How to Draw the Face for Beginners | Anime & Manga | Sensei | Skillshare

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How to Draw the Face for Beginners | Anime & Manga

teacher avatar Sensei, アニメとマンガの先生

Watch this class and thousands more

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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

11 Lessons (1h 8m)
    • 1. Class Trailer

      1:14
    • 2. Easily get Proportions Right

      11:33
    • 3. Hack Complexity

      2:17
    • 4. Draw Correctly the Head

      5:14
    • 5. Meet Line Rhythms

      5:58
    • 6. Remaining Contour

      4:26
    • 7. Demo: How to Put it All Together

      11:27
    • 8. Demo: Final Thoughts

      7:09
    • 9. Your Class Project

      3:06
    • 10. Bonus: Ipad Speeded up Demo

      3:14
    • 11. Bonus: Traditional Real Time Demo

      12:33
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Drawing / Anime / Manga / Drawing Fundamentals / Classes / Courses / Tutorials

In this class, we'll be learning a lot of very valuable information, from the easiest with a step by step guide on how to construct the face, to a bit more advanced, like proportions, structure, and line rhythms.

The same principles taught in the class can be applied to your art style, so even if you are not a fan of anime and manga this class will teach you a lot.

You don't need to know a single thing about drawing this subject, beginners will benefit the most, but even experienced artists will take out of the class a sharper skill.

By the end of the class, you'll be able to draw your own characters' faces without having to place a bunch of guidelines, easy-going straight to the point.

What are you waiting for? Let's get started!

___________

*IMPORTANT: Neither Sensei or the teacher Dairo own any of the commercial, distribution or creative rights of the Anime characters that appear in this class, they are not being used for commercial purpose, they are only being used as an informative and educational medium to exemplify the class topic. They all belong to their respective owners. All rights reserved ©

*CREDITS:

Beautiful music by: Tsundere Labs | Ujico | Moe Cafe | Seiun

Thank you! All rights reserved to the respective owners©

Meet Your Teacher

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Sensei

アニメとマンガの先生

Teacher


 Sensei's number one goal is to get you from cero, to an always improving artist!

 


Make sure to follow Dairo (Sensei's Teacher), if you are looking to be up to date with everything there is to be shared with you!

