Drawing Facial Expressions- Simplified ! | Talking back To the World !’ | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (33m)
    • 1. Introduction

    • 2. Face- Playground of Expressions

    • 3. The Acting Features

    • 4. Quick Recap

    • 5. Fun Ideas for Self Study !

    • 6. Projects and Closing Thoughts

    • 7. DEMO- Smiling Expression

    • 8. DEMO- Smile in 3/4th Angle

    • 9. DEMO- Sad Expression

    • 10. DEMO- Angry Expression

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About This Class

This Class, is designed to be very simple in its Message and learning-content. The sessions are theoretical and focus on providing a valuable insight, into the most fundamental aspect of HOW facial expressions play-out on the Face.

Basic Drawing skills and an interest in drawing facial expressions are the only skills needed to take full advantage of this Class. This class is of an intermediate level, but it can be easily understood by both beginners and advanced level artists.

Most of us can easily draw a smiley face. But, drawing facials expressions convincingly, seems like a tricky task. After this class, the student will be able to look at facial expressions in a simplified perspective. The information will help the student to perform at a higher level of awareness, about what’s actually happening on the face when an expression is enacted.

You only need to have a sketchbook ,and a couple of good ,soft lead pencils ( 3B, 6B pencils). You are welcome to work digitally if it suits you.

And similarly ,for the projects you can choose to create work on paper or digitally, both work fine !

Meet Your Teacher

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Talking back To the World !’

The life of your ART is its READABILITY


Hi I’m Jacob. Im a Storyboard illustrator. I've been doing Storyboards for TV Commercials and Feature films since 2005. I am happiest when I work fast and especially when my sketch-work involves lots of Action ,Acting and a whole lot of facial expressions.  

I started out as a Newspaper Cartoonist back in 1995, (while in final year College). Later worked as a Traditional 2D Animator. After 6 years of animating on paper , I migrated to 3D Animation , I was also developing story ideas for in-house films

And along the way.. developing ‘Story ideas’.I found my true calling as a Storyboard artist, 

Presently I work as a Freelance Storyboard illustrator. I’m based in Dubai.<... See full profile

