Beginner Figure Drawing - Drawing The Head Part 3 - Facial Features - Eyes, Ears, Nose, & Mouth | JW Learning | Skillshare

Beginner Figure Drawing - Drawing The Head Part 3 - Facial Features - Eyes, Ears, Nose, & Mouth

JW Learning, Drawing the Body, Head and Hands

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17 Lessons (2h 5m) View My Notes
    • 1. Trailer

      0:31
    • 2. Eyeball Structure

      5:20
    • 3. Eyelid Structures

      4:54
    • 4. Eye Socket Structures

      5:55
    • 5. Timed Exercises - Eyes

      10:57
    • 6. Timed Exercise - Eyes Demo

      10:55
    • 7. Nose Structures

      4:56
    • 8. Timed Exercises - Nose

      10:57
    • 9. Timed Exercises - Nose Demo

      11:05
    • 10. Lips and Mouth Structures

      5:24
    • 11. Mouth Positioning

      3:43
    • 12. Timed Exercises - Mouth

      10:57
    • 13. Timed Exercises - Mouth Demo

      11:00
    • 14. Outer Ear Structure

      2:35
    • 15. Inner Ear Structures

      3:58
    • 16. Timed Exercises - Ears

      10:57
    • 17. Timed Exercises - Ears Demo

      11:22
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About This Class

In this final lesson in our intermediate series on Head Construction we'll cover the individual Facial Features.  We'll cover the construction of the Eyes, Nose, Mouth and Ears, as well as the surrounding structures. Each facial feature will have it's own 10 minute Timed Drawing session It's recommended you do Part 1 and Part 2 together along with Part 3 as one Lesson.

Continue learning with the follow up lessons: 

Sinned Angel Stock

Figure Drawing Series:
Lesson 1 - Gesture and Construction
Lesson 2 - Dynamic Forms
Lesson 3 - Construction of the Body Parts
Lesson 4 - Proportions  

Head Drawing Series:
Lesson 5 - Constructing the Head Part 1
Lesson 6 - Constructing the Head Part 2