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Transcripts

1. Class Trailer: Hey, I'm Dider on this is mastered the basics of how to draw the face on any 1,000,000 manga style. We'll be learning a lot of very available information from the easiest, with a step by step guide on how to construct the face to a bit more advanced like proportions, the structure and line Britain's. We will also learn how to rather face directly with burly a guideline and how to think for successful drawing the same principle. Starting the class can be applied to your own our style. So even if you're not a fan of any man, manga this close will teach you a lot. You don't need to know a single thing about drawing the subject. Beginners will benefit the most, but even experience it Artis rule take out of the class a sharper skill. The local of the class is not only to teach you how did your faces but to give you the strongest tools to make you draw them right? By the end of the class, you'll be able to grow your own characters faces without having to place a bunch of guidelines e. C going to straight to the point. So what are you waiting for? Go get your fancy Ellen Laskin, start 2. Easily get Proportions Right: when it comes about drawing the head in the face, There are a lot of different methods that you can always find on a lot of different sources . Thes class is no exception. This is just one more method. But it has been put it all together in the simplest way that I could find for any beginner or any experience that artists to benefit the mosque, simplifying the process of conceiving, understanding and drawing the face. So, for this class, I would like you to follow all of my advice, all of the steps that I'm about to show you all of the different exercises of each of the video lessons. Knowledge without applying comes down to nothing because it just money fast is this information. But your skill won't be developing any time soon. So make sure that you're actually drawing each of the steps. No matter your skill level over time and practice, you can always improve it. All right, so I'm gonna use two colors red and great to differentiate with gray. What are the things that I want you to pay a special attention to and I'm gonna use red color to show the different guidelines, which are the ones that are going to help us to understand proportion and correct placement off every part of the face. So let's start by place in this oval shape. This gonna shape, which reminded somehow to an X shape, is the most important shape when it comes about drawing the head in the face, at least from the front view, because it helps us to simplify to its core essence. How phase looks like without all of the detail that may distract us or may intimidators for these special exercise. I want you to draw all of the different steps. Even if they look repetitive, we need to rein force all over knowledge. We need to make sure that everything that were being presented over this class is being applied and also memorized. So we drug in the same shape we previously did, which remind us off somehow an X shape, and then we're going to divide it. We started by dividing the hide off all of the shape. Make sure you're dividing it right in the health. Then what you're going to do is consider they with off all of the shape and also divided by plays in a vertical line. As you can see, these lines are not men to cover the whole structure off all of the shape that we just made before. But it will service as roughly a guideline to start placing all of the different facial features. That's why I've made it. We dread color, and I'm not extending it to cover the rope. A space of the X ship. All right, Third, this step, we keep on repeating the previous steps, so we started making doggerel face shape, and then we place these guidelines which crosses right in the middle off all of the shape. Once done that, I want you to consider this space that there is on the remaining parts that we divided. You can guide yourself with a horizontal line that we have placed before, and by dividing this health that we already got before we can find where we can actually plays the eyes. So as you can see in here indicating with a dot and then I proceed to do the same to the other remaining health off the face. You can proceed based on this to just at the ice an easy way to understand them is to know that the pupil goes right in the middle of this on important hint to consider when place in the eyes is to know that there is another eye in the middle of both eyes. So make sure that you actually pay attention to this base that there is between one eye to the other. Then guide yourself by calculating also health off the with often eye in the space that remains from each eye to the outside counter off the face. All of these process is to know how to locate correctly the ice. Then you can just proceed to add easily both of the eyebrows which are just represented. True simple lines. All right, for this step here, I want you to learn how to play the notes correctly in proportion for those of you who are very beginners and are not familiarized with the term proportion means just the relationships between all of the parts that help us to all of us artists to understand in place the porter for drawing in a valence way. All right, so in this four to step, we just keep on repeating all of the previous steps so for the knows we're going to take in consideration. Where's the eyebrow located on, then where's the chin? So by calculating these a space from eyebrow to the chin, we need to look for the middle of it. And right in the middle is where we're going to place the nose. Very simple, right? No. For the fifth step, we keep on repeating all over previous steps. Easily we draw neck shape. We play the cross, which help us a guideline to locate all of the facial features. And then we locate the ice by calculating the middle off the remaining this base of the width of the face. Then we place the eyebrows. He plays the nose by calculating the distance that there is in the middle off what goes from the eyebrows to the chin. And then we're going to place their mouth, which simply comes from calculating the distance that there is from the nose to the chin, right in the middle of this distance. We're going to know that the lower lip is located in there, and so we intuitively calculate that right above it we can place the mouth very simple now for the sixth step. Repeat all of her previous steps, making sure that all of the distances that all of the proportions on