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1. Introduction : Hi and welcome to this class which is about simplifying the art of drawing facial expressions. Although this is an intermediate to advanced level kind of class. But if you've been drawing facial expressions or trying to draw facial expressions at one time or another, then you're sure to catch on very fast. Even if you are a beginner. Let me introduce myself to the class. My name is Jacob, and I'm a storyboard artist. My job is to visualize film ideas and stories for my clients. I do storyboards for television commercials and also occasionally for feature films. But I wasn't always a storyboard artist. I started my career as a newspaper cartoonist back in 1995, when I was in my final year in college, I worked with the newspaper deal. I graduated. Next, I was selected to be trained as a 2D traditional animation artist. This was my introduction to the Disney style of animation drawing. After the training, I was drawing frame by frame using a pencil on a bunch of A4 sheets of paper, which were pegged on a peg bar on a light box. And this was an amazing learning curve in my career as an illustrator. I had to unlearn or give up the style of drawing which I had developed as a cartoonist. I had to unlearn it to start to draw in the Disney style of animation drawing, which was all about drawing with correct structure and correct proportions. It was about creating two-dimensional drawings which had a three-dimensional shape and feeling of weight. It, it was about drawings which had the illusion of life. And it was about an altogether different level of performance and productivity and creativity. Later I migrated to 3D animation and worked as a key animator on a software called Maya. Gradually along the way, I found my true calling as a storyboard artist. Presently I'm based in the y and my job is to visualize film ideas and stories for my clients. Means I draw and visualize each art for a film idea or story, just like a comic book. I do storyboards for television commercials and occasionally for feature films. And I'm happiest when I'm doing quick rough sketches for all kinds of story ideas. I also have a passion for studying facial expressions and drawing funny, wacky, but also easily readable and convincing facial expressions. I'm sure most of us have tried drawing facial expressions at one time or another. Maybe just a stick figure or a Smiley face, or an angry face or a sad face. All of us want to draw facial expressions more convincingly, more impactfully, and more importantly, more readable. If you are curious to know how you can draw all those awesome, funky, complicated facial expressions easily. Then this class is for you. I also have a short but fun training program, which you can easily do at home. The final part of this class has some fun projects which I would love to see you do. My aim with this class is to encourage a new confidence in you to look at the art of drawing facial expressions with a fresh new perspective and to gain a higher level of mastery with this perspective, which I'll share with you in this class. And having said that, I want to welcome you once again to this class. Let's begin. 2. Face- Playground of Expressions : Hi and welcome back. This session is about the phase. We will take a close look at what makes up or comprises the visible design of a regular phase. Besides project in character and personality, the phase is mostly a very powerful communication platform, which for most part is about communication through facial expressions and other more specific mode of communication which happens on the face is speech, where it will tell me how you play today. I'm Dr. speech is a strong communication tool, but specific to language, culture, and nationality. Facial expressions, on the other hand, are more universal, nonspecific, and more potent, and it easily breaks through or overrides the boundaries of our differences of language, nationality, culture, etc. And that's why even in the face of someone who belongs to a culture or a country which is alien to us, or someone who speaks a language which we don't understand. But we are easily able to read or understand a smile or a sad expression, or any other mix of expressions as soon as we see it on that person's face. Facial expressions are the most important, frequent and universally understood communication channel between us, humans, and reuse it all the time for rejecting emotions, feelings, and all kinds of general communication. And the facial area is where all this happens. That's where we focus on our attention when we are talking to someone or looking at somebody. It's as if we are keeping our eyes peeled for absorbing all the information, content, and communication, just by concentrating on what's going on. On the face. The face is the venue or the arena or the playground or, or stage, if you want to call it that where all the facial expressions are played out. Here's an interesting insight or fact. When you look at a drawing of a person looking happy or sad, the impact that this drawing or the drawing of that facial expression has on you is the same and as strong as looking at a real person, smiling or looking sad. But the advantage with drawings is that if you're able to draw convincing facial expressions, then you're drawing, or the drawing of that facial expression can be exaggerated to a much higher level for higher visual impact, something that you can't do on a real phase. You know that animated movies and comic books have a much higher level of fun and entertainment value than what we see in real life or in live-action movies. And there's such a big hit with both kids and grown-ups. The kind of impact that exaggerated facial expressions can have, for instance, in an animated Disney feature is not possible in real life or a live action film, except maybe for the highly talented Hollywood superstar Jim Carrey. But all of us can't perform at that level all the time. But we can draw, we can perform in our drawings through our drawings. So in your drawings, you have the creative freedom to achieve more visual impact by exaggerating facial expressions of a character that you're drawing or trying to develop or create yourself. The impact that facial