Transcripts

1. Trailer: in this third part of this head construction, Siri's. We're finally going to look at the facial features. The eyes ease, nose and mouth were going to have a look at these parts and break them down into far more sophisticated structures than we have in previous lessons. We're going to give each facial feature its own lecture as well as its own time drawing session. So if you haven't seen parts one and two yet, watch those first and then come back to finish it off with Part three. 2. Eyeball Structure: Okay, let's get started on developing the facial features. We started out without construction of the head, first developing the underlying skull and face structures. We then developed the front inside planes in secondary structures. All these foundations are in place in order for us to get where we actually want to be. And that's thief facial features. Remember, all these structures that we've developed and are going to evolve in this lesson have to work as a team in order for our head to be constructed correctly. These facial features the eyes, mouth, nose and is are all structures in and of themselves. And so we're not going to be doing anything differently from what we started with all the way back in Part one, we really have to think of the facial features as a series of smaller structures placed on top off biggest structures and ensuring they are all working and moving together. So if we have our position off the head to the side, we have to ensure our facial features are also moving in the same position. So there's going to be some careful planning. We're going to have to do them actual alone. This works, So let's begin with the I. Now. The Bible itself is pretty straightforward in its construction. It's just a sphere, and on top of that is the iris. Ours is the colored part off the I, and in the middle of that is the pupil. Now the people will change size, depending on how much light is in its environment. It's going to shrink when it's too much like in the environment, and it's going to expand in orderto let more light in when the environment is dark up. So we have the white eyeball, the colored iris and the black people, and that's all there really is to the Bible itself. Now, if we turn the eyeball to its side, what will notice with the people and the iris is that they're actually painted onto the eyeball surface. They have no form. They just flat two D discs that sit upon the surface of the eye. So as we turn the eye around, those circular discs are going to become more compressed than Mawr. The eye turns away from the front and turn into more of an elliptical shape. We'll start with this, a nice round circle that as we turn to the side, gradually compresses in shape. Now this could get tricky sometimes when we start compressing circles. So what's going to help us is adding in some cross contour lines to the eyeball. If we add in some access, is he This is going to tell us exactly where our eyes are going to be looking were out people's and where our arses are gonna be situated. All we have to do is build out iris and people in over the top of this cross section, and this will get us the correct position for both of them. Now remember, the more the eye turns away, the more elliptical or the more compressed that iris and people is going to get now, the only thing you want to do differently with the pupil is to have it a little off center from that cross section. This will make the I look a little bit more believable. This is because we have a little bit of a college happening here. Due to the cornea that covers the eye, the cornea will distort the position of the people. So what is the cornea? Well, the cornea can be thought off as a little protective layer on top of the eye that bulges out, sort of like a lens protector on a camera. Or you could even think of it as being a contact lens, the body's natural contact lens. So if I draw the site perspective here, you'll see there's this contact lens touch structure that sits over the ours and protects it. This little bit of a bulge distorts the people's position a little bit, So when you're adding in your cross contours, your access lines here on top of your eyeball, just nudge the pupil ever so slightly off access in the opposite direction. So if I move this to the side, it gives a better sense of three dimensionality. So that's the main structures of the Bible. But we still have a lot to develop in the surrounding areas. If we have a look at our skull, the Bible sits in this slot the eye socket. What we're going to notice when we add the Bible into the socket of these surrounding structures that protrude outwards. The brow ridge, the side of the cheek, the front of the cheek and the bone of the notes all of these structures have evolved as a means to protect the eyeball. So what we have going on, he is al facemask structure that has this cavity that we call the eye socket where the eyeball sits and it's wrapped around these bony protrusions that actors armored protection for the I. So what you'll notice with the eye socket is that it shifts backwards in order for us to get that peripheral vision. It's more noticeable if we look from below the eye socket and the cheek area shifts backwards, which allows us to see dangers coming from the side. So we are evolving our understanding of this whole structure. We initially only constructed this area as one flat, straight plane, a simplified idea. Now we're developing a more sophisticated understanding of what's going on and need to start looking for the subtleties 3. Eyelid Structures: one of the most common errors beginning artists make when they start to construct the eyes is they tend to make the chef the ice very Armand shape. Now this is perfectly fine if you're doing a cartoon character or maybe some type of hire, a graphic image. But for something more realistic, we're going to have to come up with something a little more refined. We have to think of the shape of the eye and the island structures as having edges. So instead of just the arm and shape, we wouldn't do a Siri's off long and short edges. We're going to start from the tee duct with a short straight line moving up and a long straight line moving down to create the top of the island. And then at the bottom, another short line from the outer corner moving down and a long, straight edge moving back up to the two duck, which will create the bottom of the island. So we've got a series of long and short lines to create the shape of L rye, and this is going to ring True. No matter how wide the eyes are opened, almost think of it as a slanted box shape. And once you get those foundations in, you can start to soften them up with curved lines. The thing to note about the eyelids is that the top I lied actually does most of the work. There's a little bit of movement in the bottom, especially when you squint or making angry face. But most of the movement is happening. He in the top eyelid. So if we build a whole I up from scratch, we put out spearing for our Bible, our cross contour lines in that will use for the people in Iris. And from that you can build out I lied structures and no top. We started the tea docked and we'll wrap around the ball of the eye to create that top. I lied and then right around below to create the bottom of the oily. Notice how the bottom off the island barely touches the iris whilst the top of the island overlaps it a lot more. This is going to change, of course, depending on where the eyes are looking or what the facial expression is. But at rest you'll find this rings true. For 95% of the time notice. Also, the two docked how it sits just below the access lines we placed in originally. For most people, that in a part of the eye, that corner will sit slightly lower than the outer corner. So just keep that in mind. So the island is itself a very soft area, which is noticeable, especially with the fold increases here. The area above it is very hard. Our eyebrow area is bone, so if you run your finger over your eyebrow and onto your I lead, you can actually feel the difference in flexibility. So we've got out bony structures here that moves down and else onto the top of their oily. Now, something important we have to know about the island structure is that this more form here than what it looks like. Once we've moved from that bony protrusion from the eyebrow to the top of the island, we'll notice we have a bottom plane. He we have to step back onto like this. So the top of the I lied curves over the top of the eyeball and then steps back onto that cornea and the bottom. It is going to do the same but in the opposite direction. So we've got the top lead with a bottom plane and the bottom lead with a top play and will indicate the area. He It's super important week. Remember, these two planes exists without them. Your eyes are going to look very flattened, lifeless, so we've got a top lid with a bottom plane in a bottom lead with a top plane. So if we add in some cross contour lines, we're going to see a series of stepping movements over the whole I structure down from the brow to the top of the eyelid, down from the top of the lead and stepping back onto the cornea, curving down that Korea and stepping back out onto the top of that bottom lead and then curving down in merging into the face and just to go back to the ours for a moment, Try not to make them to circular, give them a little bit of a box, your structure a little bit more of a non. Even this. It's going to help a little bit more with realism and another thing in terms of positioning . If you want to give up the illusion that the eyes are following you around the room. Just have one of the eyes looking at a slightly different direction to the other. It's going to give off that illusion, and from there it's just really a case of refinement. This area can get tricky, so I recommend adding in cross contour lines as you're practicing to give you an idea off where the movements are, where the forms up. We'll cover more about lighting in a later lesson. But a little note ahead of time is to make sure that whatever highlights you have on your eye, they're very curved in their structures, so those of the eyelids. 