placement off all of the facial features with its right distances are correct. - And so we're missing the ears years. Placement is also very simple. We just need to calculate distance that there is between the eyebrow to the nose. And so we're gonna use this distance to know the limit off the height of the year. So you can write this height. ASU, please Just make sure that you're never going to pass this distance. Your face and the years proportions are going to look up and final Step seven. Repeat all the bridges of steps, but we're going to at this time the neck suffered a neck proportion. We want to make sure that it's hiked is going to correspond to the same proportion that there is between the nose to the chin. So by taking the same distance, we can have a pretty easy guideline to locate it. Now, this is the height, but what about the with? So if we divide the remaining in space that there is between Devereaux with off the rial face us. We did previously to locate the ice. We can take this middle and replicated outside the head to know that this is going to be the limit from where the next propitious muscle, which indicates its length, is never going to pass. So yeah, you just easily extend two lines that art around the outside corners of the eye or the pupil them passing that you extend two diagonal lines that go at worst, making sure you're not passing this proportion on. Here it is. There we have it. These are the very basics of the face which are going to help you to start drawing any kind of different face from a very fundamental level. So all of the other details to our different kind of styles and shapes are going to be revealed on different classes. But the most important thing, the court that serves as a foundation, you already know now doesn't it feel great 3. Hack Complexity: great. We now have a general idea off how, ah face she'll be constructed in right proportion and how to place all the different facial features of the face. Now I want you to consider the best way that I can teach how to maintain the right proportion in it. But before doing that, let's understand quickly how I want you to conceive. All of this is structured that we previously learnt. So in very simple terms, it is good for you to understand the head on its own this way. As I said before, we get rid off all of the different destructions and details that made intimidators that come from the face. The second thing are they years which are not very evident, but we will tend to think that there, especially part of the facial features. But right now we want you to focus on them a something apart because the structure from where they are built suggested them on an unconscious level of something outside the face because they're not inside of the head counter along with all of the other facial features . And last thing to consider is the neck, which is as important as they had in the face but is not always being acknowledged like that. To a certain extent, it is something on its own. But if we look at the bigger picture, it is always sport off a well constructed head and face. So do not ever take it out of the equation because just a head floating around will be pretty weird, right so quickly in very simple terms. These are the tree main parts off all of the faces structure that I want you to always keep in mind looking for the simplicity off the structure of any subject that you will like to learn how to draw is always key. We need to make sure that we're always ableto handle complexity into simple terms. On the way to do that in a successful manner is to always break down the structure into easy to understand and very simplified parts. 4. Draw Correctly the Head: Now let's make sure you always achieve the correct proportion for the little head shape. In the previous demonstrations, you've sent me to draw this kind of shape, which we like to call the X shape, and this is what help us to set the foundation, to construct all of the face or the simple portrayed. But how do we make sure that we have enough clarity to draw it correctly, that it is not longer or a smaller, different from what the general proportion off a human being looks like? You know, this is very important to understand first, because Barry eight, in this kind of shape will always give us a lot of different designs, especially if you want to come up with new characters and design your own characters. We need to understand the general rule first and to be able to accomplish it, because if you do it backwards and you start by drawing a lot of different faces on a lot of different proportions and shapes, most likely is that you'll tend to feel confused all the time. So it is always better to know the general rule and after that, to know how to break it and vary, ate it to come up with a lot of different things and half enough clarity on all of your designs and all of your thought process when drawing, so make sure you're always following all of the demonstrations that I'm making on all of the class. Your skill needs to be developed, and you won't do it by just watching and not applying for the simple exercise. I want to show you a simple way that I like to think about when I'm always drawing this shape. So it all comes down to imagine there's the square, the perfect geometry and even sites of the square help us to come up with new measures that will serve us to have control over our proportions. By dividing the height of the square, we can come up with a new measure, which is how often and square. So I'm just gonna make sure with the selection tool that I've divided, this is square evenly and by simply taking this health and replicated it. We have the correct proportion to think about when drawing this shape. - So that's it is very simple. Your face counter or head shape always needs to be around this simple proportion. That way we make sure we're doing it as human like, and this Laissus stylized for us to create consistency on all of her drawings. So you don't need to take this as exact or it's perfect. I just want you to make sure that every time you're drawing, you're always thinking on this kind of proportion. So a good idea is to give it a try a couple of times and drawing with all of these guidelines. But over time, in practice, you can just do it without guides on a free hint. But understanding this kind off geometric shapes underneath should always be part of your thought process to the point. It will start to becoming tweeted, also serving as a tool that when you draw and you find things off, you can always come back