expressions have on our daily communication is huge. And although there are so many expressions possible on a face, we are quickly able to understand and differentiate between all these different kinds of expressions as soon as we see them on a face. For example, a smile can have so many different variations, but we are easily able to distinguish between them. Familiarity with facial expressions is of a very high level. And yet when it comes to drawing facial expressions, it's considered a tricky task or a task which needs some kind of high expertise, may be because beyond the Smiley face or the sad or angry face, most other expressions seem well, they seem out of reach, but with a simplified perspective, you'll be encouraged to think differently. So if I say to you that most of us are able to draw a Smiley face easily. I'm sure you'll agree to that. But the question is, how is it that you're able to do that or draw that easily? You would be right again, to say that it's easy to remember how to draw a smiley. You just need to put a pair of eyes and an upward curving line within a circle. And you have a very powerful symbol of good cheer, happiness, good vibes, etc. In a smiley rehab put into a drawing. Only the most basic features which are needed to depict a smile, namely the eyes and the mouth. And if we simply add eyebrows, the impact of the smiley goes up several notches more. So is the process of drawing a realistic facial expression in any way as simple and easy as drawing a Smiley? It's an interesting question. And the answer is yes. It can be that simple and easy. Remember that it's all about the readability of the smile in your drawing. And the success of every drawing is about the readability of the message in it. A smile is a smile whether you draw it this way as a realistic illustration or this way as a cartoon, smiley, the expression is readable in board the drawings. So what about a slightly more weighted expressions like an expression which is a mix of surprise and happiness, or fear and surprise, or exhaustion and sadness, or anger and shock. The process now starts to look a bit difficult and it seems like we have a little too much on the bladder, but it need not be that way in order to simplify the whole thing. All we need is a new perspective on what's happening with the facial features. To begin with, let's look closely at the face. We all know the basic components of a face. But for the purpose of this class, Let's look at them once again. So the basic features which make up the visible design of a regular face. The hair set, the jaw line, the ears, the nose, and the forehead, the eyebrows, the eyes, the cheeks, and the mode. And that's quite a few features. So these are the features which need to be drawn to draw a complete phase. But we need not consider or worry too much about all these features when we draw facial expressions. No, we don't need to. And that is the good news. We only need to focus on three facial features at anytime that you want to draw. Facial expressions and all kinds of facial expressions. Let's just call these three features. The acting features. 3. The Acting Features : Welcome back. So what are the acting features? Out of all the features that we just pointed out? Features like the nose, the forehead, the hair set that you set, the jaw line. Don't really do much acting or participate actively in any facial expression. So any change in the design of a nose or the hairstyle, or the design of the ear, or the jaw line, or the forehead can change the personality of a phase. These features project the personality, but they're not acting features. They are not active in creating all the varied facial expressions that we're talking about here. To create facial expressions and all kinds of facial expressions, we only need to focus on three facial features. And these are the acting features that we know so well. The first and probably the most potent acting feature on the face, the eyes, the anatomy or the structure of the eyes can be understood without much effort. And the simple anatomy of the eyes has the answers to all the expressive acting possibilities in the eyes. The structure of the eye is comprised of the eyeball, which has on it the cornea and the pupils, which shrink and dilate. And that's where a lot of acting happens. We often leave out the details of how the pupils look within the cornea. And as the pupils dilate or shrink, there's a huge change in the expression on the eyes. Dilated or enlarged peoples can greatly change the message in an expression as against a shrinking pupil in the iris, the eyeball is encased in the eye socket, which is covered and protected by the eyelids. The activity in the pupils, the eyelids and the eyelashes can make a huge difference in the way the eyes show expression and acting and communication. As simple change in the thickness of the eyelashes can change the gender of the eyes. Once you understand the structure or the anatomy of the eyes, you'll be able to make stronger judgments while drawing the eyebrows. The eyebrows are simply an extension of the eyeball. If you extend the lines of the eyeball, you'll find the eyebrow line. A varied range of expressions can happen with shape changes happening on the eyebrows. The mouth and cheek work in tandem by complementing each other. I smile which originates in the mouth, should be readable all the way across the cheek to the eyes. We are quickly able to distinguish between a warm and genuine smile as against a cold one. Smile which is forced or untrue. The mouth and cheek interact, but the eyes are not touched by this interaction. It's mine which doesn't travel all the way from the mouth to the eyes, has a cold and unpleasant wipe as against a smile in which the cheeks go into the ice and light up the whole face. 4. Quick Recap: So the wide range of expressions due to the interaction between the eyes, the eyebrows, and the mouth and cheek unit. The other features on the face like the design of the nose, the hairstyle, the ears, the jaw line, etc. Accentuate or add more attraction to a facial expression, but they don't actively participate in creation of any facial expression. These non-active features are simply personality markers or projectors of personality or character