4. Eye Socket Structures: Let's develop the eye sockets now if we just got back to the previous lessons for a little bit. Remember, we want to be using boxier foundations for evermore complex forms, and these areas get quite complex. So we want to stick to more boxier foundations, at least initially for these features, as we've said previously, the boxy ass structures. But more information this is going to give us now. Let's just quickly go over again what we said in the Bible structure, part of the listen, our eye sockets are going to curve away from the front of the face. It's tricky to see from the front perspective, but it starts to become more noticeable than Mawr. The head moves towards the profile from front. The cavity in skull is more or less an O shape, gradually turning into more of a D shape as it approaches the profile view. From an evolutionary perspective, this allows us to have that peripheral vision. If the eye sockets were flat across, we wouldn't be out to see that sabertooth tiger cat sneaking up from behind us so the eye sockets curve backwards. So first things first, we're going to get out rough forehead structures in Now, in part one, we looked over the rough foundations, the boxer layouts that we had for the forehead, for the cheekbone area, for the nose and for the eyes. So we're just gonna put all of this in like we went over in part one, all the while making sure everything is positioned correctly. Remember things. Landmarks have been used not just for our special features, but for their position in space relative to where the head is facing. Now, remember, we have this keystone shaped structure here that represents the transition from the forehead into the nose. It murders from the nose away, up to the eyebrows. Those eyebrows turned up a little bit. They don't sit flat horizontally on that plane. So use that foundational life for the start off your eyebrow. Now, to get the start of the I, we want to look to the wing off the notes, the side plan of the nose. If we draw a line up from the edge of the nose, we get this start where the eyes we can consider this almost like a pea shaped loop. And if we develop these side here, the side planes off the nose end of that keystone structure we started get a sense of where the eye socket begins. Now remember, we're still dealing with very simplified shapes at the moment. When we start to develop this, Mauritz starts become a lot smoother, incur via, and the next part of the structure is going to help with that. The next part can get a little bit tricky up because what we have essentially is a tubing, which starts to wrap around the top of the eye socket. It starts with the edge of that keystone shape is and then wraps around the I remember this part of the eye shifts backwards, so it's gonna super important to make sure our tube structure feels like it's going back into space. For the level part of the structure, we have to do the same thing, but in reverse. We need a tubing structure that wraps around from the back and curves around to the front, and it's absolutely most simplest form. You could almost consider this entire structure that wraps around the eye as being something close to being a doughnut. Shape it doughnut. That's bean pinched at the corner So if we want to go back to our ideas of simple forms and simple shapes, we can look at what we've got now that goes from the wing of the nose curves all the way up and wraps around the Bible as being a kind of pea shaped structure. If we were looking from the opposite side, of course it would be on cue shaped structure. But the idea is that same. We start with these flat shapes on the side that merge into these doughnut shaped tubes that wrap around the eye. Now the idea is relatively the same on the far side of the eye. Things they're just going to be a lot more compressed also notices the Braylon Here's an A bump down like this, and the chick is gonna thrust out. So again, think of these as tube like structures. This top part is going to wrap around away from us, and this bottom part of the eye socket is going to wrap around towards us and just to go back to positioning off the eyes for a moment. An easy mistake beginner artists can make from this perspective is that they will push that I that's furthest away from us too far away from the nose room, what we have to think about overlapping here. So the general rule is, the more the head turns away from the viewer, the closer the eye gets to that no structure, the more it gets overlapped. The other thing we have to be wary of is that the ice, it's inside the structure. It's not sitting level with it. It's not sitting in front of it. We have to start from the top of the nose down to the side of the nose and a little bit across to get to the starting point of where the eyes and it's. From there, we can start building our eyelids structures to have them wrap around these foundations that we put in place. We want to really capture the sense that the islands are wrapping around that rounded surface. If we don't get that around this feeling right, if we don't even get that debt feeling right, our eyes will start to look a bit lifeless. Now the only thing left to develop is a little bit of the side structures Now. We already know from previous lessons that the corner off the eyebrow is roughly where the corner of the head starts, But there's also a little bit of a bony protrusion at the bottom of that eye socket that goes towards the This is called the zygomatic bone, and, when connected to the eye sockets, sort of makes a deformed Y shaped structure. So those are the foundations in place for the eye sockets. They're a little bit tricky, and it's going to take some time to get right. There's a lot more subtleties in he remember. These are still just very basic shapes that we're dealing with. So now that we've covered the eyeball, the eyelid, the eye socket structures, it's time to do some time to exercises. Now we're going to give each of our facial features their own time exercise session for this lesson. We got to use the same images each time, but for each session we only want to focus on one particular area. For this first batch, we're going to do just the eyes, so focus on what we've just gone over. You get two minutes for each photograph, do your best, get as much she can done in that time, and then I'll come back and show you how I do it. 5. Timed Exercises - Eyes: - uh , way, Uh 6. Timed Exercise - Eyes Demo: All right, let's get stunned. We're gonna put in the keystone shape is air foundations. When it comes to droid, the individual facial features, we can get a little bit lost because we don't have the whole head there to be working with . So it's good to find for ourselves some type of starting point and that Keystone shape the transitional area from the forehead into the nose is a very good place, especially for the eyes. The other thing is a landmark is going to help us without accuracy. If we just dive headfirst and start drawing, it's gonna be very easy for us to have things go off balance. Something's positioned incorrectly. So find a landmark to start with doesn't have to be this one, but this one is pretty good. So could the eye sockets in place. And now I'm going to start to where the I leads are trying to think as I'm drawing to wrap these lines around that spherical object underneath. I know I haven't got the spherical foundations down, but in my mind I'm trying to think of wrapping these lines around that surface, so I probably should have put those fees down just to demonstrate, show you. But eventually you'll get a feel for where the eyeballs are. But when in doubt, if you ever get lost, put them in there and then draw everything over the top of it, that's really going to go for all these features in really any part of the body. So we've got a lot of angles and straight lines, as you can see. But if you look, the reference again is obviously a lot more curvature in that. But this is all still very much a foundational stage. We're not really doing anything too different from what we've learned in previous lessons, simple shapes and simple forms. There's many more subtleties in here that is something for a more advanced listen. So this is still very much a simple fire technique that we're going through, and that's just about time on that one. Okay, so for a 3/4 1 we're gonna put in out long and short access lines. So this is the type of pose that is a little bit easier in some ways because we have a better understanding of just where our eyeballs are positioned relative to the eye sockets weaken see the depths a little bit better. That frontal position can cause us a few problems, really, for any of the futures, because it's so flat. So it becomes somewhat easier as we start turn the head around to really get an understanding over the shape of the features, the shapes of the objects and without positions, how they're overlapping each other. Which one is closer to the view on which one is further back in space? So the closer we moved to the pro fall, the easier the shapes start to become. But that said, there's also the tendency, especially when we're just starting out first. Actually, make these positions look a lot flatter than what they should be, so it can get quite challenging. Still, having that I lied looking lockets, wrapping around the eye correctly or having that boy circuit structure wrap around the back of the head takes a little bit of practice to get right. It takes a little bit of imagination as well. We want to try to imagine drawing out hand over that spherical surface. It's are a good thing to practice with is actually two movie hand over something round, like an orange or a testable and get a sense of what that movement feels like and then try to replicate that on the paper. Moving your pencil is if you'll moving it over. That Aibel around that eye socket for any of the structures really doesn't matter if they curved or angular. It's the same from Barth. We want to imagine where tracing a pencil over these objects. All right, so we've got a profile image. This isn't exactly flat onto us. It's turned away ever so slightly. One of the difficulties will have from this perspective is that it's just throw off, especially the forehead, a little bit off in terms of trying to find where that planes are to the face where the corners are. So we're just gonna be careful with that measurements. So notice also how far back the ice steps over that Or Algeria. We talked about how how that eyebrow area that I suck it, that top ice looking area shifts down