to this kind of measure and make sure your join it correctly so you can just easily proceed to fix and make your drawing. All right. Okay, Now the final part of these demonstration and exercise, let's lose all of these backwards to see an inaction. So I start withdrawing all of the egg shape or head shape. And then I make sure by adding the square on the proportion of half this word, that this shape is actually incorrect proportion. This may look simple, but depending on your experience and drawing, it may be a bit complex. So I want you to relax over the fact that maybe while you drawing it, you may handle a bit off a struggle, and that's completely OK. It is all part of the learning process. So it all comes down to a bit of practice and over repetition into time, you will surely start to become better at it. For the final part of these media lesson notice. How in here, after having plays all of the geometric shapes that help us to place proportion, we can simply think, you know, into even simpler terms, knowing that all of these reports are all even there the same height and with which makes all of these stock process even simpler. 5. Meet Line Rhythms: great guys to this point. You should be able to draw and understand how to construct the face in a very simple way, knowing the correct proportions, how to understand, in simple terms, all of the structure and how to place all of the different facial features. Here comes the less topic that I would like you to consider and that I would like to explain a line rhythms. So for the little head shape or X shape, I haven't explained on a clear way how this counter works. But on these subtleties on Deedles, great work awaits. And I want you to be careful with this because this, besides showing expertise or experience, also shows accuracy off the head and the face okay for join the counter of the face. I like the thing on all of the different lines a separated things that are all working on its own to create a whole a structure, and I like to call them line rhythms. So the first thing that I consider to draw it is the top of the head. This top of the head is very similar to almost half a circle. Then I like to extend two lines symmetrically that correspond to the temples and the cheekbones off the face, passing that there another two lying rhythms. Victory eight. The job being the first, the upper part of the job on the second, the lower part of it. And finally, the last one is the line rhythm that creates the chin, which connects the other two symmetric line rhythms that we have been drawn. Okay, seen here how all of them are all connected one to the other. But at the same time, they're all in different angles and different strokes. You can always draw them a self or is edgy as you please, that Verizon your perception and you're likes. But you should always consider them so you can draw the head counter very soft and smooth and not showing much all of these different line rhythms. But knowing that underneath them you always took them in consideration to create the shape that you were creating a great way to understand them, to maintain the proportion I previously thought he still remembered the thirds which we used to divide all of the geometric shapes that are serving us as guidelines. So, on the 1st 3rd we have the top of the head. On the second, we have the diagonal lines that a star communing words where we find the temples and the cheekbones. On the third even part, we find the job on the chin. Just remember that the correct proportion of these even parts comes from health and squared . Because that way we also make sure that we have the real with off all of the face, counter on the right proportion. So one more time let's put this into practice with First is starting the first part of the drawing by placing the land rhythm that indicates the top of the head. Remember that it's a good idea to conceive. This is something very similar to half a circle or novo. Then, on the second even part we place the to day I go knows that are showing the temples on the cheekbones. And finally, on the third even part we played the to day AG announced that go inwards that suggests the junk and that are connected by the chin. So this may sound very simple in this explanation, but when drawing it, getting the right angles for the line dreams is something that shouldn't be taken for granted. So I'm going to show a little bit of contrast on how you should be thinking about each of the parts off all of the line rhythms off the head counter. So first for the top of the head. Always consider it very circular or oval shape, and a wrong way will be to try to change it by creating more angles or different straits and curves. The second line rhythm comes as a very slight diagonal. You shouldn't try to ride this angle or tilting, and then for placing the jawline dreams on the chin line rhythm, see how the top line rhythm from the jaw. This is slightly more tilted or angle compared to the temples and cheekbones, lying rhythm, which I indicated with blue color and at the same time, the lower part of the job. It's also more tilt to going in a different degree than the jaw which have drawn with pink compared to the one that I drawn purple. You should respect this kind of flow and angles that all of these land rhythms are creating and not try to alter them. At least these a stage of your learning process, More classes on understanding and coming up with new shapes were the head are going to be explained as a separate topic from this one in here. We just want to make sure you learn how to construct the basis and the foundation off, understanding the face and the head from almost a realistic front view. 6. Remaining Contour: Having reviewed the line readings of the counter of the face, let's understand the remaining line rhythms which correspond to the neck and the ears. So let's say we already have the basic structure of the face. The way I'd like to consider the ears line rhythms is very simple. I like to divide it into three different lines. The first one goes right on the top, seen here how I'm indicating it with orange color. The second one goes still outwards. I'm signaling in here with blue color. Tilting it creates extends to almost the half of the year. If we consider also the top part which I indicated with orange color. And the final line written, which I'm indicating with purple goes inwards. Pay attention how especially this line breeding works, which is not a straight line, but it starts with an arc and then as it goes down, it closes the