of the face. A smile may look pretty on a particular phase and not so pretty on another face because of the unique value added in terms of personality and character by the non-active features or the personality markers, like the nose, the hairstyle, the ears, the forehead, and the jaw line. Whether your drawings are realistic or cartoonish, or if you prefer to work with simple emojis, the way you depict a facial expression can be greatly enhanced if you observe closely the interaction between the three facial features which create all these amazing facial expressions. When drawing the eyes expressively, wherever possible, try to use the action of the pupils within the cornea to enhance the effect of the expression. Remember that 99 percent of the attention while looking at a face, whether it's drawn or real, is taken up by the ice. After the eyes that the other acting features like the mouth and cheek unit and the eyebrows. And the non-active features get a portion of the attention. While trying to place the eyebrows. It's a good idea to roughly draft the approximate shape of the eyeball and then try to extend the lines out of the contour of the eyeball shape. A flowing action of the lines is a good idea to place both the eyebrows symmetrically depending on the expression that you're trying to make. Although on a realistic phase, the eyebrows have a realistic limit or a realistic range of motion. But even in a realistic drawing, these reference lines can help accentuate the impact in the expression. So the important thing while drawing the mouth and GQ would be to convincingly depict the coordination or the cause and effect action between the mouth and the cheek, and both need to complement each other. Every mouth shape that you draw, that you decide to draw should be supported by a readable complimentary action or reaction pose on the cheek unit, then the expression becomes convincing and engaging. This way, you will always draw facial expressions that look convincing and readable when you can make that coordination between their mouth and cheek unit look convincing. And once you do that, even if you draw a rough thumbnail sketch of a facial expression, the audience will never get a chance to critique the quality of your drawings. There'll be swept off their feet by the drama, the acting, and the emotional content in that facial expression in your drawing. 5. Fun Ideas for Self Study !: Welcome back. And I hope that with this brief theoretical information which I have shared with you, you will see some promise and possibility in your quest. Drawing those funny, wacky, awesome, but also convincing and readable facial expressions. I want to go a step further and share with you a simple and engaging self-study program, which you can do on your own at home. The little time that you spent training at home on these fun exercises will give you guaranteed results, which will start to quickly show up in the drawings that you do. Comic books are full of highly dramatic and awesomely exaggerated facial expressions which the creators of these comic books have developed. After long practice, an observation of life, and investment of a few minutes each day. Studying and copying from comic books can make a truly big difference in your quest to draw awesome facial expressions convincingly. Different comic book artists have their own different wacky and fun style of drawing facial expressions. And each of these cartoonists and comic book artists have something unique to share with you. If a particular kind of drawing style or a stylized comic book really amazes you and you enjoy looking at that. There's a strong possibility that your mind is primed already to learn from that art style quickly. Learning this way, you'll be moving faster towards your goal of growing facial expressions more and more convincingly each time. So studying the drawing style of export cartoonists and comic book artists is like riding on the shoulders of giants who have already zeroed in on the techniques that you need to rise to a higher level of performance. As you study a facial expression from a comic book, be fully aware that the facial expression that you see is an interaction between the eyes and the eyebrows and the mouth in cheek unit of that character. The fastest way to master the art of drawing facial expressions, readability and convincingly is to draw with feeling. So once you start filling up your sketch books by studying and copying from comic books and from your favorite movies. And you find that you're beginning to enjoy looking at your drawings. Now it's time to get a small mirror. The expressions that you try to draw by looking at your own facial expression in a mirror become the awesome drawings that people like to point out again and again. Because these drawings have more feeling, acting, emotional content, and also dramatic impact. 6. Projects and Closing Thoughts: As we come to the last part of this class, I'm very happy to share with you two simple and fun projects. And I'm hoping that you'll thoroughly enjoy doing both of these. So for the first project, by looking at yourself in a mirror, tried to draw three basic facial expressions. You could choose from expressions like happy or angry, or sad, shocked, or surprised, et cetera. So remember, having fun is the most important part of the learning process. If you're enjoying yourself, then you're surely getting there faster. And I want to add that for this project. Try not to use the eraser too much. It's usually faster and more productive to start a new drawing, then to continuously correct what you're working on. I just want to add here that in my experience, the beginners usually create the most impactful and interesting facial expressions. So don't hold back your drawings, share whatever you can manage. And that's how learning is done. So have fun, and I would love to see what you've created. So for the second project, try sketching up a concept for an emoji design all by yourself. I want you to design a new emoji for the expression of the universal language of love. To make it more interesting, I want to give you an additional option just in case you want one. So the other option is the concept of Mary making with music. So you can have fun doing either of these or both if you want to. And emoji, as you know, is minimalistic. So it's a good idea to keep your drawings with minimal lines and neat. If you decide to add color, do so, but keep it simple. And remember to take a good look at the actual emojis out there that might help you with the final look of your creation. This class was about facial expressions. The study of facial expressions is a total game changer. When it comes to your performance. As soon as you start your training in drawing facial expressions, you'll find your own style of drawing facial expressions. And very soon you'll be leaps and bounds ahead of your former self. This is one scale which will take you to an altogether different level of performance. So till we meet again in another class, take care and keep filling up those sketchbooks. 