and back into the skull and then thrusts out again over the lid in over the eyeball. You can see just how deep the I actually sits. It's significantly easier to see it from the profile perspective. When we start turning it around to the front, that's when we can start to lose that depth. And that's where we can get lost very easily. But this is how far we've gotta step back. It's easy to push that I way too close to women noses. So the eyes always stepping back down from that brow. The easiest way to think of this is it's just really a bull in a hole. It's it's it sounds a bit some simplistic, but that's kind of what it is. We just got this joint cavity in this skull and the eyeball just sitting there, so stepping back and down onto the our lead over the island, over the cornea and down into the face. That's our basic movement for the R in the AR circuit structure. Just to for a little bit of that cheek area probably made this a little too flat on its curve, the way enough because the reference image the chickens started to actually overlap. Whether noses so not a super successful one, we'll just deal with it well. These structures will start to overlap each other. The more this head gets turned around. That should be enough for this. So we'll move on to the next one, right? This one's tilting up slightly, so I tend to find these tough price is a little bit challenging, so I you really stick to boxier structures, these type of tilting up poses. So I'm probably not going to get a great deal of detail ing the two minutes up with God. The more corners we have, the boxy of the structures we use. It's going to slow. Stand's gonna eat up about time gesture, alliance. The more curved lines that we use, it's significantly Lusa and a lot more fring. He was a spit more time to put more features down. But the downside is that we tend to you lose a little bit of accuracy, so construction method or gestural methods have their advantages and disadvantages, but ultimately going to be up to you. You can start with one and work your way to the other. There's no real hard and fast rule. As you can see, I've added in a little bit of cross control lines. You ghosted cross contour lines on the isil construction and a little bit of the I lied just to help me see where the changes of planes are, where the forms of starting when we start to get to these more intricate shapes and forms these tertiary structures that is sitting upon their initial foundations. That's when we can start to get lost in overwhelmed very easily. We started their home skull and face structure with these very simple shapes. These very simple shapes, planes and angles. And now we're going over the top of those initial foundations with far more sophisticated forms that are twisting and turning and merging into each other. And it can get very overwhelming, very quickly weaken, get lost, trying to figure out where's the plane change for this part relative to that part, you can get very tricky at times. So one more image now a slight require, but you're just going back to There's more challenging shapes and forms when we get out cross contour lines and it's really gonna start to help us work out which parts a moving in which direction. So the challenging part, then, is just to figure out where which direction is this part moving in because we've got all these lumps and bumps and all these different planes, which are merging into each other. That's really just gonna come with time and practice. You find it's not always easy to figure out what direction is that little bump on the nose actually moving. And where's the corner of that? Because lighting conditions, they gotta play a role as well. So before only ever looking at images on models in real life, where the lights coming from the right. It's gonna throw assault when we start looking at images where the lots coming from the left from below even. And we're not going to know every lump and bump these ideas that we're putting out the moment very much just a simplified representation of what the features look like, what the head in general looks like. So these ideas, these shapes and forms that were coming up with a super useful, super convenient because they apply to just about everybody. But because everyone looks different, we're still going to come across unique challenges that are exclusive to that person. That withdrawing you only have to look at Asian people, for instance, to see that there I structures a slightly different from other ethnicities in general, they don't have those folds in there. I between the eyebrow and the top of the island and age is going to play a part as well. The older we get, the more your skin starts to say. So these foundational shapes were putting in are really just guidelines for us. It's gotta be unique challenges along the way. Okay, so this one is just about done. So let's move on to the next part of Ellison, where we're going to cover the no structure. 7. Nose Structures: in Part one. We went over a little bit of the initial foundations of the nose, so let's just go through that again before we start looking at the intermediate structures . As we said in part one, the nose is the only part of the facial features that we have to contend with when we start to put down our initial gesture and construction lines. The side profile of the nose is relatively easy in terms of structure. We really only have to worry about the silhouette shape. From that perspective, we could tell quite easily that the nose thrusts out and down from the front, however, is where things start to get a bit more complicated. We've got this flat perspective that can easily run us into trouble. If we're not careful for more front on the perspective, the bigger the challenge will face trying to make that knows look like it's actually sticking out from the face. In Part one, we more or less started with an elongated box for our foundations that tilts back slightly into that keystone landmark. Remember to get that depth looking right, we have to make sure that those is tilting back that we could see a little bit off that bottom plane. But if we're 100% honest, this shape really doesn't work all that well. Especially if we're looking for those easy to draw structures that represent the body part way drawing. This is perfectly five, but when were just beginning and figuring out about forms and positioning? But it's also too far cruder designed for us to use, So we need to develop this more. We're going to evolve how we approach the structure of the nose. Instead of just using one structure, we're going to break the nose up into five smaller structures. This first box is what will consider to be out first structure. Now we already know that from the inner corner of the eye down is going to give us the side planes of the knows. This isn't exactly a straight line down these side planes flare out a little bit, so when you put these foundations in place, have these side planes push out a little bit at an angle as second structure is going to be the tip of the nose. We want to think of this structure as being ah, ball shape or a rounded box shape. This ball shape is going to extend a little bit further out than that top plane. It's got its own form and its own corners. So if I draw a profile image here, this is roughly how that structure is going to be placed. Even if a person has a rather hoped knows we still want at this structuring initially, it's a strange way to think of it, but I think they're being not too dissimilar from a clown nose only significantly subtle up . But the general idea is the same. It's this ball shaped structure which is sitting on the end now, really, this bottom area, he is actually made up of three parts. We've got out ball shaped structure he that we call instruction over to, and then the two wings of the nose, which we're going to call structures number three and four. The best way to think of these structures to harms of a teacup. So if you imagine what a teacup looks like, we want to split that teacup in half, turn them upside down and then place 1/2 on each side in terms of positioning, these pieces sit further back from the tip of the nose. So if we go across the plains of this area with across contour lines, well, curve down from that ball onto the top of that cup shaped wing and then curved down from that structure into the plane of the face and just a note again about the bottom plane. Here we have to remember that these structures have a bottom plate, especially the wings of the nose. We don't just want put two holes, he for the nostrils. It's going to look far too cartoonish. There's an edge here that curves into the inside of the nose, creating the nostril and just a quick note on the area below where the mouth structures start to begin. We want to think of this whole area as curving into the nose. If we look at our kro fall again, there's a curvature in this area that goes from the top of the chain all the way to the inside of the nostrils. So the nostrils are actually overlapping this curb structure in a very, very subtle way. It's a very easy thing to miss the lost structure that we have to go over is the top plane , the nose. The nose isn't going to be this perfect flat box shaped structure. It bulges at a little wider and also bulges out a little on top as well, about 1/3 of the way from the top. And it creates this kind of diamond shaped structure. So if we divide the nose into thirds, the bottom third is going to consist off the ball of the nose and the two wings. The 2nd 3rd is going to be where the widest part of that diamond structure is, and the top third is going to wear the nose in that keystone landmark meat. So that's the breakdown off the no structures. With that out of the white, let's move on to our nose exercises. 