How to draw human skull and face step by step | Drawing Tutoriul part - 4 | MAHESH K NARAYANAN Art

Описание: How to draw human skull and face step by step | Drawing Tutoriul part - 4 | MAHESH K NARAYANAN Art
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_VIDEO CONTENTS__

00:00 - intro video
00:30 - Drawing started
02:04 - Skull drawing
07:11 - Face drawing started
08:52 - leonardo da vinci Bio
11:45 - Human skull full drawing
15:23 - Face complete drawing
18:00 - Shading started
22:00 - Skull back side
23:10 - Finishing point

#Howtodrawhumanskullandface #DrawingToutoriul #Pencildrwing #MAHESHKNARAYANANArt #Howtodrawskull

DRAWING TOUTORIALS LINKS -

Part-1
   • How to draw a face in simple way | Basic T...  

Part - 2
   • How to draw a face fastly | Basic technic ...  

Part - 3
   • How to draw a face in 10 minutes for begin...  


Human head

Main articles: Human head and Head and neck anatomy
The human head is an anatomical unit that consists of the skull, hyoid bone and cervical vertebrae. The term "skull" collectively denotes the mandible (lower jaw bone) and the cranium (upper portion of the skull that houses the brain). The skull can also be described as being composed of the cranium, which encloses the cranial cavity, and the facial skeleton (includes the mandible). There are eight bones in the cranium and fourteen in the facial skeleton.[1]

Sculptures of human heads are generally based on a skeletal structure that consists of a cranium, jawbone, and cheekbone. Though the number of muscles making up the face is generally consistent between sculptures, the shape of the muscles varies widely based on the function, development, and expressions reflected on the faces of the subjects.[2]

Proponents of identism believe that the mind is identical to the brain. Philosopher John Searle asserts his identist beliefs, stating "the brain is the only thing in the human head". Similarly, Dr. Henry Bennet-Clark has stated that the head encloses billions of "miniagents and microagents (with no single Boss)".[3]
Anatomical studies and drawings of Leonardo da Vinci

Leonardo da Vinci
[b] (15 April 1452 – 2 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect.[3] While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo's genius epitomized the Renaissance humanist ideal,[4] and his collective works compose a contribution to later generations of artists matched only by that of his younger contemporary, Michelangelo.[3][4]

Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the renowned Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration,[3][4] making him a frequent namesake and subject in culture.
Anatomical studies and drawings of Leonardo da Vinci

Leonardo’s fascination with anatomical studies reveals a prevailing artistic interest of the time. In his own treatise Della pittura (1435; “On Painting”), theorist Leon Battista Alberti urged painters to construct the human figure as it exists in nature, supported by the skeleton and musculature, and only then clothed in skin. Although the date of Leonardo’s initial involvement with anatomical study is not known, it is sound to speculate that his anatomical interest was sparked during his apprenticeship in Verrocchio’s workshop, either in response to his master’s interest or to that of Verrocchio’s neighbor Pollaiuolo, who was renowned for his fascination with the workings of the human body. It cannot be determined exactly when Leonardo began to perform dissections, but it might have been several years after he first moved to Milan, at the time a centre of medical investigation. His study of anatomy, originally pursued for his training as an artist, had grown by the 1490s into an independent area of research. As his sharp eye uncovered the structure of the human body, Leonardo became fascinated by the figura istrumentale dell’ omo (“man’s instrumental figure”), and he sought to comprehend its physical working as a creation of nature. Over the following two decades, he did practical work in anatomy on the dissection table in Milan, then at hospitals in Florence and Rome, and in Pavia, where he collaborated with the physician-anatomist Marcantonio della Torre. By his own count Leonardo dissected 30 corpses in his lifetime.
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