7. DEMO- Smiling Expression: Hi. So in this demo, I'll try to explain to you how you can draw your own facial expressions by using a small mirror. I prefer to use a smaller mirror because it's easier for me to carry it around and take it around with me to places. It's more compact and light, just like the iPad and the Apple pencil, which you can carry around and work on even when you're traveling or when you're away from home. So a simple way to draw your facial expressions would be to start your drawing by first drawing all the non-active features on your face. So let's start by looking at the face and drawing the non-active features like the hair said, the ears, and the jaw line, and the position of the nose. In my case, since I don't have much of hair, my head. The shape of the hair cell is more or less the contour of the head shape. After we do the non-active features, now it's easier to focus on the more important acting features. So let's start with the, well by looking at the acting features. So right now, we're going to try to draw a simple smile, which is a closed mouth smile, a lot like a laugh, but a slightly subdued and subtle cellular option of the laugh or the big happy smile is just a casual smile with mouseClicked with the mouth closed. So I have that. That's simple enough. Just occurring line. And now we look at the shape of the eyebrows, which also hasn't changed because it's just a subtle smile. So my eyebrows are more or less in that lacks position. There's not much change there. And now we look at the eyes. My eye has changed with the smile. As you can see, the lower eyelid has been pushed a little bit higher by the action of the cheeks. So it is pushed upward and you can see the smile even in the eyes. There's a small curve here, which is happening because of the action of the cheeks. So when I draw the mouth shape, There's also a corresponding shape change. Cheeks. This shape of the cheek here has changed slightly so that it's a little more rounded. And in that can that action has shows up in even in the ice. So that's simply simple. That's a simple way to draw an expression like a smile. And with a simple shading, we just need to show the hairs separately, the rest of the body. And as the ice, a little bit of shading, you can differentiate the different parts of the face. So that's a simple smile. 8. DEMO- Smile in 3/4th Angle : So that's an easy way to try to study a smile on your face as a drawing. If we were to redraw this shape in a 3 fourth angle, which is an angle in which you can see both the years and also a part of the side of the face. Let's try to do that for the same expression. So that's the head. And if he were to draw the face in this angle, you see a little bit of the year and the eyes and the head. When you draw the face in this angle, it's slightly more three-dimensional. This which looks a little flat. So in the same way, the same expression. When we draw the character. The cheeks curve up slightly because of our slide here in. And we can see a little bit of the ear on the other side. And we see the year on this side. And in this way, we have a slightly more three-dimensional feel to the face. And, and it's, it's, it's slightly more, it has a more real and more engaging look as compared to a flat two-dimensional kind of field which we have in this face. So in this phase, if you shade this space a little more realistic feel, more engaging. Three-dimension look and feel as compared to the other chlorine. And we're talking about the same swine, the same facial expression, which is the slide. 9. DEMO- Sad Expression: So I'm going to use the middle again. And this time we will try to draw a sad expression. So again, I would start by drawing the non-active features like the headset. And this time I'm trying to draw it in, in prof, in threefold. So that's roughly the shape of the head. And my ears. The nose, roughly four here. And set. Is that. Now I, I try to focus on the packing features for this expression, which is the sad expression. And so I'm going to look at the facial expressions that are acting and then they're responsible for creating this expression. So start with the mode shape, which is curving downward. So that's more or less the shape of the mouth and the eyes and eyebrows. It's a little difficult for me to show you is my own facial expression through the mirror. Because the mirror is a little small, but a try. So that's more or less the shape of the eyebrows. Eyebrows curving upward. And if you roughly link it with the shape of the eyeball, the I rows would be flowing line like that. And so here you will have the shape or the eyebrow that you're looking for. So that's the either of the cornea and the eyelids. My case, as I can see my eyes, the eyelids closed on the eyes. Then it's like that. So now I just need to Jacob the extra lines that I don't need here. More or less. This is the shape of the eyes that I need. I can go and refine this drawing. And so here, the cornea, which is almost closed eyelids. You can see you. Here is the ISO. There's a, there's a shrinking action unfolding. Lower eyelid, which is pushing up more stressful. It is that emotion for expression of sadness and hybridize coherently direction. And the month the curving shape of the mold shape. It pulls the chiefs downwards. So you have actually like that which pulls the cheeks down. Similarly here you can put a line which shows the action of the chief slowing down. Which is what happens when you have an expression, a sad expression like that. So that's it. These are the only features which really engage the face when you show any expression. The eyes, the eyebrows, and the mouth and chin. And of course you can. You need to show the non-active features to complete the phase, All which the expression is played out. And I'd like to do some shading a level to make it look more complete, then rounded up. So that's it. In reasonably good lord of day, you can, you're able to create a simple expression like a sad expression. And you don't even really need to do shading because as long as your expressions are readable and stroke, Gil need any support with shading and all that. But it says this work is complete and I just holding Luckin look like 11 or trying something new. That's your simple expression of the sad expression. 