8. Timed Exercises - Nose: - uh , way, Uh 9. Timed Exercises - Nose Demo: All right, let's build some noses there. Now The front is going to give us probably the most problems because we've got a very flat perspective here, and it starts to become very difficult in terms of figuring out just how much it's protruding from the face. So it takes a little bit of work. So I've got my rough boxier structure in first, and I'm just adding in my rough foundations for the the nose, the bull shaped structure that we talked about in the lecture pot and now just developing that sort of diamond box shape on that top plane. Now that diamond shape is going to be far more subtle on some people and far more pronounced on others. In the reference the model, she's got a little bit of a bold, she happening very subtle. It's far more grounded, so there's gonna be some refinement that if we had more time available to us that we'd have to do in order to get that looking a lot better as you consume. Just developing the underlying planes a bit in the wings of the nose is well, so even though we talked about the cup shape as a good representation of what those wings are. Still a good idea. Teoh Kind of chisel that out. This is gonna help a lot more with getting the positioning and the angle correct. There's actually quite a few more subtle plane changes and corners in the the bottom of the nose area, a few more subtle edges and corners there that are going to very from person to person. Yeah, but this verbal refined edges and corners and shapes that are still here within the noise structure that will take some time to get used to and will require a bit more knowledge off anatomy and muscle structure and bone structure We're never going to remember, although there's just too much information for us to process so onto the next one. So this one gives us a better sense of just how far from the face the nose is protruding. We use out pencil tests that we words in previous lessons all the way back in the Gestion construction video. It's pretty straightforward to figure out the angle of the nose, and once you get that, you just do the same for the border major, the wing of the nose Kohl's around. Just add a little indication. Therefore way that rounded, bull shaped structure would roughly sit. The two before knows the pull shapes structure at the end of it actually sticks out quite a bit, so her nose is a little bit broad just developing that diamond shape in the side plane. You can kind of start to notice that diamond sort of structure at the top just by looking at the change in light. In the reference image, you can see where the shadows starts. Top of that claim looks like it's just bulging out ever so slightly, giving it a kind of V shape in the shadows, a reasonably happy with at last. I'm just gonna spend most of the rest of the time that's left, adding, in some definition in some shadowing. Yeah, even though we've got these structures that we've gone over, the box shaped the diamond shaped top, the ball cup shape of the wing of the nose. But I want to make them look too much like individual pieces. We want them to work together as a whole, just up a little bit. The I mean, it's a good idea to putting a little bit of these surrounding facial structures if you'll just focusing on one particular area that goes for any part of the body. Real. If you're doing a hand, you want to put a little bit of the forehand in with the picture. If you're doing a a leg, you want to put a little bit of the torso in, or a little bit of the hip area. We want to get used to the idea of these parts of the body connecting with each other, and the face is very different. Image number three. Now this is the easiest perspective for the noise because we really only have to deal with the outside age. We've got a little bit of that bottom plane off the tip of the nose, the ball structure and a little bit of the cup structure that we have to build up. But for the most part, from this perspective, it's a pretty simple triangular wedge that we have to put down. But I'm going to develop a little bit of the cheek structures and surrounding areas to just to make it look like it's actually sitting on something and not just floating in space So there's that rough full shape on the tip, indicating where that bottom plane is. That is one of the primary mistakes that beginning artists make. From this perspective, with the nose, it's very easy to forget that there's that bottom plane sitting there without that bottom playing their your nose is just going to look two cartoonish. It's not going to look like a real noise, so that bottom plane is a super important structure that we have to get right. I haven't got the positioning right on this one again, still too flat on its turning away from this a little bit. That's a common thing you'll find happen. We have a tendency to want to straighten things up so they not so dynamic. We're so used to seeing the world and pretty flat perspectives. Really. We talked to someone front on. We brush our hair in the mirror that talk to think, so we generally don't see the world through dynamic poses. We see a head that slightly turned away from us. We have this subconscious desire to turn it so it's more of a perspective that makes more sense to our eyes, so it's a bit of a challenge to try and fight that. But we've only got two minutes. So we've got to just make a choice sometimes and sometimes that's going to be wrong. So I'm just gonna develop a little bit of the eye socket structuring just the feeling the rest of the time. And, ah, let's move onto the next one. Yeah, 3/4 tilting up. So I've got my gesture line in first and a little bit of the ice socket structure just to give me a little bit of a foundation to work with. This is the type of posing perspective which at first glance, might not seem too difficult. But because the nose is tilting backwards and got a lot more of this underlying bottom plane here, it's really gonna throw a soft a little bit. I'm just gonna make some more careful choices. And having some of the surrounding structures in place first is really going to help al bottom structures. He the bull shape in the cop shapes, really look like they're exaggerated. He because of this perspective, they look like they quite large in comparison. Teoh side plane, that top plane of the nose we got these overlapping bottom elements, he which can easily throw a soft. But we just make some careful choices and take out time, even though we've only got two minutes. We're better off using that two minutes to get the positioning right off part of these areas instead of trying to get the whole thing down. The comparison all uses push ups. You're better off doing 10 push ups correctly than doing 50 push ups incorrectly. It's going to be better feel body to do it that way. And this is the same principle here. Better off getting that one small piece done right, as opposed to doing the entire thing and getting it completely wrong. That's how we get good at anything, really. We just need to take these small steps and perfecting small pieces. So eventually you become the master of it'll. Well, that's the goal, anyway. All right, so it's finished this one up and move on to the final image to our slightly 3/4 image. This one's a little bit easier than the first front on perspective. It's a slight 3/4. We're looking at the head a little bit underneath, so we're still getting a significant amount. That bottom plane. You're actually getting a little bit of that for a start of the nostrils. Well, so it's a little bit of a different one compared to the others. Now you might actually be out with C in the reference in which he what is a a few more edges in the actual bottom part of the no structure where the ball that nose is a little bit of a shop ages you comptel with the shadowing may. So even though we're just dealing with the simple ball shapes, the simple box and cup shapes, it's still a little bit more work to do. He to really bring out the realistic natural, this particular facial feature, and that goes for all of them as well. There's a lot of subtleties here that we haven't gone over, which will be something for a more advanced listen. So the structures on moral less complete, So I'm just gonna fill out a little more of the structural areas in and around this, some shading here and develop the are sockets of big Justo little sitting place. Have to tell these wings a little bit more and always thinking about the fact that these wings actually turned inside to create the nostril, so they're not just two holes here. We've got these out of structures which turn inwards to create these holes. It was during comic books. We can probably just get away with drawing the whole, and they're not really worried too much about the bottom planes. But if you doing something a bit more realistic, you are going to have to take into account that there is a form. It goes from the outside and curves to the inside. So as you could see, there's actually quite a lot going on with those more than what it would seem at first glance. So they're significantly more going on here than just a book structure. So let's call this one done and let's move on now to the next part of the lecture, which is going to cover the mouth and the surrounding structures 10. Lips and Mouth Structures : The first thing we need to know about the mouth or at least the underlying foundations, is that it's actually quite curved. It's not easy to see from the front, but if we look at the head from the profile or even from underneath, that curved shape becomes a look more noticeable. So we have to be thing off this area as having a rounded bowl shape underlying structure. Not only that, but it also pushes forward from the face not nearly as much as the nose. Not enough for us to worry about it when we have to start putting down out rough foundations off the front of the face, but it's going to push forward nonetheless. So it's important for us to have this idea of a rounded ball shape in mind when we start to develop the softer forms of the lips, so knowing we have a rounded structure underneath means we contract the placement off the lips. If we use a couple of access line see onto this bull structure, we can already start getting an idea off where the opening off that mouth will be so a pretty easy foundation for us to start with Now we can look at the shape of the lips until pretty easily. There's a bit of an end shaped structure going on he with that top lip, so it's gonna be very tempting to just dive in headfirst doing that. But the method I would actually recommend doing first, at least if you're just starting out, is to use a triangle for the foundations and then to just take a little bit of a witch out from the middle. It's going to be far easier doing it this way. When we start turning out, head around for the lower lip, we want to alter this slightly to Morva you shape. We also don't want to be connecting this bottom lip all the