overall shape by flattening down. Once understood, one year, no matter the direction. For the opposite, it works just the same. Only thing we need to do is just to mirror all of these line rhythms. So let's understand quickly how I like to consider all of these previous line Williams of the year. But this time I had him on assembly realistic way, the way the lines display the form of the ear. So for this class, I'm not going to be extending the explanation to a very detailed one. You straight to copy and memorize this kind of shape on the front of the face that they year displays were going to be reviewing the facial features including the ears. On other classes, where I'll be explaining them in depth. So for now, just memorize the line rhythms that the outside counter of the year is displaying. And see the inside the structure that I created in here and just tried to copy. Okay. Now let's go with the neck. First of all. And before placing the ears and the neck, I forgot to tell. You need to think about and remember the placement and the proportions we did understand on the first video lesson of this class. So all of these line items should be located thinking about the correct placement. So for the net counter, Think about it as something that you can do symmetrically. I also like to think about this in only three simple steps. And the first one goes with the lines that indicate the form and shape of the tubular neck. This one usually goes inwards because the muscles that are attached to the clavicle and the extent to the ears help it to display this way. Then for the second part, see how I indicate here a very slight diagonal that then switches direction to go AdWords, which is indicating the trapezius muscle of the neck. And finally, the third step, which I'm indicating here with green color, is just to add to simple diagonal lines that go inwards. The kind of degrees that I use on each of the line rhythms are also very important, so try to mimic them by observation. This last line written, which I indicated with the green, corresponds to the counter that the clavicles or the collarbones are displaying. So this is all very simplified. You should understand this. The more simplified we understand the structure, lines, counters, placement of proportions that matter. We're always going to understand and absorb information, especially on drawing. 7. Demo: How to Put it All Together: great so far. You should be able to construct a pretty well proportionate face, knowing how to place the different facial features, knowing how to understand the overall structure by looking into the simplicity off each of the parts on understanding the line Grady EMS that help us to describe all of the different counter in a very accurate weight. So congratulations yourself for making it days far. Now, let's put it all together. I want to make a demonstration where I'm gonna be using all of the different knowledge that we have just seen 12 the whole class. And so you have a very good idea on how all of these things should be working altogether to know that they should be Oh, well integrated. And they're not just thinks apart, because a silly as it may sound, this is pretty common if you are in the learning process and you're trying to break down everything. So we need to use all of this information in a way that it'll make sense. The first thing that I want you to do is to start these demonstrations by following the same as I do. Remember that all of these demonstrations should be. Follow it askew on Lee comes to practice, not just information. Okay, I want you to start by drawing the x shape. Remember that this egg shaped should be drawn by thinking the correct proportion on the correct line. Grady ems. So, for do that, we're gonna guide ourselves by following the division off thirds that we previously seen with the line redeems. Once done that, we're going to divide the riddle head shape for helping ourselves to place the different facial features. And so we started with the eyes. Remember that for placing them. It is a great idea to consider the division that there is on each of the previous divided, the spaces that we already got from the right individual head shape and a great way to not only place them good, but to maintain the right proportion is to remember that there is one I between both eyes and that the space that goes from the corner off each I to the outside corner off the counter of the face should be around health and I and then for placing the nose. Just remember that it should be placed in the middle of space that is around the eyebrow to the chin now for the mouth. Also very simple. Remember that we guide ourselves by placing the lower lip, or at least from now, in that the lower lip goes right in the middle from the space that there is between the nose and the chin. Again after that, knowing that just a little bit above the lower leap of the mouth, we can place the counter of the mouth. Not for the years. Very simple, to we remember that the correct proportion of them goes right from where the eyebrow goes and shouldn't pass an extension from where the end of the nose is located on. As understood in the previous video lesson, we can easily place the simple, tree lined redeems that we previously understood. Then for placing the neck. We just take the same extension that there is from the nose to the chin, and we use that a space to guide ourselves and plays the different lines. They're going to create the counter off the neck. Just remember the other trees. Simple steps when placing these line rhythms, start with the developer shape, going down with the line rhythms that resembled the propitious and closing up with the line rhythms that are given by the clavicles and that's it. So let's quickly check now if the proportion of Deverell head is working. Okay, as you can see in here, one to tree old Earthers are working just fine. Just do never forget that they're being given from thinking about a perfect square and the half of the perfect square. Okay, which is going to be key to know that they were all with off the head is working Okay, too. Now, if we check on the line rhythms, you can see here the top of the head, the temples and the cheekbones on the job which is composed by the upper part, the lower part on the chin, also seen here, how is very evident in the neck, the tree, simple line rhythms and then on their years, the other trees, simple lying rhythms starting from the top of the year, going down to almost the middle of the year and the next standing down to