10. DEMO- Angry Expression: We now try to draw and another interesting and exciting expression, which is the angry expression. We see it all the time in comics and comic books and in animated movies like superhero movies. So once again, I'm going to look at my own face and try to study that expression before I draw it. So that's an expression which almost always grips your attention whenever you see in a comic book or in a movie. And so as you can see, the action of the eyebrows and the eyes are, the eyebrows are pressed down. And you can have a very number of expressions on the mouth shape. It could be showing a TDD, just a closed mouth, shouting something more exaggerated. Let's just go with something like an analogous expression, like a, like an angry expression with the T bar and, and like, like that. All right, so in this case, I'm going to try to improvise the pose of the face also besides, I'm not going to stick with the threefold pose, which is, which was what we did so far, which is more or less that kind of a pose for the head. So we're going to experiment and try to make the expression, try to add more value to the expression and make it more enhanced by tilting the face a little bit to oppose like something like a little tilted forward so that it's like like that. And that enhances the, the, the, the, the force of the expression slightly more. So that's more or less the pose which the angle at which will try to draw this expression. That'll be a little bit more exciting and a little bit more, a little bit more of your attention. All right, so that's the angle at which we'll try to keep the phase angle at. All right. So I'm going to tilt my head downward. Keep it like that. Get into the into the motion. And that's, that's the best way to draw with feeling. Once you get into the character, into the real essence of the emotion that you want to show. Your drawings will show, will start to show that emotion. So first, I draw the new enacting features, which is top of my head. Your line is becomes seeds a little bit as the head comes closer to the camera. So little bit of a more or less like that. So here's an imaginary line or I should be facing down this more or less than my forehead would be. And my hair would be displayed. That's the nose would be nose. Nose would be like that. So that since you're looking down, the nose would go this distance between the chin and the nose would be reduced a little bit because we're looking at it from an angle which is slightly top, top, top. All right. So those are the non acting features. I working digitally on this because it gives me a little bit more oxygen to keep the word cleaner, have more undoes. And, and so you can always draw on paper with pencil, and that's the traditional way of drawing. And in case you want to restart, you can start on a fresh drawing. And you can work like that. Either ways. It's, it's about the technique of drawing facial expressions. And it doesn't matter if you're drawing digitally or in the traditional way of drawing with pencil on paper. So now I'm going to come down to the acting features. That's my hairline, my ears. And this is where my role would be. And so my eyebrows in this angle are overlapping my eyes almost. So I'm going to start with the eyebrows because my eyes are overlapped or they'll be under the eyebrows, nose. My cornea. And the shape of the mouth is like that. Show a little bit of lag. The cheek line goes like that. And in the action of the cheeks are also playing on the eyes. So the eyes are closed by the cheeks, which push upward into the eyes. And also along here the cheeks bulge out. As you can see with this angle, the chin recedes into the receipts. Any becomes smaller because we're looking at it from the top angle. So that's pretty much, that's pretty fast way of drawing a simple expression like that. I'm going to clean up this drawing once again on another layer so that we can look at what's going on little bit more closely. So as you can see the eyebrows in this drawing, I'm going to try to exaggerate what I, what I have seen in a realistic way on the mirror. So in this stage, I'll try to exaggerate this drawing, which is possible, which is the creative freedom you can have when you draw. So the eyebrows come down even more heavily. And I'll try to make it come down and more forcefully. Eyes are overlapped by the eyebrows. That's the cornea, which is again overlap by the cheek action on the cheeks. And keeping the people's really small to show the angle here. Knows go down like that. And the mouth curving up the mouth are, can also be overlapped by the nose because it's almost under the nose. Does the shape of the mold curving and the, the the cheeks go down like that. This is, this is the chunk of the cheeks which is which is moving down. And that action should be visible even in the contour shape of the cheeks. And as the years have said, you can do all your corrections in this stage of the drawing in case you missed the proportion or the angle. And expression. Expression is almost completely with that. So that's your hair said. Shading your work, it helps. But of course, if you have your expressions drafted well. So that's a simple procedure for drawing all the basic expressions. That basic expressions like happy, sad, and angry. So I hope you'll have fun with your experiments with drying facial expressions. And I would love to see what you've created.