way up to the corners like we are at the top. If we do this, we run the risk of making this look a little too cartoonish, because the transition from the corners off the lower lips into the surrounding facial structures is different from the top. There's a much sharper edge in the center off that lower lip going into the opportunity. If we take a look at the side profile, it's far more noticeable just how deep that transition can get. We'll go to that Maurin a little bit. But if we build up these foundations, if we go back to the top lip again and in particular that wedge we removed. The reason this cut out exists is because we have this valley above the lips called the filter that rounded underlying structure. We put down earlier curves over and then dips down through this horseshoe shaped valley and over on to the other side, so that wedges there for that reason and goes right up into the base of the nose. That fulcrum is going to cause the middle part off this upper lip to bulge out a little more than the sides, which causes the top lip to really be made out of three structures, a sort of heart shaped middle section and two triangular wedges on either side and notice what happens here with the opening of the mouth. When we do that, when you generate an end shaped pattern like that top lip, albeit Farmall flattened, so the opening of the mouth at least a rest is going to be a more flattened version of that initial upper lip end checked foundation expressions change all of that, of course, but that's going to be a lesson for another time. What will notice is the lines to the corner of the mouth curve a little in words. They're not straight lines from the peak of that, which so that's the upper lip, the lower lip. We can think off as being a couple of stretched bull shapes or rounded box shapes. And, as was mentioned before, we've got these soft transitional areas on the side and a very shop transitional area in the middle. The center area tends to sit back quite deep and usually produces a very noticeable shadow there to indicate it. So if we were to use our pencil tests that we've went in early lessons, we'll see this middle plane is tilting towards us with the based terminating into the chin , the transitional areas on the side. I farm around it in a softer gradation in comparison. This is why we want to avoid connecting the bottom of the lip all the way up to the corners of the mouth. It's going to help us show the difference in depth with these transitional areas. We have this shop, a change in direction here in the middle, and they soft the changes in direction on either side. So if we are drawing in across contour lines in order to get an idea of the direction of where things that going overall, we think about the lips as two bumps way. Tracing over fully bought a deep valley that curves into the chin or from the profile, it's a B shake that transitions into a C shape. The chin itself tends to be quite a boxy structure, but you can also structure it to be more of a spiritual shape to but more along the lines of 1/2 sphere. The chin bulges out, too, but not nearly to the same extent as the mouth area, and that simply merges in with the jaw lines on either side. So that's the mouth and lips structures 11. Mouth Positioning: in terms of positioning. The mouth is going to give us a few problems when we start moving it off set up. So let's just go over how to tackle that briefly. If we don't get the positioning right with the structures, our mouth is going to end up looking out of place. So with the same idea of a bull shape for our foundations, the best strategy is to simply use our cross access as our guide. If we want to indicate that we're looking at the math from below, we simply draw that center access line around our ball shaped closer to the top. Teoh indicate where the opening on the mouth is. Then it's simply a case of falling along with the basic shapes we laid out a moment ago. The M Shake I D for the top and the U shaped idea for the bottom. The thing we have to be aware off is the positioning off each of the lips from below, going to get significantly mawr off that top lip than we are of the bottom. The further underneath we get, the less of that bottom lip will see, but we'll get more of that sharp transitional plane that goes from the middle of that bottom lip into the chin, and if we look from above, will see the opposite happened. If we draw in our underlying structures and our access lines, we'll get a big portion off that lower lip in a tiny sliver off that top lip. What you'll also notice whether looking above or below is the lip we see less off gives off the illusion that it's sitting further back. And the other thing we have to be wary off, As you might see, he is that from these perspectives, it kind of looks like the mouth is either smiling or frowning. All we have to do to counter that is to turn the corners in the opposite direction. So if you're looking from below, just turn the corners up and if you're looking from above, turn the corners down slightly. It's just a little trick to help avoid the mouth looking like it's either frowning, well, smiling too much. Now, if we start turning the mouth around to the side, we have a different set of problems. If we just draw in a 3/4 example here, here's the center line of the face is the nose, and he's our underlying bull structure. So if we go back to the rule we talked about in Part two with positioning, we know that with this 3/4 perspective, there's going to eat Maurer of the mouth on this side. Then there will be on the side, furthest away from this so that trying your foundation we put down earlier is going to be far more stretched on the side, closest to us and far more compressed on the side facing away from us. And we do a similar thing for the bottom of the lake. Stretch the side closest to us and compress the side moving away from us. And the more the head turns away from us, the less of that compressed side that we'll see that hot shaped structure in the middle off the top lip that we talked about earlier, will start to overlap this side of the mouth until eventually it will cover it completely. When we get to the profile view from the profile will only get half of the math visible to us. What you'll start to notice is, the more we turn the headway. The more the cheeks starts toe over, let the mouth. So this little indentation at the corner of the mouth will start to get a little more pronounced, the more we turn the head away from the front. So that's how we deal with the positioning of the mouth. With that of the way, let's move onto the next time drawing session. 12. Timed Exercises - Mouth: - uh , way, Uh 13. Timed Exercises - Mouth Demo: all right onto the mouth. Now this models mouth actually Kurds down a little bit more than what we went through in the lecture part of the video. So this is a good example off where our foundations air really just gonna act as guides for us because you're going to get these instances where people are going to have very shop triangular shaped lips that don't exactly fuller the guidelines that we went through. So in this instance, I'm gonna place the top part of the opening of her mouth. Well, said the excess Lloyd here and just build from that. So again, like the nose and like the our structures before, we're going to run into the same problem from the front perspective in terms of getting the depth right, especially with the top part of the lip in that hot shaped structure. Having looked as if it's puffing out and sitting slightly in front of the triangular wedges on the side and the bottom part of lip is also going to give us, it's in trouble in terms of getting that plane that we talked about from the bottom of the lip into the chin, right that angle can be a big difficult to get right, so this is more likely than not going to be the most difficult perspective for beginner artists. It may seem on the surface that starting from the front is actually going to be the easiest . But in terms of getting debt thrive in terms of having out pieces overlap correctly, having them sit properly in the right position, it's actually surprisingly tricky. Even really good artists can struggle with this perspective, getting those lips to look really puffy and bulging out from the face. So we got these challenges, which are unique to the front view. So if it doesn't look 100% right, don't be too hard on yourself because this really is far more difficult than it looks on to our next one. So I'm just gonna put in some access lines in first. I'm going to keep this curve now. We talked about the sort of ball spherical structure that underlies the mouth. You don't have to actually put the entire ball in when you're developing the mouth. You can't just put in a couple of curved access lines like I've done he, but there's no problem with putting the whole board when they, in fact, is a whole method of drawing the head, which utilizes more spherical shapes and more rhythm lines than what we've gone through. So there are other methods to doing this. Now. As you can see decided, the lips furthest away from us compresses a lot more than the side closest to us. So whatever part of the form on that far side off the scent of excess line is going to compress. I'm just developing some of the chin and the George structure. Now I put a little bit of a cross console line over the top of that chin just to give us a little bit of form, just to give us a sense of round this, because that chain does infect bulge out, not as much as the bottom lick. In fact, it sits a little bit further back than that bottom lip, but we still want that sense of rightness. Now weaken do a boxy a structure. Initially, in fact, you can see roughed in more of a boxy a structure to begin with. But just that little bit of a cross contour line out with center here just gives it that sensible, round this weaken. Come back afterwards and smooth everything out with just July's. Some people's change is going to be narrow. Is someone gonna be a little wider? Some are gonna be a lot longer, so they're going to be a lot of variation. So just developing that top lit that heart shaped structure in the middle, we really want to get the sense that it's bulging out. It curves around itself and overlaps that far triangle wedge So back to our pro fall image again. Now, I'm just going to putting some of the no