the end of the year. This way we conclude this drawing and we can see in here working all together, all of the different aspects that we just revealed in each of the previous video lessons of this class. Right now, this may be a bit technical, but true experience and practice. It always starts to become less technical and more intuitive because your body now will correspond to your rescue, which you have developed to practice. All right, now let's talk about something else. So if we were to apply all of these on actually a character, I want you to think that all of these knowledge should fit you, not the other way around. What do I mean by this? Let's just not get way toe attached to all of the things that I just explain. You know, every time you're gonna come up with a different character, they can all have different proportions, shapes, line redeems. And all of that would also add a lot of interest. But let's just remember that everything that it's being explain it in here comes from understanding a general rule and from knowing that role and knowing how it works, we can start vending each of the things that we know from that role to come up with a lot of different vary, aided and coolest stuff. So what I mean by this on using these knowledge to feed your needs and not the other way around it. Specifically, I also want you to think about all of these are something that can always be modified to your likes. And this especially varieties, depending on your previous experience on how to draw faces and hits. So if you already have different things that are corresponding to your style, or that our correspondent more to the way you want to express true art, that's completely fine. If you want to merge them both. You know all of this knowledge, plus everything that you already know how to do, or just other different methods that are also serving you to make the drawings. But you will like to do another thing that I think that you should know before live in this class is to know that once you have mastered all of these principles, you can draw your heads and faces without thinking much in any kind of order. All right, so as you can see in here, I have started by drawing the overall head shape, and I have drawn both eyes. But after that, I proceeded to add the ears, the nose on the mouth without even adding the eyebrows first, and you can go and do this. However, you would like to just be attention and calculate the different distances that there are between one part to the other and that's it. So maybe if you're a steel beginner and you don't have much experience on drawing, it is a good idea. You still stick to the order that has been given on this class, but it will naturally a start to change, because once you know how all of these tools are working at essence and not just on mindless copping, you will know how to play with them. Great for the hurt. I want to make another class full about the topic, where I want you to only focus on the way here works. So right now for all of the different characters that you're going to be creating things to the knowledge learnt on this class based yourself on copping on observing all of the different hairstyles from your favorite characters, that should be enough. These a stage of your learning process. But for this part in a specific on this demonstration. I want to give you a simple trick which is always think unhurt as something that already has volume. All right. Talking about volume on terms that it shouldn't be drawn just right where the top of the head is or the skull is. You should think on the hurt on something that is adding more. And this sounds silly, but ah, lot off us being beginners. We've made this mistake so know that there's a little bit of distance from where you should be placing correctly they hurt and not just placing it right on top of the cranium. Cool. So once you have completed all of the different steps when drawing the head, you can always add the amount of detail that you will like, depending on the kind of his style that you want to express. So we can see in here how at a little bit off lines that they're suggesting a bit more form on the neck, the clavicles, the nose on their years and there you have it. You can just add shading at your likes. Don't worry about shading right now in this class, a class and shading on itself is going to come up with time and just see how all of these principles, which seemed very generic at first, now have more personality. 8. Demo: Final Thoughts: Okay, guys, I know. Let's take another demonstration. Where I sure all the relevant information I want you to acquire before going ahead and join your class project, which is going to be the last thing that you will be doing from these exercises. You can see in here how I do a start by drawing the general shape of the face which we've been calling the X shape. This is not random, Erroll, and it is because I always like to consider all of the general simplified a structure as watching the second video lesson of this class. It is always a great idea to understand things to the maximum off its simplicity. Because that way, well, our brains to be very specific on the things that you want to address for the better and faster learning process. So once understood this you can just proceed to keep on drawing all of the different facial features which on these matter I consider just detail, just like a state on the previous demonstration understood all of these different tools. You will be able to play with them and to alter or variety order to make it more intuitive to the way you want to approach your drawing. I haven't placed any kind of guideline on this rowing, but this doesn't mean that I'm not considering any kind of guidelines most of the time, even if not visible. I'm always thinking about this kind of stuff, things such as the cross guideline that were reviewed on the first lesson of this class and start to become a bit secondary because you do know that it is there, but you don't have the necessity to draw it. If you're a beginner, it's fine. You keep on drawing it by, the more you do it as seen on all of this class, the more into it if it all becomes and the easier it gets to drop for drawing different kind of faces such as younger faces, childish faces and girly faces. Softening the line rhythms that we've learned in this class give us an excellent field because they suggest less off a bonus structure and more off a softer structure. So now, knowing all of these that you want to put in practice, remember that it is great to