Video 58 Drawing the Jaw Head Tilted Up (Patreon)

🔺 Drawing the Jaw – Head Tilted Up (Semi-Realistic)

By Pogzart

When the head tilts up, the jaw rotates backward and becomes foreshortened, with the neck stretched, chin lifted, and the underside of the jaw clearly visible. This angle demands strong control over perspective, form, and light.

1. Key Changes When the Head Tilts Up

• The jaw appears shorter vertically from the front view but reveals the entire under-plane.

• The chin becomes the front-most feature, and the jawline curves sharply downward toward the ears.

• The neck stretches, exposing tendons, sternocleidomastoid muscles, and the submandibular plane.

• The ears drop lower in visible placement, and the jaw hinges appear more tucked behind.

2. Construction Steps

Step 1: Build the Tilted Head

• Start with a sphere tilted back—draw the centerline arcing upward.

• The lower half of the head expands forward now; mark the chin higher than usual.

• Indicate the base of the jaw curving forward and down into a wide bowl shape.

Step 2: Outline the Jaw Curve

• From under the chin, draw a wide, flattened U-shaped curve representing the jaw’s underside.

• Bring that curve up to the sides of the head, where the jaw connects behind the ears (which now sit lower).

Step 3: Add Chin and Jaw Planes

• Define the chin as a rounded or boxy form (based on stylization).

• Show the sharp corner/angle of the jaw at the transition from underside to side face.

• Add neck muscles and throat under the chin—especially important for realism.

3. Shading & Crosshatching Tips

Light Behavior:

• Top lighting will cast shadows under the jaw, beneath the chin, and along the neck.

• If light comes from below, it will light up the jaw’s underside and throw the top of the face into shadow.

Crosshatching Approach:

• Use arcing hatch lines that follow the underside of the jaw from chin to angle.

• Hatch the neck planes separately: one set for the trachea, one for side muscles, and one for collarbone slope.

• Darken the transition point between jaw and neck to show the structural edge.

4. Stylization Notes

• In masculine characters, show a pronounced jaw angle and deep under-plane shadows.

• In feminine characters, the under-jaw can be smoother with softer transitions, unless stylized strongly.

• To emphasize tension or emotion, add stretched skin, tight corners near the mouth, or neck muscle flex.

5. Practice

• Draw three heads with upward tilts: slight, moderate, extreme (almost sky-facing).

• Shade the same jaw with light from above and below to practice volume reversal.

• Practice foreshortening by drawing the chin slightly forward and the jawline tapering toward the ears.

The jaw in an upward tilt is bold—it reveals vulnerability or strength depending on how you sculpt it.
Let your lines wrap the exposed form, don’t just outline it.
– Pogzart