is just to help get outplacement right getting the angles in roughly. We're gonna worry too much about getting that correct. But we just want enough information there so we can start to build in our circular foundation's underneath. You might be out until if you look at the reference image just how much this area from the root of the nose all the way to the top of the chain, how much of that actually bulges out how much it really curves around? They got this one sweeping motion from the bottom of that noise to the top of that chin and the lips will be roughly the opening of the mouth. Rather will be roughly half way. We can start to build out lips now. The trick for this particular type of images. We want to get the sense that the lips are really wrapping around to the other side. We have to be thinking about the curving around the surface, so it's very easy to just putting a couple of triangle shaped wedges. It's of straight lines when there's a lot more subtlety going on here. Sure, putting down straight lines is fine for just a foundational piece, but if we just leave them completely straight, it's again gonna start making things look a little bit unbelievable, a little bit too cartoonish. So we will not look and feel. The co's ellipse is supposed to be soft and pillowy and very lights. The nose is very hard. The eye socket is very hot. That cheek chin. We got these very hard surfaces here. We've got these nice, soft, pillowy structures. We want that princess or that Finn fertile character toe have those luscious, curved lips you can get away with making them a little more angular from men. But for women, especially, you really do what? Those lips to be very curved. So rounded structures is how we really want to be thinking off this area. So back to our image, looking up slightly, Yeah, this is a more extreme 3/4 view from the one we did earlier. And so what's gonna happen here is that that part of the lips on the far side of the center access line is going to be even more compressed. The overall triangular structure off that top lip is going to be far sharp up, and the overlapping of our parts are going to be significantly more extreme. So we're gonna have to do a little bit of planning and a little bit of study for this particular want to get the architecture right, cause this is the top of images we talked about in the previous time exercise session when we can inadvertently start turning this into more of a profile image. So you gotta be careful with that and just take note of what's happening with this border of Lipa's. Well, the the perspective is so extreme, we're actually getting a lot more of that bottom lip overlapping that triangular wedge on the far side of the face. So we're going to get these little anomalies happening way from one perspective. One of these parts is going to be overlapping the other. And then from another perspective, the opposite is going to happen. So I'm just going to develop the chin area. Now. Get some of that in. You can still see from the reference and just how much curvature there actually is from that word of the nose to the top of the chin. So that's where we want to think of a rounded bull structure full. This whole area. It wraps around from the root of the nose all way down to the change. It's not necessarily a perfect circle, probably closer to an egg shape, but which ever way you go. The underlying structure needs to be around it. Okay, so let's move on to the final image, our near 3/4 image. So I might actually put the ball shape underneath first and foremost this time because I haven't done that in the last couple of images, just to give a sense of were overall it. It's sort of sits, but I'm just gonna put in some other features first, just to have some better foundations for myself thing that's enough of the joint. So I'll just start adding in the circular area now. So this ball shape starts from the root of the nurses, curves all the way around to the corners of the mouth, intermezzo at the top of the chin, and it's in some way it's not too dissimilar from how we constructed the I. I got this underlying sphere that we then wrap out lips around, so it's very similar in concept. But the execution is just a little bit different, the only difference being it's never going to be a perfect sphere. We're going to people with smaller mouths, people with wider mouths, so the shape is going to change. But in essence, the idea is still the site spherical structure underneath, rapping secondary structures over the top of it. So I'm just going to spend the rest of the time doing some shadowing in details, remembering that send a structure that heart jack structure is overlapping, that triangle a wage so it's pushing forward, and that's due to the full trim above it. That valley above their mouth. It's gonna be different for everyone. Some people. It's going to be a lot flatter. For others, it's going to be a deep cavity. So I think we might call this one a day. It's gonna finish off with what times reminded just doing some shading and few details. So the final lecture for our facial structures is going to be the ease we're going to cover the at a construction of the year as well as the workings of the year as well. And then we'll come back and do the final time during session after that. 14. Outer Ear Structure: lastly to the in now the E can come across as looking both difficult and easy. We've got a pretty simple, foundational, C shaped structure, but then we've got what looks like a rather complex network of tubes and tunnels that airflow throughout. So we've got some work to do. If we go back to Part one, we send the ear is the only major landmark that we have on the side of the head, and its relationship to the front features helps us determine where the front inside planes are to the head, helping us create that box structure for the head. And it's also super important in terms of positioning the head when we start looking at it from behind. The first thing we'll notice with E E is that it sits more or less in the center of the head. So if we put our access lines in the E begins behind the center of the line, and what you'll find more often than not is that the Aeon leans back a little from this position. This doesn't happen for everybody. Some people's ears will be Farmall vertical and in line with that center line, but in general, you'll find it leans back a little for most people, what you'll find also is that line of the jaw, which moves diagonally up, will dictate the starting position off the so the lean off the E will follow that jawline. However, the thing we need to be aware off is that the E is not connected to the draw itself. It's connected behind it. So when you're drawing really extreme facial features on your characters, maybe within mouth wide open screaming or laughing, whatever the facial expression is, the ear is not actually going to move. So it's going to follow the same direction as the jaw line. But it's not going to move along with the jaw. So using that line is our guide. Our foundations are going to be simply a C structure or even a D structure. However you wish to define it. However, in general, it's not going to be a perfectly curved design is, well, more often than not, be bigger at the top and far smaller at the bottom, where the E. L O. B. Is almost like a fish work or question mark shape the ILO's themselves your final either hook around into the jaw in a U shape or just merge into the jaw itself. So one that looks detached from the Jewell and one that looks connected to it from the front. It's going to be pretty similar, albeit far more compressed. The only thing we have to remember is the jaw and cheeks. Structures are going to be sitting in front of the years, so we're going to have these structures overlapping the ease from the front. So that's our foundations. Pretty simple stuff so far. 15. Inner Ear Structures: The tricky part of the E is the inner foundations. We have a series of peaks and valleys, so let's get our foundations in first l C shape design and a little piece off the jawline. So what we'll discover is that there's an out of cylinder like structure that goes away around the edge of the year. It starts about where the hairline is beginning about halfway inside the actual ear and then curves all the way around the outer rim and mergers into the alone. It's not going to be in even cylinder shape all the way around. We're going to have a lot of lumps and bumps along the way, so all we have to do is analyze where that ceiling that expands and compresses along the way where wobbles were, bulges, etcetera. But a cylinder is the best foundations we want to use here. If you want, you can think about age foundations as being to see shapes or to Fischel shapes together. So take your pick, and what we'll find is that inside of our first still in the structure, we'll have another still in the structure that follows the same see official shape. We'll see two noticeable differences here. The first is that it's sticker at the top and creates a kind of why shaped structure. Due to this dent, this y shaped hill will be a bit different from person to person, but in general, most people will have this little indented area inside the ear. It's usually thinner on this side than the other. The second difference is the outer edge of this cylinder. We'll start straight up before hooking around and down in this very we'd pattern. It's a tough shape to describe, but the way I like to think of it as being almost a rounded V shape with two little bumps on either side, he's your V shape. Here's your two little bumps, and that age is going to terminate almost in line with start of our first cylinder shape. So we've got Amel regular still in the structure on the outside, and I am, Or why shaped hill structure on the inside. Now, if we go over without cross contour lines, we've essentially got two cylinder heels that lead into this big crater. There are still some smaller hills and dense within all of this, but for the most part, it's one giant valley. The one thing will notice about these two. Still, destructions is they eventually blend and merge into the ILO. So everything starts to smooth it out. The closer we get to it. If Ici's the only thing left is the actual EQ now itself, which is just this small little hole next to this V shaped bump. Okay, the lost two things we need to consider nestles with use the e from the front and the back . What will notice The more we move the head around to the front is that in a Y shaped structure is actually going to stick out from that out a cylinder. It won't always be the case, but it happens more often than not. So that means the more we turn the head to the front bum or this, you know why shaped cylinder structure starts toe overlap that outer cylinder structure. The last thing we have left is the e from behind. The itself isn't directly attached to the head. We've got a little bit of a couple extraction that the other parts of the actually sit on top. All so the easiest white think of the even behind is to think of a cup or 1/2 spherical shape with the out facility achieving wrapping around it well, sometimes get a little bit of that in a wire structure poking out from this view as well. But that's going to depend on the person. Know everyone's ears will be shaped like that. So that's the structures of the It starts pretty simple, but ends up being a little bit challenging. But with a bit of practice, it's nothing. We can't get the hang up. So with that out of the way, let's finish off without lost time drawing session. 