consider the line dreams, but you don't need to stay way too attached to them. Just consider them when drawing, because they always help us to understand the human a structure and to draw a curently. But to be obsessed about them will be counter producing will limit the quality of your artwork and will limit your sense of creativity. So think about that you're not rule and try to explore it without going too far. Also, even if obvious, allow yourself to make mistakes on all of this. Learning process is completely fine to make mistakes, and depending on your experience and how much time you have put it into practice in drawing , it will reflect the kind of mistakes that you're making. So the more beginner you are, the more likely you are to make mistakes. The more you practice all of this, the less likely you are going to be to make mistakes but still will do. Make mistakes from time to time, so it's normal. It's fine. I love yourself to make mistakes and correct yourself as much as you need. You can also inspire and base yourself to draw different kind of facial features and lying rhythms that you can acquire from analyzing your favorite artists or your favorite art you can see in these drawing that have added a bit more of the needle in the nose and the mouth if we compare this drawing to the previous ones that I've been drawing throughout the whole class. So as long as you're respect in the proportion of this is stage of your learning process, you can still have great results by just changing the different shapes and line grading, says it said Before. And the final advice that I want to give you is that there's no need to get super attached to the placement off all of the facial features to be exactly in the proportions we previously learned. This means that the closer to the general rule that matter, everything will look. It will look really verbal and accurate and must important proportionate. But in many occasions when drawing in this intuitive mode, you'll still make mistakes, so all of these things are not going to be 100% exact. So release yourself from putting too much pressure because many things will still look pretty believable even if they're not exact to the proportions and placement with sin, especially on this matter. On the facial features. So the most important thing is that it looks believable. And if it looks believable, then it is. It's still a good drawing. So having said all of the previous, let's check out how all of the principles will learn in this class are working all together in here. We can see in here how all of the line dreams of the face are working just fine. Then going to the neck, the same land rhythms on the neck and finally going to the years 12 tree. You can see all of them right there. Then, if we check in the real head shape, we can still see and hear the thirds, and they may not be 100% accurate if we exactly check on each of them. But they look pretty much similar, and that's enough because it helps us to maintain proportion. And finally, let's check all of the different facial features placement. So by drawing the counter in here very quickly on placing the cross guideline right in the middle of the X shape, I find that if we divide the head shape into even parts, the ice look correctly placed. Also, if I check the distance that there is from the eyebrow to the nose, I can have the correct proportion of the ear. And so if I check in here the distance that there is from the eyebrows to the chin, I can also see here that the nose trails are also line into the middle of this. A space. And finally, when checking the mouth on the neck, we also see in pretty much the same proportions we've been learning. Throw the whole class. Alright, guys. So without for Lydia, let's get to the next video where I'll be sharing with you the class project. 9. Your Class Project: All right, guys, we need to put a proper closure to this class by ripping the harvest with been sitting troll the whole time. So for the class project, please make a drawing off a character by showing to his stages, just like it did on the first demonstration off this, putting it all together. Video lessons. The 1st 1 will be you applying all of the things you learn in the class in a visible way, constructing the head and placing the facial features in right proportion. Making sure that they were all head is on right proportion. Thinking about the third's that comes from a perfect squared, thinking about the simplicity of double the structure off all of the head on the face and finally plays in all of the line rhythms of the face, the ears and the neck. Then you're going to make another drawing on the same page right next to that one, this time on a character with more personality by adding maybe a few more details that you will like to at your preference gender and the kind of her style that you will pick up from looking at your favorite characters and that's it. Once you have finished that one, make sure that just like on the second video of this last video lesson off putting it all together. Check on the different aspects that we have learned from the whole class and that you just did on the first stage of this class project, which is constructing the face but placing the facial features in proportion chicken on dobro, head shape, proportion on making sure the line rhythms of the face, years and neck are all working together. Thank you guys for having taken this class. I really hope that all of these class information have been youthful for you. The class was really meant to help any kind off artists from very beginner to even experience it. One making it in a way that all of these concepts were easy to grass. You can also find me and my personal art accounts on Instagram and Twitter. I may not be applauding a lot of art right now, but if you like the cost, there may be interesting things and content for you to see in the future. There a lot of reference pictures that I have got a for my own studies that may be of help for you to expand your visual library. Mean cool. New artists find inspiration on learn from different tutorials. You can find them all on my painters profile, which you can click below in the description. And finally, don't forget to leave a review. If you found this class useful to follow me, if you want to say updated to all of the new classes, that will be coming or to ask me anything if you might need any help, I'm always happy to help. Thank you guys. See you next time. 10. Bonus: Ipad Speeded up Demo: way. 11. Bonus: Traditional Real Time Demo: