup advice)k) Chin (fat?)l) neck (fat? Short?)m) ears (huge?)n) Nasofacial angleo) Nasomental anglep) Simon's nasolq) Basal baser) Lip ratios) etc many more.

Darlene August 16, 2012 07:47 amThanks for the comments! Yes Jai, I get tips from all over the place and sometimes even from students. Could be a tutorial they saw or a way of doing things. I think if we keep an open mind and don't automatically assume that because we have more experience there's nothing to learn from the other person. I think sometimes pros that have been doing this for so long get stuck in a rut and their style becomes stagnant. I like looking at other people's work and if I can't readily see how they did it I'll either try and figure it out myself or just ask them.For those of you new to photography - please don't be afraid to approach ANY photographer and ask them a question. Most will be willing to answer you as they were where you were once and someone answered their questions.