16. Timed Exercises - Ears: - uh , way, Uh 17. Timed Exercises - Ears Demo: all right, so on to outlast facial feature The years Now, in a strange way, the is actually aren't as difficult as they look. Yeah, there's a lot of complex tubes and tunnels that are going on, and they can certainly come across is being very daunting because it's like, Wait away, even begin with this. But in a strange way, they actually end up being the easiest things toe look, because once you sort of understand the patent off the any a structure and the patterns that they're making, you'll come too soon. Realize they're not actually as complex is what you think they are. And so it's just gonna take a little bit of time and practice to get an understanding of what the patterns are. In essence, it's really just a Siri's off. See curbs. As you can see right now with just these foundations, we really just got what three or four see shapes is our foundation's right here, and you can already see how much this is resembling the E. So at its most basic, the ear is just really made up of a series of sea cubs, and when we finally understand the pattern that they're making, and this is going to ring true for most people. Then they suddenly don't become so daunting. So I'll guarantee once you learn the pattern of the is that outer tubular structure followed by that why shaped hill structure inside of it? You really realize just how easy he is actually end up being compared to the other areas where we've got a lot of difficult shapes that we're having to deal with, or is it just really made up of curves? And they're all going in the same direction, So relative to the other parts, you probably find the visa the easiest to deal with. As you can see, we really only got to deal with a little bit of overlapping with that in your structure. That's probably the most difficult part that we have to contend with. So it's all just see shapes and tubes. Okay, let's finish this off and move onto the next one so we could have 3/4 1 again. So to give the earrings that in these images had trouble finding for Fritz images for this without hearings in them. So feel free to ignore them and just draw as best you can or draw them in there. So starting without see shapes. Now, remember, this head is facing towards us, so that means the front of the ease the front of the tubular structures is going to be overlapping the back part of that structure. So we want to think of that outta age that out of tubular area as overlapping itself, it's curving around like a snake. Would we want the lines of the front part of that tubular structure crossing over into the back of the tubular structure to show its position in space? One problem we will come across is that some people's ease will be closer to the head than others. Some people's ease stick out a little bit, and so we really just have to take special attention to what position the he's actually in . And just take note off with the July this position, you can actually sits overlapping he alone. So remember we said that the isn't actually connected to the George sitting slightly behind it, and it doesn't actually move. So no matter how much your character is screaming or laughing, were yelling that here is not going to move it all you tried on yourself. It's not gonna happen. Just a little note on that large cavity within the structures. They Some people are going to have a fuel, noticeable lumps and bumps that happened within that area. So even though we've gone through a rough idea of what the structure should look like, there's going to be some architectural elements you'll come across that we haven't covered . But these are foundations, which ring true enough for everyone. Get back to our profile image again. If you look at the reference, you can really start to see the sea shapes. It's almost a little bit like a world pool. Worst off tubes and tunnels, which are circling all through, is entire area. What you might actually notice is that this year looks like it's leading Maura top than it is at the bottom. The bottom where the hell obi is actually looks like it's Farmall flat to the surface off the jawbone compared to the top part of the year, which looks like it's pushing out from the head. So it's these little things we have to look for. They're still just concerned with getting the initial architecture correct for the outside of the inside. Just a night on during the whole head along with the ears is gonna be very tempting. Teoh ignore the years a little bit safe. We're doing a a portrait commission. We might try. Teoh put the models headed a certain angle where we don't have to worry about the ears too much or may be covered with hair or do something with it. So we don't have to actually tackle the structures of the years because they look so complicated. And yet the olds of us just drawing ease as a profession is pretty slim. But it's still super important to have an understanding of its architecture. We kind of just keep covering out models with hair and hats and other obstructions, just so we don't have to look at those daunting tubes and tunnels. But as I said, once you understand the pattern, it starts to become a lot easier. So use the method I described to remember or try to come up with your own whatever works for you, move on to this one that I dread the most. So it's not too different from the lost one, except the head is going to be tilting up a lot more, so I'm using my pencil. At the moment, Teoh get an idea of roughly way that jawline is headed because even though the isn't connected to the jaw, it's moving in the same direction as it. So. As long as we get that positioning of the jewel right, we'll have a good foundations for way out is going to go. And, like I said in a lecture, the every so often you might find somebody's ease with char a lot straighter, the formal vertical. But more often than not, the music idea told back from most people, and they're going to align with the angle of the jaw. So, like everything is going to be exceptions to these rules. When describing a lot of these shapes and forms way really talking about what the ideal body parts are, what's the easiest things to remember? So when we say the E tilts back, the skull is small for women that it is for men that the faces five eyes and with these RL just just averages. It's all done just to simplify out process. We try to accommodate every variable. We'll just co completely inside because it's just too much for us to remember. So we do all this to simplify our process. Just gonna spend the next 25 30 seconds filling in some shows and details. So it's still very flat looking at the moment. And that's probably because I haven't done a very good job of indicating outfalls putting its across Contour Alliance. So we'll do that in the next image of a lodging In this reference image is actually really good. Be a really good reference for a full head demonstrations, something that we might go over in a future. Listen already the final image of our session. So a bit of a rough cross access first just to give us an idea of positioning, some kind of trying to build some better Cipolla structures For this one, you can probably notice from this perspective, the top the ear is sticking out a little more than what the bottom is. The alone is a lot flatter on and what the topic is, there's a little bit of a twist going on with the sea. It's not to see with those cross contour lines how much of that out of tubular structure feels like it's wrapping around itself now a little bit for the inside as well. We're talking so much about these tubular structures on the top. The one area we shouldn't forget about this well is the ILO. That's a very curb structure. It curves underneath. So we want a nice round it full for the bottom of very So I think, that being a compressed ball almost unless, of course, it just joins directly into the jawline. As you said, some people's is will join directly into the jaw and some people's he's will loop around, and this one loops around, so out alive here is going to have quite a bit of form to it. So I think I'll just finish off by refining this a little bit more wedding, some shadowing a little more detail on Lord work. So that's going to cover it for the facial features and for the overall Siri's. So hopefully you've gone through both parts one and two before you've tackled this, and hopefully this will help you with your head construction in the future. So even though we've dealt with a lot of complex ideas was still very much in the beginning stage of head construction and figure during. In general, this is more intermediate than now. Earlier listens, but it's still very foundational. This There's a lot to go over in terms of facial expressions and muscle structures and anatomy and hair, so there's still quite a bit to cover. But hopefully this is enough to get you started with, so it please feel free to send any questions that you might have. These images we've worked on as well as some additional headshots for you to practice with are going to be available in the notes that are attached. So go over these videos as many times as you need to practice hard, and I'll see in the next lesson.